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TRANdFlGU ltAT lflN O F CHR IST. B Y R A PHAEL .
Va t ica n .
PA IN TEES,
SCULPTORS , ARCHITECTS, ENGRAVERS ,AND THEIR WORKS.
fl {Bannhook
CLARA ERSKINE CLEMENT,
AUTHOR OF“A HAND B OOK OF LEGENDARY AND M Y THOLOGICAL A RT .
”
WITH ILLUSTRATIONS AND MONOGRAMS
NEW Y O RK
PUB LISHED B Y HURD‘
AND HOUGHTON .
etambt ibgz : rimm ing 191 155 .
1 874 .
Ente r-ml a cco rding to Act o f Congress, in th e yea r 1873. by(LARA Ensm z Cm
,
in the 0mm o f the Libraria n ofCo ngress, at Washi ngto n.
cnxnamsz
nu t c r n o n'
p t u n u ) l n r z n a t
u . o . g am m y u m co u n xm
J. MAR IO N S IM S,
M Y F AITHFUL F R IEND AND PHY SICIAN,
Eth ical : th is B unk,
AS A TOKEN OF RESPECI’, GRATITUDE , AND AFFECTION .
CLARA ERSKINE CLEMENT.
2040227
PREFACE.
r
WHEN I regard a favori te sh elf in m y library, and conside rho w exhaus tive l y th e subje cts o f thi s volum e have be en treated ,I fee l in cl i n ed to hide i t away ; bu t when I thin k h ow m anythere a re i n o u r l and who are as m uch intere s ted in a rt andar tis t s as I am , and have no t the m ean s to furn i sh such a shelf,
I hOpe that thi s book m ay do som e thing fo r them . I have al so
endeavored to m ake i t a bo ok o f refe rence which can be eas ily
co n s u l te d and u sed to advan tage in con ne ctio n w i th m ore e xten
s ive work s . Much tim e and s tudy have been gi v e n to i ts pre paration
,and I have aim e d to be con sc ien t iou sl y correc t a s wel l
as unprejud i ced in my de cis io ns be twee n confl icti ng au thori tie s .The book s con sul te d are too n um erou s to be n amed except inpart, wh ich w i l l be done a t the e nd o f thi s preface . The book
is no t n eces sari ly con ne cte d w i th m y work on Legendary and
Mythological Art,”bu t the two a re so re l ated to each othe r as
to be profi ta bl y u sed toge ther.The arrangem en t o f e ngravi ng li s ts i s
,so far as I know ,
un iqu e,and w i l l re nde r i t a u seful handbo ok fo r conn o i s se urs
andbuyers.
The i l l u s tratio ns are re pre se n tation s o f s tandard work s o f
ar t, m ost o f which are se e n i n Europe an gal l er ie s and chu rche s.A good n um be r o f m onogram s o f pain te rs and e ngravers are
al so gi v en .
I have e ndeavo red i n a sm al li
space to speak no t onl y o f
ar ti sts as s uch, bu t by variou s facts and anecdote s to conveyan idea o f what they were i n characte r and l ife .
Thre e com prehe n s ive i nde xe s a re added, which w il l i n creasethe conven ie n ce and u sefu l ness o f the book , and i n short, i n i tsen tire pl an I have adopted the m o tto o f Jan van Eyck , “ Als
ich chan .
” CL ARA ER SKINE CL EMENT.
B OSTON, October 14 , 1 873 .
AUTHORITIES CONSULTED.
D’
ARGENVIL LE. Abrégé de la Vie de plus fameux Peintres .D
’
AGINCOURT. Histoire dc l’Art par les Monuments .”
ANON IMO D I Mo u EL Lr.
”
B ERM UDEZ .
“ Dicciona‘
rio Histo rico do 105 m as I l lustres Profesores dclas B el las Artes en Espana .
”
B LANC,CHARLES . Th e Works of.
CARPENTER . Memoir of S ir Anthony Vandyck .
CUNN INGHAM . L ives of the most Eminen t B ri tish Painters.Ca o wn AND CAVA LCASEL LE. Early F lemish Painters," etc.
, e tc.
CARTON,L
’Annfi . L es Trois Fre res Van Eyck.
"
EASTLAKE “ 'Material s for a History of Oi l Painti ng .
DIDRON . Manuel d’
Ico nograph ic Chrétienne.”
DAVIES L ife of Muri l lo .
”
FORD . Handbook of Spain.
FEL I B IEN . Entretiens sur le s Vics e t sur les Ouvrages de plu s excellens Peintres .GAYE . Carteggio Inedi ts d
’
Artisti .”
Ga u n t . L ife ofM ichael Angelo .
”
HELLER .“ Das L ebe n und die Werkc Albre cht D urers.
JAMESON, Mus. I tal ian Painters. ”KUGLER . Handbooks o f I tal ian
, German , Dutch , and F lemish Painting .
L AN ZL Storia Pittorica del l ’ Ital ia.
L EGEND \ AU REA,
”THE .
L ii B KE . Histories o fPainting and Scu lpture.
M ICH IEL. Rubens e t l’Eco le d’
Anvcrs.
"
MICH IEL. L a Pe intro F lamande.
"
MASCHIN I Guida di Venez ia.
MILANESI . Documenti per la Storia del l ’Arte Scncse .
Mnum rm rp,Ma s. Translation of Cenn ino Cenn ini s Treatise on
Pain ting .
”
NORTHCOTE . L ife o f Si r Joshua ReynoldsPASSAVANT . Rafae l von Urbino , e tc .
RACZYNSK I. Le s Arts e n Portugal .”R UMOHR .
“ Ital ienische Forschungen .
RAM B OUX . Umrisse z ur veranschau l ichung a lt Ch ristlichcn Kunst inIta licn .
”
SCHAFER . Transla tion,
“ Da s Handbuch der Ma lerei vom B argeAthos .”
AUTHOR ITIES CONSULTED.
SHAW. Il luminated Ornaments sketched from MSS ., etc .
STIRLING . Annal s of the Artists Of Spain .
”
VOSMAER R embrandt B armens van R ijn .
VI LLOT . Notice de s Tab leaux da Louvre .
VASAR I . L ives of Painters, Sculptors, Architec ts , etc .
VERM IGL IO L I . Memoir, e tc ., of Pin turicchio and Perugino.
WALPOLE . Anecdotes of Painting .
”
WOR N UM . Epochs of Painting .
”
Dictionaries and Catalogues : B artsch , B ryan , Elmes, Heineken ,Ie r, Pi lkington , Rigo llo t, Segu ie r, Smith, etc .
AB B REVIATIONS USED.
Card. Cardinal.Ca t/z. Cathedral .Ch. Church.
Coll. Col lection .
LIST OF ILLUSTRATIONS.
PAe z
TRANSFIGURAT ION OF CHR IST. Re phae l . VaticanAPOLLO B ELVEDERE . Vatica nLAo coON . Vat icanCuPIDs. Franc isco Alban iMAGDALENE. Co rregg io . Dre sden Ga l l .SPAL ATRO . Wash ington Allsto nTHE FALSE PLAYERS. Cara vagg ioDIRCE. Napl e sHEAD OF ROXANA. Fam e sina
,Rom e
S . LORENZO GIUSTINIANI . Ven iceCHR IST. Gio . B e l l iniRELIEF. From Pulpit in Sta . Croce, Flo re nceM ILK ING A GOAT. N ico las B e rchemAPOLLO AND DAPHNE . Vi l la B orghese, RomeA GLOR IFIED MADONNA. B erl in Mus.
S JUSTINA AND ALPHONSO I . OF FERRARA. B elvedere, ViennaCORONATION OF THE VIRG IN. S . S impl ic iano , M i lanISAIAH . M . Ange lo S ist ine Chapel , Ro meMOSES. M . Ange lo . S. Pietro In Vinco l i , Ro m e
AD ORATION OF THE MAG I. Paul Vero ne se. Dresden Gal l .VENU S AND MARS. A. Carracci. Farne se Pal.
,Rom e
S . JOHN. Cim abue. S . Maria N o ve l la, FlorenceDEATH OF S . MARY OF EGYPT. Pi e tro da Co rtonaGROUP . From a pa inting by Lucas CranachS . LUCIA. Crivel l iCOMMUN ION o r S . JEROME . Dom enichino . Vati canPICTURE BY G. Do w . Vienna Gal lTHEWOMEN GO ING To THE SEPU I.CHRE OF CHR IST. Duc o . Oath o f
S ienaS . CHR ISTOPHER . Alb ert DurerTHE ANCHOR ITES. Hube rt van Ey ck. From th e Ghent Pa intingANNUNCIATION. J. van Ey ckTHE ECSTASY OF S . CATHER INE . Gaudenz io FerrariCORONATION OF THE VIRG IN. Fra Angel ico . Acad. o f FlorenceMADONNA. Fr. Franc ia. Dre sdenRELIEF. From Gh ib e rti ’s Gate to th e B aptistery at Flo renceZACHARIAS WR ITING THE NAME O F JOHN. Domenico Gh irlandaio . S.
Maria N o vel la,Flo rence
THE CONCERT. Gio rgione. Pitti Gal l .FIGURE OF S. JOHN. Gio tto . From Pain ting in S . Maria del l’ Arena,Padua
FROM THE HISTORY OF NOAH . B eno z z o Go z z oli u Campo Sau te , Pi saS. PETRONILLA. Guercino . Capito l , Rom e
xi i L IST OF ILLUSTRATIONS .
MARRIAGE A LA MODE. Hogarth . National Ga l l .THE B URGOMASTER MEIER MADONNA . Ho lbe in . Dre sden Gal l .CATHEDRAL OF 8 . MARK . Ven ice. s antine Archite ctureSTILL L IFE Kali
ONE OF TIIE SEVEN STAGES OF THE PASS ION OF CHR IST. Adam Krafi'tTEMPTA'
I'
ION OF CHR IST . Luca s van Le y denSS . PETER AND PAUL BEFORE THE PROCONSUL FELIX. Fil ippino Lippi .B ra ncacci Chape l
S . URSULA. Oa th . o fCo logne. Stephan Lo the ne rCHR IST MOURNED BY ANGELS . Man tegn a . B erl in Mus.
PETER BAPTIZING . Masacc io . S . Maria delCarm ine, Flo rence
THE MISERS. Q . Massys . Windso r CastleS . URSULA LAND IN G AT COLOGNE. Hans Memling . Shrine o f S . UrsulaA SPORTSMAN. Me tsu . At the Hague8 . JOHN. Muri l lo . MadridMus.
MARBLE COPY OF MYRON’S B RONZE DISK-THROWER . Pa l. ,Ro me
SAMSON OVERCOM ING THE L ION . Maste r N ico laus . Klo ste r-N eube rgB EGGAR S EESEECII ING THE ANGEL OF DEATH To TAKE THEM . Attribu ted to Orcagna . Cam po Santo , Pi saCORONATION OF THE VIRG IN Imho fi A ltar-piece, Nurembe rgTHE THREE GRACES . Palma Vecchi o . Dresden Gal l .RELIEF ON A B AP‘
N SMA L B AS IN. Lam bert Patras . S . B a rthelemy ,L iege
MADONNA. Perug ino . Pitt i Gal l . Flo renceRAISING OF LAZARUS. Sebast ian de l Piombo . Natio na l Ga l l .ADORATION OF THE K INGS. N icco lo Pisa no. Pulpi t in B aptiste rv atPisa
HEAD OF JUNO. Ludo v isi Vil la. RomeTHE DESCENT FROM THE CROSS. Fra B a rtolomme o . Pitti Gall.MOSES AT TIIE SPR ING . N . Po ussinA SATYR. After Prax iteles . Capito l , RomeRAPE OF GANYMEDE . Rembrandt. Dre sden Gal l .TI IE AURORA. Gu ido Ren i . Ro spiglio s i Pal. , Rome
LEAR, A STUDY . S ir Jo shua Reyno ldsMADONNA IN TERRA COT rA . Luca del la Ro bb ieCH ILDREN. Rubens . B erl in Gal l .B RONZE GROUP OF THE B AP’
I’
ISM OF CHR IST. Andrea SansavinoTIIF. ENTOMBMENT OF CHRIST . Jacopo Sansav ino . From th e B ro nzeGate. o f th e Sacristy o f S. Mark, Venice
MADONNA. Andrea del SartoFROM THE LAST JUDGMENT . S igno rel li . Oa th o f OrvietoPICTURE. B y Te n ie rs . MadridGa l l .ALLEGOR ICAL PICTURE. Tinto retto . Doge
’s Pal. , Ven iceS . SEBASTIAN. Titian. VaticanTHECH ILDREN OF CHARLES I . Vandvck. Dre sden Gal l .PORTRAIT Velasque zJOHN, PETER , AND JUDAS. Da Vinc i . Mi lanTOMB OF S . SERALD . P. Vischer. N urembe rgRELIEF FROM THE TOMB OF S. SEBALD . P. Vische r. N urembergTHE S IBYL AND THEEMPEROR AUGUSTUS. R. van de rWeyden. B erl inMus.
SHED W ITH HORSES . Ph i l ipWo uve rm ans
PAINTERS,SCULPTORS , ARCHITECTS,
ENGRAVERS,AND THEIR WORKS .
A .
A a lst or A e lst , Ev e rt or Ev e rh a rd Van , born at Delft (1 602Painted dead birds
,game
,i nstruments of the chase
,armor
,
vases,etc with great exactness i n detail . He sometimes used a
clear or white ground, which i s very effect ive . His characteri sticswere truthfulness and heaviness of tone . Dresden Gall . , NOS. 1 1 26 ,1 1 27 ; Berl in Mu s.,
921,936 .
A als t or A e lst, ,W i lh e lm or W i lli am Van
, born at Delft , 1 620 ;died at Amsterdam
, 1 6 79 . The nephew and pupil of Eve rh ard,
whom he much excelled . He also pain ted stil l l ife , dead birds, oysters
,herrings
,etc . His favorite subj ec ts were frui t and other eat
ables,with accessorie s of glass and rich vessel s of gold and silver .
He spent some years in France and Italy. Wa s employed by theGrand Duke of Tuscany, who presented him with a gold medal andchai n . He returned to Holland in 1 656 , where his works were i ngreat demand . They are of exquisi te poli sh and fin ish . DresdenGall .
,NOS . 1 1 28
,1 1 29, 1 1 30 ; Berl in Mu s ,
9 75 .
A b a te , A n dre a , called Belvedere . Said to have died i n 1 732 ;but there are reason s for believing that he died several years earl ierthan that time . He was a N eapol itan , and excelled i n paintingflowers , fruit , etc . He was employed by Charl e s H . of Spain, andtogether with Luca Giordano , who painted figures
,executed a part
of the ornamen tation of the Escurial .A b b a te , or de ll
’
A b at e , N ic c o lo . Called al so N iccolo da Modena .
Born at Modena, 1509 died at Paris, 1 5 7 1 . He was a pupi l of Begare lli , and , i t i s supposed , of Correggio, whi ch opinion i s confirmedby his k nowledge of foreshortening. Algaro tti enumerated himamong the first that had adorned the world .
” His frescoes in B 0logna were model s for the Caracc i ; and Agosti no Caracci said i n asonnet, that i n N iccolo were united th e symmetry of Raphael , theterror of M ichael Angelo, the truth Of Titian , the dignity of Correggi o, the composition of Tibaldi , and the grace o f Parmigianino.
2 AB B ATE— A B SHOVEN .
At the Castle of Scandiano he executed twel ve scene s fro m theJEnc id, which are now in the Florence Gallery . He painted his frescoe s so correctly that he seldom reto uched them this was th e se cretof his beautiful coloring. At Bologna he painted a beauti ful “ N a
tivi ty i n th e port ico of the Lion s, and in a friez e i n the hal l of theInst i tute his celebrate d Conversaz ione,
” of ladi e s and youth s . In1 552 he accompanied Primat iccio to Fontainebleau , and painte dthirty-eight scene s from the history of Ulysses , from th e design s ofthat master . A fter Primaticcio died , N iccolo was employed by theFrench cour t during hi s l ife . His Beheading of S . Paul ” i s atDre sden ; and Th e Rape of Proserpine ,
” with a “ rich , fantastical lylighted landscape
,i s at Stafford House Gal l .
A b b i a ti , Filippo ,born at M ilan (1 640 Pupil of i i Pan
filo .
” A man of great talent and powers of i nvention ; wel l fi ttedfo r colossal labors . He competed with Fede rigo Bianchi , at M ilan ,in painting the ceil ing of S . Alessandro Marti re . One of hi s best.work s w as the Preaching of S. John the Bapt ist, at Saro no .
A b b o t , L e m u e l, born at Leicestershire, England ; died 1803 . Pupilof Franc i s Hayman . Truthfulnes s was his charac teri stic, and po rtrait s Oi men hi s be st work s . Those of Cowper ” and Lor dN el son were e speci ally fine .
A b e l do Pu j o l, A le xa nde r D e n i s, born at Valencienne s (1 78 7Succeeded Gros, and became a member of th e Insti tu te in
1 835 . He pain ted The History o f Joseph on the ce i l i ng of th eAntique Museum of the Louvre . In N otre Dame an altar-piece ,The Burial o f the Virgin ,
” and “ The Preaching of S . S tephen,”
i n S. fi tie nne du Mont, are by this master.A b el, Jo seph , died at Vienna (1 768 Pupil of F iigcr. He
was employed by th e Cz arto ry sky family . He passed s ix years i nRome
,and gained a reputation by his pictures illustrat ive of ancien t
history and Greek poetry . At Vienna he painted large hi storicalsubjects and decorated the theatre .
A b i ldgaa rd, N iko la i , born at Copenhagen (1 744 He hasbee n called th e best pain ter of Denmark . His principal pic tureswere subj ect s taken from the anc ient poets . When the palace ofChri stianbo rg was burned in 1 794 , some of hi s best work s were destroyed . F i i ssli relates that thi s so affected his m ind that he paintedbut l ittl e afterward s .A b sh o v e n , or A psh o v e n (1 648 Kugler call s him M i
chael ; he is al so cal led Theodore van Abshoven , and F . van Apsh o ve n . He was a. favori te scholar and successful imita tor of DavidTen iers th e younger. His pictures
,li ke those o f hi s master , repre
se nt vi ll age fe s tival s , scenes from pe asan t l ife, etc . They are froquently seen in F landers, where they are placed i n the bes t colleetion s . Dealers in picture s have been in th e habit o f tak ing hi sname from hi s work s and substituting that o f Teniers .
ACEVEDO— ADRIANO . 3
A c e v edo , Cri s to b a l, born at Murcia . Pupil o f Bartolomé Garducho at Madrid i n 1 585 . He pai nted at Murc ia fo r the chape l o f thecol lege Of S. Fu lge nc i o a picture of that sai nt adoring the Virg i n ,a nd some other work s for convents
,which prove him to have been a
good arti st .A che n or A ch , Han s Van
, bo rn at Cologne1552 ; died at Prague 1 6 1 5. A pupil o f Jerrigh, afte rwards an imitator of Bartholomew
Spranger . He passed some time in Italy , and after h i s return wasemployed by the courts of Cologne and Prague . Specimens of hiseccl esiastical pictures are to be seen in th e ch . of Our Lady
,and
in the Jesuit ch. at Munich,where he painted the Re surrection
Of Chri st, and the F indi ng of the True Cross by S . Helena .
” Threeo f his pictures are i n the Vienna Gal l Bathsheba Bathing
,
after the style of Tintoretto ; Bacchus with Venus ; and Jupiterand Antiope .
”
A ch tsch e lli n g , L u c a s , born at Brussel s (about 1 5 70 Pupi lOf L ouis de Va tlde r. Pain ted landscape s , which are hi ghly esteemedin the Lo w Countri es . Three large works of hi s are i n the col legiatech. of S . Gudula at Bru ssels.A c o sta , Ca y e tan o , born i n Portugal (1 7 10—1 It i s not known
under what master he stud ied , i f at all, but he settled in Sevil le ,call ing himself a sculptor. He made a high altar fo r the col legiate e h . of Sa n Salvador, i n which b e di sregarded al l architecturalrule s . Here, as i n other plac es , a more beauti fu l structure was removed to make w ay fo r hi s. The bare footed friars of Mercy employed him to carve three figures to replace those o f Mo n ta r
'
Ie s ; andCean B ermudez asserts that even the ine stimable work s of AlonsoCano were put aside to be r epla ced by the deformitie s o f Acosta . Heleft a son and nephew, al so wood-carvers , and no better than himself.
A dda , Co n te F ra n c e sc o d'
, born at M i lan , died 1 550. An amato u r pai nter of small pictures on panel s and slate , for private cabinets .He imitated L eonardo da Vinci . An altar-piece i n the ch . Of S .
Maria delle Graz ie at M ilan , i s attributed to him .
A do lfi , Gi a c o m o , born at Bergam o (1 682 In the ch .
of the monastery Del Paradiso, at Bergamo, i s h is picture of th e
Crowning of the Virgin ,” which i s considered one Of‘ his best ; tha t.
of the “ Adoration of the Magi i s i n the ch. of S. Alessandro dellaCroce.A do lfi , Ci ro , born at Bergamo (1 683 Brother of Giacomo.
Distinguished himsel f in fresco painting i n the edi fices o f Bergamo.The “ Four Evangel i sts ” i n the ch. of S . Alessandro della Croce ,and th e “ Deposition from the Cross i n S . Maria delle Graz ie, ar e
hi s principal work s . The Decollation of S . John , by this master,in the church at Colognola i s a'so admired.
A dri an o . A barefooted Carmel i te of Cordova. Pupil o f Paul
4 ADR IANO AETION .
de Cespedes . Hi s convent had for a long time a Magdelene byAdriano
,whi ch was considered a Ti tian . He was in the habit of
destroying his work s because they seemed to h im so i nferior . Buthis brethren have preserved a few by i nterceding i n the names ofsoul s in purgatory , a fraud easily forgi ven by the lover o f art. Heleft a great name ; great in art, and sti ll greater in piety .
”
A dri a nsse n , Alexan de r, born at Antwerp (1 625 An excelle nt painter of sti l l-l i fe . He painted fish remarkably wel l . Berli nMus.
, No s. 922, 952, and 240.
A e lst , B v e rh ard Van . Se e Aalst .A elst , W i lh e lm Va n . Se e Aalst .A erts , R i c hard, born at IVyck 1482 ; died at Antwerp 1 5 7 7.
So n of a poor fi sherman . t e n 3 boy hi s leg was so badly burned ,as to necessitate amputation . During his confinemen t he manifestedsuch a tale nt for sketch ing
,that he was placed with an art is t to
study,— John M oe sta e rt, the elder , of Ha e rlem . He became one of
the ablest arti sts o f hi s t ime . Hi s first work s after leaving school ,were two scenes from the life o f Joseph , painted on the foldingpanels o f an altar-piece in the great ch . at Hae rlem . He removedto Antwerp, and was admitted to the Academy there i n 1 520.
A e rtsz e n , Pi e t e r, called Lange Peer,born at Amsterdam .
lVri te rs differ as to the year Of hi s birth , 1 507—1 7, and 1 9 , are al l
given . Died at Amsterdam in 1 5 73 . He was a pupi l of AllardClae sse n . t e n quite young he painted gen re pictu res, which werespirited and wel l colored . He then appli ed h imself to Scripturalsubj ect s . He painted num erous large al tar-pieces in Amsterdam,
Del ft, Louvain , etc . These were destroyed by the Iconoc lasts i n1 566 . One of his most celebrated works was an al tar-piece for thech . of Our Lady at Amsterdam . I t was a triptych
, th e centrecompartment represented the Death of the Virgi n Mary, with th eNativi ty and the Adoration of th e Magi upon the foldi ng panel s .Fo r th i s he i s said to have rece ived two thousand crown s . MichaelCo x ic of Mechl in , a great artist, was asked to pain t an altar-piecefo r a new church in Amsterdam
,but when he saw the work s of
Ae rtsz e n he refused, saying that they h ad no need of him while theyhad such an artist i n their own c i tv. He sometimes painted marketsc enes , one of whi ch is in the Vienna Gall ,
Antwerp Mus . , No . 1 59 ;
Berl in Mus . , N o . 726 . His three son s,Peter
,Arnold
,and Theodore
,
w ere al l painters .A éti o n . A Greek painter som e timessaid to have l ived i n the time
of Alexander but Lucian , In his accoun t Of him , dist inc tly says thathe did not l ive i n ancient times, and i t i s generally believed that hewas of the t im e of Hadr i an and the Anton ines . His great workdescribed b y Lucian , repre se n ted
'
th e N upti al s Of Alexander andRo xane , with Erotes busy about them , and the armor o f the king.
This picture exc ited so much admi rat ion when exhibited at the
6 AGASIAS— AGATHARCUS .
the battle s with the Gaul s before Delphi . Lubke says : No t t i l lnow have we understood the Apollo Belvedere . Ardently ex~c i ted , and fi lled with divine anger , with which i s mingled a touch oftriumphant scorn , the i ntellec tual head i s turned sidewards (se efigure) ,
“ while the figure with elast ic step i s hasten ing forwards .The eye seems to shoot forth l ightning ; there i s an expression o f
'
co n
tempt in the corners of the mouth and the distended nostrils seemto breathe forth divine anger.”
APOLLO BELVEDERE.Vatican .
A ga th arcu s , an Athenian pai nter . Vitruvi us says he was the inve n to r of scene-painting , and painted a scene for a tragedy whichE schylus exhibited . This contradicts Aristotle , who says thatSophocles intro duced thi s art . Dr. Smith think s that probablysce ne-painti ng was introduced towards th e c lose of the career ofE schy lu s, but was not in general use unt il the t ime of Sophocles .There was another Gre ek pain ter named Aga th arcu s. o f the time o fAlcibiade s, who h ad no great m eri t , and prided himself chiefly onthe rapidity with which he worked .
AGELADAS AGESANDER . 7
A ge lada s , native of Argos . Disti nguished a s a sc ulptor,and
th e i nstructor of the three great masters,Phidias
,Myron
,and Poly
cletus . The contradictory s tatements of the writers who mention thisname , have given rise to much discussion as to when he lived , al l ofwhich has re sul ted i n the opinion that there were two sculptors ofthi s name . The instructor of Phidias , the Argive , was most eminent ,and was born about 540 B . C. The other a nati ve of S icyon
,who
flourished in th e 8 7th 01. as mentioned by Pliny, or about 432 B . C.
Vatican .
A ge san de r. native of the i sland of Rhodes . Pliny i s the onlywriter who speak s of him , and but one work of his is k nown , theL aocoo
'
n o f the Vatican . In this he was assi sted by Polydorus andA th e nodo ru s. Anoth er statue
,found at An ti um ,
shows that Ath e no ~
dorus was the son of Age sande r . I t i s thought not unlikely thatPolydorus was also hi s son , and that the figure of Laocoo
'
n was execu ted
'
by the father, and the remaining figures by the sons . Thi sgroup was found near the baths of Titus , on the Esquiline Hill , i n1 506 . It i s con sidered a most perfec t work by all competent j udges,and is very wonderful from the fact, that whi le i t portrays the mostinten se suffering i n every feature , l imb , and musc le , i t s til l has thesubl ime repose of true Grecian art . Laocoo
'
n was a. priest of Apollo ,
8 AGESAND R R AGNOLO.
and had committed some crime agains t that god, who sent two immense serpents from the island Tenedos to ki ll h im j ust as he wasoffering a sacrifice , assisted by hi s two sons . Laoco
'
o'
n had opposedthe reception in to Troy of the horse left by the Greeks ; and hi sdeath was beli eved by th e Trojans to be a divi ne punishment forthis ; therefore a breach was made i n the wall s and the horse admitted ; thus the death o f the priest decided the rui n of Troy .
A gi , A ndre a Ca rde lle . The Berli n Museum has a marriage ofS . Catheri ne wh ich i s attributed to this painter. The expression i sgood . A small Madonna by him which was i n the Beckford Coll .
,
was remarkable for its fused execution .
A gla Oph o n . Greek arti st , native of the i sland of Thasos . T hefather and teacher of Polygnotus . He had another so n , Ari sto pho n .
He probably lived about 01. 70 (B . C. Qui ntil ian praisedhis coloring. Pliny speak s of a younger Aglao ph o n ,
contempe rane o u s with Alc ibiades . He was probably the so n of Ar i sto ph o n ,
asthe Greek s bore the name of the grandfather rather than the father .In one picture thi s arti s t repre sented the presiding geni uses of theOlympic and Pythian games , Olym pias and Pyth ia , as crowningAlc ibiades , and in another , the genius of the N emean games heldAlc ibiades in her lap . Alc ibiade s could not have won any vic torie swhich meri te d these honors before 01. 9 1 (B . c . I t i s saidthat thi s Agla oph o n i s the firs t a rti s t who represen ted Victory withwings .A gli o , A ndre a -S alv a t o re di A n t o ni o di A rz o , born at Lugano
(1 736 Sai d to have d i scovered the method of fixing colorson marble .
A gn o lo , Siene se sculptor . Se e Agostino and Agnolo .
A gn o lo . B ac c io d'
(14 60 In his youth he was an exce lle nt arti st in inlaid work s . He executed some fine thi ngs i n woodfor the churche s of S . Maria Novella , and the Nunz iata at Florence . These last were removed when the Nunz iata was re -adorned .
After studying z ealously at Rome, he returned to Florence , where hebe came a great archi tec t . He erec ted several arches of triumphwhen Pe pe Le o v isited that c ity . His work-shop , which he seldomleft
,became the rendez vous of artist s and the y oung men of Florence ,
as wel l a s s trangers there , and in i t many discussions were h eld . Atlength after he had proved his abil i ty , the most magnificent build ingswere committed to his care . He assis ted with other architect s toconstruc t the Great Hal l of the Palace , and carved with hi s own handth e frame-work for th e large picture sketched by Fra Bartolomeo .
He al so took part,
i n the erec tion of th e steps leading to th e Hal lnow called that of the Dugento , and al so th e marble doors to th e
same . On the Piaz z a di Santa Trinita b e constructed a palace forGio . Bartoli ni . This was ri diculed i n sonnets , and every way , because o f its unusual style , and fe stoons of foliage hung on it as on
AGNOLO AGORACR ITUS . 9
a church dur ing a fe stival . Thi s drove Baccio almost i nsane,but he
knew the work was good,and he had hi s revenge by carv ing this
inscription above the door, Ca rpe re prompti us quam im i ta ri . He then
built many other beauti ful palaces and for Gi o va n-Maria Benintendimade a frame-work for certai n pictures which was esteemed extrao rdinarily beauti ful . He made the model for the ch . of S . Giu
seppe at S . Onofrio , and erec te d its po rtal. This was his lastwork . He directed the work of the Campanile of Santo Sp irito ofF lorence , but he di d not fini sh i t . He also built the bell-tower ofS . M iniato-i n-\ Ionte . He was at le ngth appointed a rchitect ofS . Maria de l Fiore , and made a mode l for the gallery enc ircli ngthe cupola , but Mi chael Angelo so critic i s ed i t , that a discussion washe ld before competent j udge s , and i n the end neither plan wasadopted . Baccio then attended to the pavement of S . Maria delFiore and to th e care of many other buildings that were trusted toh im . He was eighty-two years old when he died . He was buriedi n S . Lorenz o. His three sons
, Giuliano , Fi li ppo , and Domenicowere al l arti sts .A gn o lo , G i u li an o , son of the preceding , gave much of hi s atten
tion to architecture , and by the favor of th e Duke Cosimo he succe eded to hi s father ’s office at S . Maria del Fiore
,and finished what
he had there commenced,as wel l as in many other bui ldi ngs wh ich
Bac cio had left unfinished . He made at Pescia a beautifu l tomb,
whi ch was surrounded by a chapel , for Me sser Baldassare , and al sores tored his house and furnished it . He bui l t a hou se at Mo ntugh i ,
a short di stance from F lorence , for Messer Francisco Campana , andat Col le another house for the same Campana , and a most m agn ifi
cent palace a l Tedesco for Messer Ugol ino Grivo n i , Signor of Alto
pascio . But space would not allow the enumeration of all hi s work s .He was associated also with Baccio Bandinell i i n various affair s , oneof which was the reconstruction of the great hal l i n the ducal palace ,which was a fail ure
,according to Vasari another was the choir in
S . Maria del F iore , etc .,e tc . He also made couches
,picture-frames ,
and various wood carvings Died 1 555 .
A gn o lo , D o m en ic o . He excelled Giuli ano in wood-carv ing,and
was a reputable architect . He completed the terrace for the houseof the N asi family , whi ch his father had commenced, and executedseveral good architectural works . He promised to exce l both hisfather and brother
,but died before he reached hi s prime .
A go ra cri tu s , born in the i sland of Paros . Scholar of Phidias .Brass-caster and sculptor . He was so much the favorite of Phidias
,
that the master i s even said to have put the name of thi s discipleupon some of hi s own works . Four of the work s of Ago racritu s arementioned by different authors : namely a statue of Zeus a statue ofthe Ionian Athene
,i n the temple dedicated to her at Athens a statue
i n the te mple of the great goddess at Athens,probably a Cybele ;
10 AGORACRITUS AGOSTINO.
and the Rh amnusian Nemesis . I t i s said of this la s t that i t wasorigi nally a Venus , for Ago racri tus and Alcam e ne s contended w i theach other in mak ing a statue of that goddess , and when the Athen ians gave the preference to the statue of Alcam e ne s, Ago racri tuschanged hi s to a N emesi s , and sold it to th e people of Rhamnus ,making the condition that i t should not be se t up in Athens . Al
though this s tory i s often repeated , i t i s not known to be true , andPausanias says that thi s same Nemesis was the work of Phi di as ; butbe that as i t may , there i s no doubt that Ago racri tu s was a greatscu lptor from 440 to 428 B . C. and the other works attributed to hi m
were undoubtedl y hi s own .
A go sti n o and A gn o lo , S ienese sculptors , d ie d 1 348 and 1 350.
I n 1 284 Giovanni Pisano v i sited S iena to prepare design s for theCathedral . Agostino , said to have been at thi s t im e about fifteenY ear s old , became hi s pupil . So great was hi s talent , and his appiication to study , tha t he soo n surpassed his co-disc iples . Meantimehi s young brother , Agnolo , had made some secret attempts at sculptu re , and from constant intercourse with Agost ino and other ar tis tshad a cquired a love for their art. At length Agostino prevailedupon Giovanni to employ Agnolo , together with himself, i n executi nga marble al tar for Arez z o . Agnolo so acqui tted himself , that Giovanni cont inued to employ th e two at Pi sto ja ,
Pisa , etc . They alsostudied arch itec ture
,and in 1 308 were employed by the N ine , who
ruled Siena , to make design s for a palace . \Vhen Giovanni died theywere appointed archi tects to the State, and in 1 3 1 7 directed thebui lding of the north front of th e Cathedral . After de signing th e
Porta Romana and other gates , a church , convent , etc . , they werei nvited to Orvieto by the Tolomei family , and there executed s culpture s for the ch . of S . Maria . In 1 326 Giotto v isited Orv ieto
,
and pronouncing the Sienese brothers the bes t scu lptors who h adworked there
,r ecommended them to Piero Saccone da Pie tramala
,
. s the be st persons he could employ to con struc t th e tomb of Guido ,b ishop and lord of Arez z o. Th i s work they did after the plan ofGiotto , which occupied them three years . The tomb was very beautiful , and was adorned with s ixteen relievi , representi ng the princ ipalevents in the l ife of Guido . They then executed an altar for th ee h . o f S . Franc isco at Bologna , and when the Pope promised toremove to that c i ty , these sculptors were employed to make des ign sfor the castle fortre ss to be buil t for his recept ion . Wh ile theywere at Bo logn a the Po burst i ts banks and caused great des tructionof l ife and property . These brothers found means to reconduct i t toits channel , and for thi s were honorably re warded by the lords ofMantua , and th e house of Este . In 1 338 they returned to S iena ,where a new ‘church was erec ted after their design s , and they wereemployed to con struc t a fountain on th e principal piaz z a of the c ity.
Th is was successfully done , and th e water le t on June 1 , 1 343 , greatly
AGOSTINO AGUIRRE. l l
to the joy of the Sienese , and the glory of the arti sts. After severalother work s i n Siena
,Agnolo went to Assisi to bui ld a tomb , while
Agostino remained at S iena in the serv ice of the state , where hesoon after died . It i s not known where Agnolo died .
A gre sti , L i v i o , cal led al so Liv io da Forli , from the place of hi sbirth , the date of which i s not known , died about 1 585 . He wasa fellow-student with L uca da Ravenna under Pierino del Vaga atRome . Vasari call s him the r ival of Luca . There are work s ofAgresti i n many churches and public bui ldings at Ro m e . I n S .
Caterina de Funari he painted an Annunc iation and SS . Peterand Paul . In a chapel of S . Spirito in Sassia , th e Assumption ofthe Virgin . Pope Gregory XIII. employed him to assi st i n the greatworks at th e Vatican , where he painted a fresco i n the grand staircase , representing the submission o f Phil ip of Arragon to PopeEugenius III. But his bes t works are i n Forli . In a chape l of theCathedral he painted the Last Supper ,
” and in the vaul t some finefigure s of th e prophets . He also painted seven pic tures on cloth ofsilver
, to be u sed as hangings for the Card . of Augusta,who sent
them as a pre sent to the King of Spain , i n which country they werethought very beautiful . He al so painted a picture on cloth of silverfor the ch . of the Theatines in Forl i .Agri c o la , Ch ri s to phe r L udw ig, born at Regensburg (1 66 7
Portrait and landscape painter . He studied principally from naturewhen travelli ng, and his pic ture s resemble those of Pouss in . Helived some time at Naples , and some of the picture s he painted therewere carr ied to England . In the Dre sden Gall . there are two work sof hi s
,N o s. 1 784 and 1 78 5 . The Vienna Gal l . has one of his finest
landscapes,repre senting the ruins of a monument and the pillars of
a temple , seen between the trees .A gu a , B e rn ardin o de l, a Venetianpainter . He executed frescoes
in the clois ter of the court of the Evangel ists at the Escurial . Thesehe did under the direction of Tibaldi , and after the sketches of thatmaster
,who attributed the defects in them to the haste with which
Philip ll. would have them done , rather than to any fault of Agua .
A gii e ro , B e n i to M an u e l de , born at M adrid (1 626 pupilof Martinez . When Philip IV. v isited the studio of that master hewas attracted by Agu e ro
’
s wit a s much a s by his arti stic powers .IIe painted a S . Ildefonso ” for the nuns of S . Isabel , which wasli ke Titian in color . His usual subj ects and those i n which b e excelled were battle-scene s and views of ci tie s.A gu i a r, To m as de , a gentleman of Madrid, — flo uri sh ed about
1 660. He acqu ired considerable reputation for smal l pictures in oil .He painted the portrait of Antonio de Soli s , who in return wrote anextravagant sonnet i n praise of Ag uiar.A gu irre , Fran c i sc o de , a pupi l of Caxe s. He was a portrait
painter and re storer of picture s , to which last profession he espe
12 AGUIRRE AKERS .
c ially devoted himself. He commenced at Toledo in 1 646 , and wasemployed to res tore the pic ture s in the Cathedral . Like manyothers who have done l ike work , he did not adhere to the original ,but introduced his own ideas , thus des troy ing the true value of thepai ntings .A in am o lo , V ince n z o , born at Palermo , died 1 540. Th e most
important Sici l ia n artis t of the s ixteenth century . I t is bel ievedthat he went to N aple s , where he s tudied the style of Perugino . Hewent at length to Rome , and became famous as an imitator of Raphael .His work s are mostly in Palermo, and the best one repre sents th e“ Virgi n and Child between four saint s . It i s i n the ch . of S .
Pietro Martire . At S. Domenico there i s a Descent from theCross , which is , i n some of its figu re s , almost a copy of Raphael
’sSpasimo di S ic ilia . In several other chu rche s of Pa lermo , and i nits gallery , there are work s of thi s art i st .A ikm an ,
W i lli am , born i n Aberdeen shi re (1 682 Hestudied law , but in 1 707 left Scotland , and travelled exte ns ively onthe Continent , and in the East . He next spent some years in Ro me ,and studied painting under S ir John Medina , and then e s tabl ishedhimself as a portrait-painter in Edinburgh . He had no success , a ndi n 1 723 removed to London
,where he became the friend of S ir God
frey Kneller , whom he im i tated . Hi s career was short . There i sa head of Gay by Aikman , wh ich i s good . He had good literaryparts , and was the friend of Allan Ramsay , and of Thomson , whowrote his elegy . He was taken to Scotland for burial .Ake n , Jo se ph v an , died i n London 1 749 . A Flemish arti st , he
passed most of his life in England,and painted on velvet and satin
with great succes s . He was often employed b y other arti sts to paintfigures i n landscapes , i n which he was very ski lful .A ke rb o o m . Dutch painter of i nte riors , who flouri shed about th e
middle of the seventeenth century . His pictures are very highlyfini shed .
Ake rs, B enj am i n , called al so Paul , born at Saccarappa , Mai ne ,1825 , di ed at Phi ladelphi a , 1 86 1 . His father owned a saw-mill , i nwhich as a boy he spen t much time . His most striking ch aracte ris
tic s were intense attachments to persons and places , and extremelove of adventure and travel . When at work in the saw-mill , bymeans of a turning lathe , he made beauti ful toys , and spec imens ofornamental wood-work , from origi nal design s . He invented a shingle machine , which is now in use . He went to Portland and tried tobe a printer. He also at tempted to pa int , but i t was not unti l hisattention was attracted to a plaster cast that hi s true vocat ion wasrevealed to him . He went i n 184 9 to Boston and was i ns truc ted inplaste r-c as ting by Joseph Carew . He returned home, and after a.few atte mpts at moulding , in a good degree succe ssful , he opened astudio i n Portland with Tilton , the land scape-pai n ter. During the
l -‘l AL B AN I .
fre scoe s of S . Giacomo degl i Spagnuol i , he fel l sick, and by hisrecommendation Alban i was se lected to finish them . He also pai ntedthe mythological fre scoe s i n the Ve ro spi (now To rlo n ia) , palace .
In the Borghese Gall . , and at Turi n , are his famous pictures of the“ Four Elements . He al so pai nted for the Duke of Mantua thestorie s of Diana and Actze o n ,
” ant Venus and Cupid . Return ingto Ro me , he painted th e large pic tures i n the Tribune of the Map
donna dell a Pace and the Martyrdom of S . Sebastian in thech urch of the same name . His be st re li gious works at Bologna are theBaptism of Chris t in S . Giorgio, the Annunciation i n S . Barto
lom e o , and th e Resurrection in S . Maria de Galeria . But hi s be stpicture s are those of mythologi cal and fanc iful subj ects
,i n which both
figure s and landscapes were well done . Beauty was his charac teri st icrather than power. Lanz i cal ls him the Anacreon of painting
,and
says , Like that poet with his short o des , so Albani from his smallpicture s acqu ired great reputation , and as the one sings of Venusand the Love s , and maids and boys , so doe s the arti st hold up to theeye the same delicate and graceful subj ects .” He had every advan
tage in his own home for the perfect ion of such pic tures . His villawas well si tuate d , and afforded him lovely v iews of nature . His wifewas beautiful , and bo re him twelve children , so lovely that not onlyhe
,but the sculptors Algardi and Fi amm ingo are sa id to have u se d
them as models . The work s of Albani are in almost every large ga l
CUPTDS . B Y ALBANI .
lery , for he e ithe r painte d duplicates , or caused his scholars to pai ntthose to whi ch he pu t th e fini shing touche s. The Toilet of Venus
,
”
AL B AN I. 1 0
at the Lo uvre , and the Landing of Venus at Cytherea,i n the
Chigi Palace at Rome,are among hi s finest work s . One of hi s oft
repeate d and pleasi ng subjects i s th e Infant Chri st asleep onthe cross .
ENGRAVINGS A FTER THE WORKS OF ALBAN I .Engrave r , AGUI LA , Franci sco Faraone . The Last Supper .Engra ver , AUD R AN , John . Infant Saviour regarding the Cross
presented by Angel s .Engra ver . AVE L IN E , Peter . The IVrath of N eptune . Inscribed
Qu os ego .
Engra ver , AVR I L, Jean Jacque s . Diana and Actaeon ; The Bathers surprised .
Engra ve r , BARTO L I , Pietro Santi . The Birth of the Virgin .
Engra ver, B AUDET , St ephen . The Virgin teaching the InfantJesus to read ; Th e Woman of Samaria ; Four plates of the Lovesof Venus and Adonis ; Four c ircular prints of the Four Elements .Engra ver , B ON AVERA , Domenico Maria. The Baptism of our
Sav iour by S. John .
Engraver , CANA LE , Giu seppe . Adam and Eve driven from Paradi se .
Engraver , CHATEAU or CHA STEAU ,Wi l l iam . The Bapti sm of
Chris t by S . John .
Engra ve r , CRE PY or C RESPY , John a nd Loui s . The Nativity.
Engra ve r, DA U L Lfi , John . A Charity with Three Children .
Engra ve r , DUPLOS , Claude . The Annunciation .
Engra ve r , FAR IAT or FA RJAT ,Benoi t. The Holy Family with S .
John .
Engra ver , FR E Y ,James . A Charity with Three Children ; The
Rape of Europa .
Engra ve r , FR E Z ZA , Giovann i Girolamo . The Gal lery of th e
Ve ro spi Palace . Seventeen plates .Engra ve r , HAINZELMA N N
,El i as . Chri st appearing to Magda
le nc .
Engra ve r , LANDR Y , Peter. Christ and theWoman of Samaria.
Engra ve r , LASN E , M ichae l . The Virgin i n the Clouds , with acre scent ; oval .Engra ver , MOLA ,
Pietro Franc i sco . Holy Family wi th Angel spresenting Flowers to the Infant Je sus .Engra ve r , MOLA , John Baptist . Cupid i n a Car , drawn by
Love s .Engraver, P ICART , Stephen . Th e Ec ce Home , with Three
Angel s .Engra ver , VALET or VA LLET
, William . The Holy Fami ly ,called La Laveuse .
Engra ver , VOU IL L EMON T , Sebastian . Marri age of S. Catherine .
IO ALB AN I AL B ERTINELL I.
A lb an i or A lb an o , G i o . B apti st e , died 1 668 . Brothe r of Franc isco
,whom he imitated so closely that h is’picture s were sometimes
mistaken for his .A lb e re lh
‘
, G i a c o m o , born at Venice (1 600 Pupil of JaCOpo Palma , the younger , with whom he painted thirty—four years .Several picture s by Alberelli are in his native c ity , the most esteemedbeing the Bapti sm of Christ i n the ch . of the Ognissanti .A lb e ri c i , En ri c o , born at Vi lm ino re i n Bergamo (1 7 1 4
Pupil o t'
Ferdinando Cairo of Brescia . He had a good reputat ion,
and painted his pri ncipal picture s for the ch . Dei Mn'
aco h , atBresc ia.
A lb e rti n e lh’
, M a ri o tt o , born at Florence (14 74 Hisfather placed him with a goldsmith , but he determined to be apainter
,and entered th e school of Cosimo Rossel li , where he was the
intimate frie nd of Bacc io della Porta , cal led Fra Bartolommeo .
Mariotto imitated Baccio so closely as to render i t difficul t to distinguish between the two , e specially i n some works which they did incompany , and he was called a second Bartolommeo. After they leftRossell i they dwel t together. Mariotto became the protégé of thewife of Pietro dei Medici , 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 in sane with grief, and could interest hi mself i nnothing. Baccio had left unfinished the Last Judgmen t for theCemete ry of S. Maria Nuova , and as he had received part payment for i t he desired Mariotto to complete i t . He did this wi thgreat care . He could not equal Baccio , because not equally giftedb y nature ; but the pictures of both had the same l ife in action
,
e legance i n proportion, and sharpness and careful minuteness infinish . Hi s earl ie r work s were lost . One of the olde st known isN o . 25 Louvre , Christ appearing to the Magdalene .
” In 1 503 heexecuted The Salutation ,
” now in the U lli z i , and generally co nsid
ered h i s master-piece . He next painted th e fine “ N ativity, N o . 365
Pitti Gall . Soon after this Fra B arto lo nnn e o resumed hi s brushand became the head of the work-shop of S . Marco .
Mariottopainted The Crucifixion , N o . 24 Louvre
,and received many pupils
.
He spent much time attempting to imp rove oil mediums,be ing espe
c ially dissati sfied with th e white , but hi s experiments amounted tol i ttle . He could not endure critici sm
,and became so disgusted with
it that he forsook painting and kept a tavern . He declared himselfthen where there was no embarrassment with perspect ive
,fore
shorten ings , or muscle s , and no critic ism or censure to dread ; andthat his former calling “ was to imitate flesh and blood
,whereas
that he had adopted made both flesh and blood . But he soon hatedthis more than painting , which he resumed . Late in l i fe he went toRome , where he became ill . He was taken to F lorence on a li tter
,
AL B ERTINELLI AL B ERTI . I7
and died . The follow ing are some of hi s work s not yet mentionedA Trinity
,
"N o . 73 F lorence Acad. of Art s ; an “ Annunciation at
Muni ch , Pi n ac o th ek, Saal . N o . 545 ;“ Marriage of S. Catherine
,
”
on wood,Hermitage
, St. Petersburg , N o . 21 ; an “ Assumption ”
in Berli n Mu s.,pain ted by Mariotto and Baccio ; N ational Gall .,
London, N o . 645,and many others i n the Prince Go rtsch akofi
'
Gall . ,St. Petersburg ; the Ex-Po urtales Gall . , Pari s , etc .
A lb e rt i , L e o n B a tti sta , born at Venice (1404 The nameof Alberti i s disti ngu ished in all branches of Art .
'
Leon was an
archi tect and of a noble family of F lorence ; at th e t ime of h isbirth his parents were i n Venice, i n order to e scape persecution at.home . He was a man of superior li terary talent s and cultivation , afine mathematician and geometric ian . He wrote ten book s uponarchi tecture in Latin , three book s on painting, and other smalle rwork s . Under N icholas V. and in connection with Bernardo Rossellino
,he superintended num erous public work s at Rome . At
B im i ni , for Sigismondo Malatesta, he made a model for th e ch . ofS . Franci sco. He was next employed by Gio . di Paolo Ru e e lla i ,who had determined to adorn the pri ncipal facade of S . Maria N ovella a t his own cost . This work was completed in 1 4 7 7
,and was much
admired . Fo r the R uce lla i family he al so designed palace s , and achapel in th e ch . of S Pancraz io . For Ludovico Gonz aga , Mar
qui s of Mantua , he mo del led the chapel whi ch he buil t i n the N u n
z iata at F lorence . He went af terwards to Mantua in th e serviceof the same nobleman , and made de sign s for the ch . of S . An
drea, and other work s . Leon painted a few pic tures, which havebeen de stroyed ; they ha d no great merit, but served to show that hecould express himself with bru sh or penc il . All writers who ment ion him agree that as a refined , elegant, and scholarly gentleman hehad few equal s .A lb e rti , M i ch e le , born at Borgo S . Sepolcro , 1 527 . Pupil of
Dan i elle Ricc iare l li , called da Volterra. His princ ipal work was apicture of the “ Murder of the Innocent s in th e church of Trini tadi-Monti at Rome .
A lb e rti , Ch em b i no , born at Borgo S. Se polcro
(1 552 So n of the preceding, by whomhe was instruc ted in painting . His principal
picture s were i n the church of S . Maria in Via at Rome . Heis chiefly disti nguished as an engraver. It i s not known with whomhe studied thi s art
,but his plates are remarkable for his time . They
seem to have been execute d entirely wi th the graver , the point notbe ing u sed. Hi s figures were better than hi s draperies . His printshave preserved some of the fri ez e s of Polidoro da Caravaggio, whichwere upon the facades of publ ic edifices, and have been destroyed .
His plate s number about 1 80, of which 75 are from his own designs .The fol lowing are some of th e best designed by himself
2
1 8 AL B ERTI ALB INI .
Portrai t of Pope Gregory Xlll ; oval , with ornaments.
Portrait of Pope Urban VIL ; oval , with ornaments.Portrait of Henry IV.
, of France ; oval , 1595 .
Portrai t of Pietro Angelo Bargee .
Judith ,with the head of Holofernes .
The Nativi ty ; inscribed , De us omn ipo te ns , e tc .
The Fli ght i nto Egypt, 1 5 74 .
Another Holy Family ; S . Joseph seated , with a Book .
The Body of Christ suppo rted in the Clouds by an Angel, in
scribed, zll agnum p ie /alts opus , e tc .
The Virgi n Mary and Infan t i n the C louds ; in scribed , R egina
t'wll
'
.
Mary Magdalene Pen itent ,S . Catheri ne rece iv ing the St igmata
,1 5 74 .
S . Christian drawn out of th e Se a .
S . Franci s receiv ing the St igmata, 1 599 .
S . Charle s of Borromeo , knee ling before the Virgi n and Infant ,1 6 12.
S ix of Chi ldren , for ce ili ngs ; dedicated to Card . Viscont i,1 607.
A lb e rti , G i o v ann i , born at Borgo S . Sepolcro (1558B rother of Cherub ino , an l i nstruc ted by their father . li e excel ledin landscapes and perspec tive , and the fiwu re s in hi s pictures wereoften done by Cherubino . Pope Gregory XIII. employed him in theVatican , and Clemen t VIII. i n the Lateran . His portra i t i s i nS . Luke ’s Aca d.A lb e rt i . Du ran te , born at Borgo S . Sepolcro 1 538 , died at Rome
16 13. Went to Ro m e when very young . Gregory XIII . was thenPepe . He soon dist ingui shed himself , and his picture s are in severalplace s i n Rome . He was buried with great disti nct ion in the Ch icsadel Popolo
,and hi s portrai t i s i n th e Acad . of S . Luk e . In th e
e h . of S. Maria de Monti he painted The Annu nciation , and inS . Girolamo della Cari ta , an entire chapel in fresco , and th e altarpiece in oil
,which las t represented th e Virgin and infan t Saviour
with SS . Bartolomeo and Alessandro .
A lb e rt i . There were other arti st s of th i s name , whose work sare not well defined . Antonio of Ferrara l ived in 14 50, and had a
son of the same name . Pietro Francisco (15 84- 1 638) was a SOD ofDurante , and was a painter and engraver .A lb e rt o n i , Pa o lo ,
died about 1 695 . This a rt i st was a followerof Carlo Maratt i , and painted in his style . Some of his pictures are inth e churches of S . Carlo , S . Maria , and other churche s in Rome .
A lb e rtu s , H . C.,born i n Saxon y ; died 1 680. His portrai t of
John Se cke ndo rfl’
,rector and profe ssor of Zwi ckau, i s a fine work of
art.A lb i n i , Ale ssandro . Zani says he was born in 1586 and died i n
1646 . Malvas ia ca lls him a Bolognese , and a disc iple of the school
ALB IN I ALDEGREVER . 1 9
of the Caracci . He made designs for the funeral ceremon ies ofAgostino Caracc i , which greatly added to hi s reputation . At B ologna there i s a pic ture by this master in the ch . of S. Michele i nBosco
,representing the Sepulture of SS . Valerian and Tibu rti u s,
”
and another in S. Pietro Martire , repre se nting SS . Pe ter , Catheri ne
,and Ceci li a .
A lc am e n e s, born at Athens , scholar of Phi dias , perhaps ofCri tia s also . Brass-caster
,sculptor, to re u te s, and cle ru ch o s i n Lem
nos . He flourished from 444 to 400 B . C. His chief production swere images of th e gods . Among these were two statues of Athene
,
one of whi ch , after the expul sion of the thi rty tyrants by Thra sybulus, was placed i n the temple of Hercule s at Thebes , together witha colos sal statue of Hercule s by th e same sculptor (403 B . athree-formed Hecate (the fir st of its k i nd) , and a Procne i n theAcropoli s at Athens a statue of Mars in the temple of that god atAthens ; th e Battle of the Centaurs and Lapithae upon th e westernpedi ment of the temple at Olympia ; an JEse u lapiu s at Mantineia ; abronz e statue of the v ictor i n the Pentathlon ; and a statue ofHephaestus whi ch represented his lameness without making i t adeformity . But the most renowned of al l h i s works was his Venus
,
”
called from where i t was set up , ‘Hc’
v m'nro n The breast s
,
hands , and cheeks were particularly admired ; and i t was said thatPhidias put the finishing touche s to thi s work . Some suppose thatthis was the statue whi ch took the priz e from that of Ago racri tu s.There i s al so a story that Alcam e ne s and Phi dias contended in making a statue of Athene
,and that before they were set up that of the
pupil was most admired for i ts beautiful finish , but when they werein place the strong l ines of that of the maste r were so effec tive thatthe Athen ians gave him the preference .
A lde gre v e r, . H e i n ri ch , born at Soest in Westphal ia ,(1502 As a painter he i s less important than as anengraver. His style so closely resemble s that of Albert
Durer that he has be en called Albert of Westphal ia . His work s showuntiring labor , but his figure s are often deformed and even hideous .In the Berl in Gall.
, a picture by him of the “ Last Judgment ” i svery peculi ar, especially i n the upper part where Christ , the Virgin ,and John the Bapti st, are repre sented ; the trumpet-angel s and thedemons among the damned are worthy of not ice
,and in fact the
whole picture i s very striking. In the National Gall . , London , thereis a Crucifixion bv Aldegre ve r. In the Berl in Mu s. there is a portrait o f an old man , and in the Lichten stein Gal l . at Vienna one ofa youth , whi ch is clever. Hi s print s are numerous . Among the portraits , those of Luther , M elanchthon , John of Leyden , and BernardKnipperdoll ing , deserve notice . Of historical and religious subjectsthere are no le ss than one hundred and th irty-nine well-knownplates . In one of Ti tus Manl ius
,ordering the execution of his son ,
20 ALDEGREVB R ALDROVANDINI.
th e i ns trument of death resembles th e French gui llotine thi s is dat ed1 533. Thi rteen plate s of the Labo rs of Hercule s ar e fin e and rare
,
and the e tching of Orpheus and Eu rydice,” the only one of th i s
master , i s very rare .
A ldi gh i e ro . o x Alti ch i e ro da Ze v i o , a native of Zevio , nearVerona , w as a pain te r of th e early Paduan School . He decorate dthe cha pe l of S. Fe lice i n S . Antonio at Padua with wal l pai ntings .
about 1 3 70. L iibke says he displayed in hi s work s a li vely co ncep~
tion and richly finished coloring. The pic ture s i n this chape l represent scenes from the legend of S . Jam e s Major. That of the landi ng of the body of the saint on the coas t of Spain , i s espec ially fine .
He w as assoc iated with D’Ava nz o Veronese , who was one of th e
worthies t of the followers of Giotto , and the ir pic tures were equalto any of th e school of that master . Aldighi ero was so much assoc ia tedwith o ther ar ti sts that there have ari sen never-ending dispute sas to what he did or did not do , but the record s show that he.pai nted the chape l of S . Felice . In the work of Crowe and Cavalcaselle, i t i s sai d to be no exaggerat ion to call this ch ape l the noblestmonument of th e pic to rial art of the four teenth century
,and that
none but th e greate s t Flo re ntine s had do ne better.“ Aldo b randi n i M a rri a ge .
" This i s one of the most valuablereli c s of anc ient pai nti ng . I t was discovered on the Esqui l ine Hi ll .near the arch of Galli enus , i n the early part of the seventee nth century
,during the time of Clement VIII. I t was t aken from the wall,
and became the. posse ssion of Cardi nal Aldo bra ndi ni , who after having i t restored by Do meni co del Frate , placed i t in his v i lla on theQuirinal ; hence its name . It i s a composi tion of te n figures , andrepre sents th ree scenes arranged l ike an ordinary bas-relief. In thecentre the bride i s seated on a bed , while another female spe ak s toher ; the bridegroom i s crowned wi th ivy, and seated on a stoo l atth e end of th e bed with h is fac e t urn ed to the bride . On one s ideth e atte ndants make ready a bath ; on the other music ians sing the“ Epithalamium or wedding song . In 1 8 18 Pius VII . paidsc udi, or abo ut gu ineas for thi s fresco, and plac ed i t in the collection of the Vati can .
A ldro v andi n i ,Mau ro ,bo rn at Bologna (1649 An emi nent
arch itect . As a painter he belonged to the Schoo l of Cignan i , withwhom he painted in th e Pala z zo Publico at Forl i .Aldro v an din i , To mm a so . born at Bologna (1653 N ephew
of Mauro , by whom he was instruc ted . He excel led i n pers pec tiveand architec tural views , and worked much w ith Carlo Cignani and
Antonio France schin i , who executed figure s . In conjunction wi ththe lat ter, Tommaso painted the Counci l Chamber of Genoa ,
” his
gre ate st work .
A ldro v andin i , Po m pe o A go stin o (1 6 7 7 Cousin andpupil of Tommaso . One of the most celebrated Itali an pai nters of
22 ALFAN I ALFARO .
four pictu re s representing scenes in the l ife of S . Anthony ; muchinj ured: In the Cath . of Citta del la Pieve i s an al tar-piece bvDomenico : wood , oil , figure s l ife siz e , dat ed 1 521 . In the galleryat Perugia a Virgi n and Chi ld with sai nts and angel s wood , o i l.figure s l ife siz e . In 1527 Rosso was at Per ugia with Alfani , and fronthat time his style seems changed , which m a y be seen i n the pic turesat S . Giul iana at Perugia . In 1 553 the father and son togetherpain ted a Cruc ifix ion for S . Francesco at Perugia , and as theypainted much in conj unct ion
,there are vari ous pic tu re s whi ch cannot
be assigned to e ither one . One of these i s a graceful “ Holy Familyin the tribune of the Uffi z i . In 1 525 he painted fre scoes at th e
v illa of Prepo near Perugia . I n 1 527 he was commissioned to paintan al tar-piece for Caste l Rigone . In 1 535 he painted the arm s ofPaul I II . on the Pal . of Perugia ; i n 1 536 a S. Louis i n S . Francesco
,and in this same year married the mother of his ch ildre n .
His will was made i n 1 54 9 , and as before said , he was l iv ing in1 553 .
A lfan i , O raz i o di Pari s , born a t'
Pe rugia 1 5 10, died a t Rome1 58 3 . Also a pupi l of Perugino and an adm iri ng imitator o f Ra
ph a e l. His reputation more than equalled that ' of hi s father . Inth e transe pt of S . France sco at Perugia i s a N ativ ity b v thi s arti st ,singular for the i ntroduction of S. Anna who has a bas i n of water ;said to have been dated 1 536 . Perugia Gall . , N o . 5 9
, formerly inthe Carmine , i s a work of Oraz io
’s , as are al so No s. 1 40, 1 42, 1 5 9
1 32,1 63
,1 44
,1 45
, and 1 4 6 , i n th e same gal lery . There are severalof hi s work s i n S . Francesco and S . Pietro at Perugia . At theLouvre “ The Marriage of S . Catherine ,
” N o . 26, date d 1 548 , i s by
thi s master . There are many more of his pictures , i n Perugia ment io ned i n th e Guide s . Oraz io was registered i n the guild of Perugia.i n 1 5 45 ; elec ted archi te c t of th e town i n 1 5 76
, but retained theoffi ce a very short time . He was firs t president of the Acal . ofPerugia
,founded in 1 5 73 .
A lfar o y Gam o n , D o n Ju an de . born at Cordoba 1 640,died
at Madrid 1 680. He studied first wi th Antonio de Castile,and then
with Velasquez . His pic tures imitate th e l atter , and al so remind o n e
of Vandyck in color . He i s said to have been very vain,and to
have copie d some print s,and put on each of them
,AU
‘h ro pinxil .
To punish h im , Casti llo painted one , and subscribed i t N o n pinxi l
Alfam , which passed into a proverb . He was al so a poet,and
had good l iterary atta inments,but his memory is staine d by i n
grati tude Th e‘
Adm ira l of Castil le was his patron ; stil l when h ewas banished Alfaro forso ok him , and y e t did not hesitate to sol ici thi s patronage when recalled. The re h ufi
'
he received is said to havebrought on melancholy and cau sed hi s death . In the ch . of th e
Carmeli te s i s hi s “ Incarnation ,” and at Madrid , i n the ch . of theIm perial College hi s celebrated Guar dian Angel .”
ALFON ALLAN . 23
A li o n , Jua n , born at Toledo . In 1 4 18 he painted several reliquar
'
ms fo r the Cathedral which a re st i l l preserved .
A lga rdi , A le ssan dro , born at Bologna 1 598 . He wasan arch i tec t
,scu lptor, and engraver. A pupil of Giul io
Cesare Conventi . Hi s plates which remain are few theyare executed with a graver, i n the free bold manner of AgostinoCarac e i , and are as followsA large
,upright plate of The Crucifixi on .
The Soul s del ivered from Purgatory oval .The Bli nd Beggar and his Dog afi er Ca race i .Eighty plate s of the Crie s of Bologna ; after Ca ra ce i .These were executed i n conj unct ion with Simon Gui llain . He 18
best k nown as a sculptor by a large r ili evo i n marble , over an altarin S . Peter’s at Rome . It represents the appearance of SS . Peterand Paul to Atti la and his hosts . Whi le thi s work has some merit ,i t has great faul ts
,especially those of confusion and want of
breadth .
A li am e t , Ja c q u e s, born at Abbev ille 1 728 , died i n Paris 1 788 .
An engraver who excelled i n landscape s and sea-pieces .A li am e t , Fra n co is G erm a i n , younger bro ther of Jacques . Born
at Abbeville 1 734 . After s tudying engravi ng i n Paris, he went toLo ndon , where he was under Sir Robert Strange . Hi s works wereinferior to hi s brother’s , and consisted of portraits and hi storicalsubj ect s .Ali b e r t i , G i o . Ca rlo , born at Asti (1 680 His prin
c ipal works were frescoe s i n his native c ity . He pa in ted the cupolaof S. Agostino, and o ther pictures for the same church . Bryansays , His style cons ists of a mixture of Maratta
,of Gi o . da S .
Giovanni , and of Correggio ; heads and feet that might be attribu ted to Guido or Domenichi no ; forms peculiar to the Caracci ; drapery of Paolo, and colors of Guerc ino .
A li b ran di , G i ro lam o , born at Messina (1 4 70 Pupil ofGio . Bellini , and a friend of Giorgione at Venice , where he spentma ny years . He then entered the school of Leonardo at M ilan .
He has been called the Raphael of Messina. The clzefld’oe u vre of
Me ssi n ian picture s i s hi s “ Purification in the ch . of Candelora .
It has perspective , grace , and pleasing color . Polidoro admired i t somuch that he painted a Deposition from the Cross i n di stemper ,to serve as a cover and protection to i t.A li a ns e . Se e Va ssilacch i .A llan , D av i d, born at Alloa , Scotland (1 744 After
studying i n the Academy at Glasgow,he went to Italy
,and took the
priz e medal at the Acad . of S . Luke,for the best hi storical com
position . It i s difficul t to understand how he could have excel led :j udging from hi s etchings, or the engravings from hi s pictures .A llan
,S ir W i lli am , born at Edinburgh (1 782 Studied
24 ALLAN ALLEGRI .
at the same time as VVilkie i n the Trustees’ Aca d. i n his nativeci ty . He went to London , where he met with no success , and in 1 805went to S t. Petersburg , where he made a good name , as a portrai tpain ter. He visited the interior of Russia , Tartary , and Turkey .
He afterwards painted picture s il l ustrative of the sc enes of thosecountrie s , such as the Circassian Captive s,
” Pri so ners conveyedb y Cossack s to S iberia ,
”e tc . He returned to England in 1 8 14 . In
1 8 30 v isited the continent ; i n 1834 went to Spai n ; i n 1 838 becamepresident of the Royal Academy of Scotland
,was the successor of
S ir David \Vilkie , as Limner to the Queen i n Scotland , and w a s
knighted in 1 842. In 1 843 he exhi bited th e B attle of lVa te rloo ,
”
now in the Col l . of the Duke of Welli ngton . In 1 844 he went
g ain to Russ ia , and after his re turn , painte d the picture now in th ewinter palac e of the Emperor , representing Peter the Great teaching the Art of Ship-bu ilding to his Subjects . He died i n hi s studioat Edinburgh , be fore an unfinished picture of the Battle of Banu ockburn .
”
A lle gri , A n t o n i o da Co rre ggi o , or A n to n i o L i et o da Co rre ggi o .
Allegri and Lieto are synonymous , and have the same mean ing asthe Latin L e a tu s (j oyful) . Bor n at Correggio (1 4 94 Hisfather
,Pellegrino Allegri , was a respectable merchant . Very l ittle
is known of the early life of Correggio , but i t is thought that he wasa pupil of Ton i no B arto le tto of his native ci ty. He probably studiedthe works of Leonardo da Vinci , and the painters of Man tua andModena , for he fled to Mantua in 15 1 1 on account of the plague atCorreggi o . He appears
,however , to have been largely the founder
of his own sty le . He is the greatest master of l ight and dark , ore h iaro -scuro
,whether effected by color or shade s . His management
of l ight was wonderful ; he gave the most brilliant e ti'
e c t withoutdaz z l ing , and his deepe s t shades were not dull . In al l hi s subj ec tsthere is l ife and motion . He loved to depic t the j oyousness of childhood
,while his re presentation of earthly love was blissful , and that
of heavenly love fervent . If sorrow was repre sented , i t was deepened by the contrast with his u sual joyousness . Hi s passion seemsto have been fore shortening and v iole nt perspec tive . For his cupolapaintings
,thi s was a nece ssity , but he used it often apparently for
th e mere love of i t , as in one instance he painted a Madonna si tting o n her throne as if seen from below ,
and her knee s appear almostto touch h e r breast . He was the firs t modern artis t who excelled i nchiaro-scuro
,and i s allowed to be still unequal led . When twenty-five
ve ars old , he was at Parma . and had an e stabli shed reputation . In1526 he contracted to paint th e dome of S . Giovann i Evangel ista ,the payments for which extended through four years. He had previo u sly pa i nted i n Parma , some mythological design s for the conventof S . Paolo . We are amaz ed that these de signs were chosen fo r
a clois ter ; but Lanz i sa ys , Our wonder will cease , when we reflec t ,
ALLEGRI. 25
that the same place was once the re sidence of a lady abbe ss,at a
time when the nuns of S . Paolo li ved unguarded by grate s , inwhich every abbess sought to enjoy herself , held j urisdiction overlands and castle s
,and independent of th e bi shop , lived al together as
a secula r personage .
” At Correggio , before thi s time , Allegri hadpainted altar-pieces . The Madonna at Dresden , called The Madonnadel S . Francesco ,
” i s clai med to have been painted when he wasbut twenty—one
,and the S . George ,
” also at. Dresde n , i s anotherearly work . At S . Giovanni he pa inted The Ascension of Christ ,
”
who i s represented as suspended in air , i n the centre , wh i le the Apost les are seated on the clouds below . In the pendentives are the Evan
ge lists and four fathers of the church . This was the firs t instance ofremarkably foreshortened figure s , and was grand in arrangement anddetail . But Correggio brought his style to perfect ion , i n the cupolaof the cathedral , at Parma .
This was done between 1 526 and 1 530. Here he represented TheAssumption of the Virgi n . In the centre , high up, i s Chri st , whos eems to precipi tate Himself to meet hi s mother . The principalgroup
,of the Virgin borne in triumph by angel s , i s much lower down ,
whi le between that and Christ are several saints , both male andfemale , which are wonderfully foreshortened . All the light proc e eds from the glory around Christ. This occupies but the upperhalf of the dome . Below are the Apostles between the oblongwindows
,which are i n thi s part of the dome ; above the windows are
genu ; the whole i s a vast throng of angel s , saints , etc .,for i n th e
four penden tive s beneath the cupola, are th e patron sai nts of Parma,seated on clouds , and surrounded by angels . A pious rap ture seemsto be diffused through all, and the richness and boundlessness of the(fleet can scarcely be conveyed i n language . Of course thesefigure s are all much foreshortened , and the art is t was told, Ci a ve tc
fittto nu gua zz etto di ra n e ” (you have given us a hash of frogs) .
B esides the se wonderf ul frescoes , there are many altar-pieces andeasel picture s by Correggio . One of th e most beaut iful is the S .
Jerome , at Parma , cal led ll Giorno . the day,i n contrast with
La Notte ,” or The Adoration of the Shepherds
,
” at Dresden .
The Marriage of S . Catherine i s one of the most beautiful andoftenest repeated of hi s smal l pictures , and the best example i s in theLouvre . In Kugle r
’
s Handbook ,” the edi tor remarks in a foot
note (page when speak ing of this pic ture This subj ectwas comparatively late ; S . Catherine of Siena died i n the fourteenthcentury , and was not canoniz ed til l 146 1 . The painters appear tohave improved on the legend . Here i s a mistake . The picturei llustrate s the legend of S . Catherine of Alexandria, who died i n thefourth century , and has no reference to S . Catherine of Siena . LaZingarell a ” (the Gy psy), so cal led from the turban worn by theVirgin , i s a pic ture of The Repose during the F light to Egypt ,
”
2G AL LEGR I .
a nd i s very beautiful . Other important pic tures in the Gall . at Parmaa re The Ma donna del la Scode l la ,
” so cal led from the cup i n thehand of th e Virgin ; The Deposition from the Cross ,
” and TheMartyrdom of SS . Plac ida and Flav ia.
” At Dresden , besidesthose already mentioned , there are The S. Sebastian ,
” which hassometimes been called the most beautiful of al l the figure s of Co rreggio ; The Reading Magdalene,
” and a portrait , said to be that of
MAGDALENE . B Y CORREGG IO.
Dresden Call.
the physician to thi s master . The N ational Gall . , London , has theEcce Homo,
" Venus and Mercury teaching Cupid hi s Letters,” and
th e Vierge an Panier .
” In th e Coll . of the Duke of Well ington i sThe Agony of Chri s t upon the Mount of Ol ives ,
” a remarkablecabinet picture ; i t was pre sented by Ferdinand VII . of Spain to th efirst duke . The Chri st in th e Garden with th e Magdalene ,
”
i s i n the Madrid Gall . There are other work s of thi s master of anentirely differen t charac ter. At the S ta fford House Gall . i s one wi tha horse and mule , both l aden . with their drivers , i n the midst of aglowing land scape . This i s said to have been painted for a sign toan inn . In th e Berli n Mus . are “ Leda and the Swan ,
” and “ Ioembraced by Jupiter .
” These show the triumph of earthly love , asi nten se ly as the rel igi ou s pictures pre sent that of the heavenly . Thelatter pic ture was once i n th e Orleans Gal l . and the son of the dukecut out the head of 10 because i t was too voluptuou s in expre ssion 3
ALLEGR I . 27
The pre se nt head was the work of Prud ’hon . There i s a copy ofthi s picture i n the Vienna Gal l . , which i s universally bel ieved tobe al so by Correggio. At the Borghese Gal l . at Ro me , i s the picture of Danae . At the Pari s Museum , Jupiter and Antiope .
” I ti s said that when Correggio saw the pic ture s of Raphael
,his eyes
brightened, and he exclaimed , “ I al so am a painter .
” WhenTiti an saw the works of Correggio at Parma
,he said
,
“ Were I notTitian , I should desire to be Correggio .
” Annibale Carrac ci wrotefrom Parma in 1 580 “ Tibaldi , N icco li ni , Raphael himself , arenothing to Correggio. The monks were v e rv fond of Correggio ,and in 1520 he was made a member of the Congregation Cassinen si
,
in the monastery of S . John the Evangel ist at Parma. Tas so wasalso a member of thi s fraternity . This membership conveyed apartic ipa tion i n the masses, prayers, and alms of the community,and was accompanied with a prom ise to perform the same offices forth e repose of hi s soul , and those of his family , that they would perform for their own number . In 1 520 he married Girolama Merli n i,a lady of good family, very gentle and lovely . Sh e was probablyhis model for La Zingarella after the birth of hi s first ch i ld . Sh e
bore h im one son and three daughters,and died i n 1529 . He did
not marry again,and died suddenly i n 1 534 . The story of th e
great poverty of Correggio, se t forth by Vasari , seems to have beenunfounded ; i t i s certai nly contradic ted by the quantity and qual ityof th e colors he lav ished on his pic tures . The prices which hereceived — such as ducats, or 1 501. sterli ng for the Cath . ofParma
,71 10s. for La N otte,
”e tc .
,— seem to us very smal l , but we
must consider the value of money i n those days , and these sums arenot inconsiderable . It i s not k nown whether Correggio ever v is i tedRome or not
,and various arguments are brought to bear on both
side s of the question ; but Ortensio Landi , i n a work published i n1 552
,says
,
“ he died y o u n g without being able to see Rome .
”
0 ,
ENGR AVINGS AFTER CORR EGG I O .
E ngra ve r , ANDER LON I , Pietro . Magdale ne .
Engra ve r , AUDOU IN ,Pierre . Jupi te r and Antiope .
Engra ver , BAZ IN , N icholas . The Virgin Mary suckli ng th e
Infant .Engra ve r , BEAUVA I S , N icholas Dauphin de . The Virgin with
the Infant Jesus upon a pedestal , and several saints below .
Engra ve r , B ERGER ,Daniel . The Virgin and Chi ld .
Engra ve r, B ERNARD ,Samuel . Mez z oti nto , The Repose cal led
L a.
Z inga rella .
Engra ve r , BERTELL I , Cristofano . The Virgi n and Infant , withSS . Sebastian , Francis , and Roch .
Engra ve r , B ON AVER A , Domenico Maria . The Cupola at Parmathe Assumption . Do m in ico B o n a vera , s " . 1 69 7 .
28 AL LEGRI.
Engra ve r , B R IZZ IO or B R ICCI O , France sco . Th e : Holy Family.
Engra ver , CA N TELL I , Bernardo . The Marriage of S . Catherine .
Engra ve r , CARACCI , Agostino . The Virgin and Infant with Magdalene ; S . Jerome and an Angel 1 586 .
Engra ver , CHAT EA U or Cn a sr sa u , Wi l liam . The Repose inEgyptEngrave r, CORT , Cornel iu s . The Marriage of S. Catherine ; S .
Jerome .
Engra ve r , CON EGO , Domenico . The Virgi n and Infan t .Engra ve r , DUCHANGE, Gaspar. Jupiter and Io ; Jupi ter and
Danae ; Jupiter and Leda .
Engrave r , EA RLOM ,R i chard . The Repose
,cal led la Z inga ra .
Engra ver , EDEL INCK,N icholas . T he Virgin and Infant .Engraver , FESSARD ,
Stephen . S. John Baptist , with other saint s .Engra ver , FREZZA , Gio . Girolamo . The Repose , called la Z in
g zm .
Engra ve r , JODE , Arnold de . Mercury educating Cupid .
Engra ve r , LORENZ IN I , Fra Antonio . S . John surrounded withangel s .Engra ver, MEN AGEOT ,
Robert . Friendship ; a c ircular print .Engra ve r , MERCAT I , Gio . Bati sta . The Marriage of S . Cath
e rinc .
Engra ve r, MITEL L I, Giu seppe Maria. The Adoration of the Shepherds
,called L a N o tte .
Engra ve r , MOGAL L I, Como . T he Holy Family .
Engra ver , PICART , Etienne . The Marriage of S . Catherine .
Virtue triumphant over Vice The Sensualist .Engra ve r , PO RPO RAT I . Jupiter and Leda ; The Madonna with
the Rabbit Leda and the Swan , and Leda bathing La Zingarella.
Engrave r, RO SS I , Girolamo . The Virgin and Infant Je sus .Engra ve r, SAN UTO or SAN UTU S , Giul io. Apol lo and Marsyas .Engra ve r , SM I TH , John . Venus standing i n a Shell .Engra ve r , SO RN IQfJE, Dominique . Diana and her Nymphs .Engra ver , SPIER RE, Franci s . The Virgi n suckl ing the i nfant
Chri st .Engra ve r , STEEN , Franci s Vander . Cupid shaping hi s Bow ; Ju
pi ter and I0 ; Ganym ede .
Engrave r , STRANGE , Sir Robert . The Magdalene .
Engrave r , SU R R UGU E,Peter Louis . The Adoration , called L a
lVo lle .
”
Engra ve r , TROYEN , John Van . Magdalene Penitent .Engrave r, VO LPATO , Gio . Chri s t praying on the Mount .Engra ve r, WATSON , Thomas . The Virgi n with the infant Jesus
and S . John .
A lle gri , P o m po n i o Q ui ri n o , son of Antonio , born at Correggio1 521 . He was but thirtee n when his father d ied , therefore he could
30 AL LOR I ALLSTON .
was considered better than that of any other art is t of hi s time in
deed,he was so fastidious that he fin ish ed few pic ture s . He excel led
i n portrai ts , and m landscape painting surpassed the F lorent in es ofhis day. Hi s best work i s the S . Julian ,
” i n the Pitti Gall,
his Judi th i s more general ly known . I t i s said that the head ofHoloferne s i s his own portrai t , Judith that o f his mi stress
,and
Abra,
” that of her mother . He made copie s of the Magdalenof Correggio which passed for dupl icate s by the great ma ster.A lls to n ,
W ash in gt o n , born at lV'
accam aw,South Carolina
, 1 7 79
died at Cambridge , Mass ,1 843 . He graduated from Harvard Col
lege i n 1 800, and went to London and studie d in th e Royal Acad .
After three years of assiduous labor he went to Paris , and proceededto Italy
,where he remained four years , mostly in Ro me . There he
associated intimately wi th Coleridge and Thorwaldsen . In 1809 hecame to America and married M i ss Cha nn in e , and subsequently fixedhis residence i n London . He there exhibited The Dead Man re
v ived,” which took th e priz e of two hundred guineas at the Bri ti sh
Institution . He next painted S . Peter l iberated by an Angel,
”
now in th e ch . of Ashby-de- la-Zouch ; Uriel in the Sun ,al so a
priz e,pic ture , now belonging to th e Duke of Sutherland ; Jacob ’s
Dream ,
” now at Petworth ; and between these larger works,several
smaller ones . He returned to America i n 1 8 18 , and settled i n Boston .
He was elected to the Royal Acad . i n England,where his work s
were much esteemed . The only one he brought to Ameri ca, El ij ah
in the Wilderness ,” was sold to the Hon . Mr. Labouchere , and taken
to England . His next pic t ures were T he Prophet Jeremiah,
” nowat Y ale College ; Saul and th e IVitch of Endor ,
” which belongedto the late Colonel T . H . Perk in s , of Boston ; “ Miriam singi ng theSong of Triumph ,
” also owned i n Boston,by the late Hon . David
Sears ; and the small pictures of “ Dante’s Beatrice and TheValentin e .
” In 1 830 he married M is s Dana , and removed to Cambri dge , where he passed the remainder o f his li fe i n seclusion . Hethere pain ted Spa la tro or the Vision of the Bloody Hand andRosal ie which belonged to the Hon . Nathan Appleton . T he
Spala tro” i s i n the Coll . of John Taylor Johnston , N ew York .
M r. I’Villiam Page , President of the N ational Acad . of Design , N ew
York,said in a recent lecture
,that when he praised this work to
A llston , he repl ied ,“ I think , perhaps , i t i s on the whole the best
picture I ever painted .
” Mr. Page said , In color i t i s not as goodas the best of Titian ’s , yet few picture s of Titian
’s , of that siz e , areso good in color . In composition and ch iaro-scuro i t i s one of the
great pic tures . It is the best picture i n a gallery which con tains thebest pic tures to be seen i n Ameri ca .
” Allston also painted some portrai ts . Among them were that of Benjamin West , in the BostonAthenaeum
,and one of Coleridge , i n the N ational Portrait Gal l . of
England . Of the last , Wordsworth said , “ It is the only likeness
ALL STON . 33
which ever gave me pleasure.” In 1 836 , he was inv i ted by Congressto paint a large picture for the Capitol , but his mind was fixed uponpainting Belshaz z ar’s Feas t ,
” for which he had made a sketch in1 8 1 7 . Th i s was unfinished when he died , and is i n the Boston Ath enaeam. Allston was remarkable for the versati lity of his co ncepti ons . The beauty of Beatrice and Rosalie , the prophetic sternnessof Jeremiah , the grace of Miriam , the moonlight effects , the forestsand mountains of his landscapes
,the horror of Spalatro , and the im
pressive mysteriousnes s of the rev iv ing Dead Man , display a wonde rful scope of thought and a surpri sing power of execution . Hisli te rary talents were good. In 1 8 13 he published a poem ,
“ TheSylphs of the Season ,
” and later , Th e Twe Painte rs and“ The Paint King .
” In 1 821 , Monaldi ” was written , but notpubl ished until much later . This s tory gives his own life i n Rome ,mingled wit-h a story o f passion , the whole gracefully adorned withobservations upon art , and descriptions of nature . A course of lecture s which he wrote upon Art , but did not deli ver , were publishedafter his death . Tuckerman has well said , “ Indeed , the wri tingsand paintings of All ston exqui si tely illustrate each other . By theirmutual contemplation we perceive the indiv iduali ty of the artist andthe pure spiri t of the man ; and real iz e that unity whereby geniusharmoniz e s al l expression to a common and universal principle
,mak
ing form and color , words and rhyme , express v ividly and trulywhat exists i n the arti st’s nature. Rosalie ,
’ for instance,the poem
,
i s the reflection of ‘Rosal ie,
’ the picture ; and hi s letter describinga v iew among the Alps
,breathes the identical feel ing that pervades
the landscape depicting th e scene .
” All sto n often related the following inc ident i n hi s l ife . No t long after he went to Europe after hisfirst marriage , his pecuniary wants became very pressing . One daywhile i n his studio the thought came to him ,
that he merited his trialsas a punishm ent for his want of grati tude i n the past
,when he had
been more prosperous . Suddenly he felt a strong he pe that Godwould answer his prayer ; he locked hi s door, threw himself on hisknees , and prayed for a loaf of bread for his wife and himself. Therewas a knock at the door ; he opened i t with a feel ing of shame , anda fear that he had been observed . A stranger asked for Mr. Allston ,and inquired if hi s pic ture of Uriel ” had been sold . When an
swered i n the negative he asked where it could be found. Here,i n
this very room ,
” repli ed All ston , and he brushed the dust from thepicture and brought i t forward . When the price was demanded , Allston sai d he had done fixing a sum
,for his price had , so far ,
exceeded his offers . “ Will £400 be an adequate recompense ?asked the stranger. It i s more than I have ever asked ,
” said Allston . Then it i s mine
,
” repl ied the Marquis of Stafford , for b e i twas . From this hour they were the warmest friends . By him Allston was introduced into society
,and soon became a favored guest i n
a c ircle which embraced man y gifted minds.
34 ALMELOVEN ALTDORFER.
Alm e lo v e n , Jo hn , born about 1 6 14 or 1 624 . Dutch engraver andpai nter. Best k nown by some etc hings of landscape s .A lslo o t , D a n i e l, born at Brussels (1 550 Landscape
A lslo o t , D e n i s v a n , flouri shed in early part of th e seventee nthcentury . Painter of landscape s and portrai ts .A ltam o n te , or A ltam o n ti , M arti n , born at Naples , some say i n
165 7,and others
,i n 1 682 ; di ed , 1 745 . He was among the be st
painters of h is time . Hi s subj ec ts were hi sto rical and architectural .A ltdo rfe r, A lb rec h t, born at Altdorf in Bavari a, 1488 , died at
Rati sbon , or Regensburg, 1 538 . He i s said to have been a pupilof Albert Dure r’s, but th i s lack s confirmation . He was a painte r .and an engraver on copper and wood . Kugler says , “ He seiz edthe fantast ic tendency of the time with a poetic fee li ng at oncerich and pleasing , and he developed i t so as to atta i n a perfec tionin thi s sort of romanti c painting , such as no other art is t has everreal iz ed .
” He is one of the best of the li ttle painters of Ge rmany . The latter port ion o f his l ife was given to painting, as hi slast prin t s were dated 1 525 . Some of hi s work s d isplay wonderfulpatience when we compare the ir siz e and the number of figure s . Thatof the Victory of Alexander at Arbcla ,
” i s purely Gothic in design ,and the costumes such as were worn in 1529 when i t was pa inted . I thas been sa i d to contai n more figures than any other picture . Schlegelsays, It i s , in truth, a l i ttle world on a few square fee t of canvas thehosts of combatan ts , who advance on all sides against each other
, are
i nnum erable , and the v iew into the ba ckground appears i nterminable .
In th e di stance i s th e ocean , with high rock s , and a rugged is l andbetween them ships of war appear i n the offing, and a whole fle e tof vessels ; on the left , the moon is se tting on th e right, the sunri sing both shi ning through the Ope ning clouds, a clear and str iking image of the events re presented The armies are arrange d inrank and column , without th e strange atti tudes, contrasts, and disto rtious generally exhibi te d in se -called battle-pieces . How indeedwould this have been possible w ith such a vast multitude of figure sTh e whole is in the plain and severe , or it may be , th e s ti ff mannerof the old style . At the same t ime , the character and executi onof the se little figure s is most masterly and pro found . And whatvariety, what expre ssion there i s , not merely in the charac ter ofthe s ingle warriors and kn ights, but in the hosts themselve s ! Herccrowds of black archers rush down, tr00p after troop , from themountai n , with the rage of a foaming torrent ; on the other side ,hi gh upon the rock s in th e far dis tance , a scattered crowd of flymgmen are turning round in a defile . The point of the greates t inte re st s tand s out bril l iantly from the cen tre of the whole Alexander and Darius, both in a rmor of burni shed gold : Alexander
,on
Bucephalus, wi th hi s lance in re st, advance s far before his men , and
ALTDORFER . 35
pre sses on the flying Darius , whose charioteer has already fallen onhi s white horse s, and who look s back u pon hi s conqueror with al lthe despair of a vanquished monarch .
” This picture was i n theGall . of Schle issheim , and was taken to Paris .
'
N apoleon li kedi t so much, that he had i t at S . Cloud , i n hi s bath-room . I t wasreturned to Bavaria i n 18 15 , and is now in the Pinaco th ek, Munich ,Cabinets
, 1 69 . In the same plac e , Cabinets, 1 38 , i s the History ofSusanna ” by Altdorfer . In the Augsburg Gal l . there i s an altarpiece with wings very fine . At N uremburg , there i s in the Landauer Bruderhaus, N o . 1 79
, a Cruc ifixion , and in the chapel of S .
Maurice a picture by thi s master, of S . Quirinu s being drawn fromthe water . In the Col l . of th e ~Historical Society at Ratisbon
,
there i s an Adoration of the Shepherds . ” The R e v . J . Ful ler Russell has a picture of Christ part ing from the Virgin
,
” which i s u ndoubtedly by Altdorfer, although i t i s sometim e s attributed to Durer .I find mention of no other pictu re by Altdorfer
,i n England . His e n
grav ings were not inferior to hi s paintings, and he executed , oncopper and wood , more than one hundred and seventy prints . Thefollowing is a li st of a small portion of them .
Engraved o n Copper .
Portrait of hi mself with hi s c ipher .Portrai t of Luther, with an oval of fol iage .
S . Jerome with th e Lion . One of the best.Judith with the head of Holofernes .Adam and Eve i n Paradi se .
Solomon’s Idolatry .
Samson and Deli lah .
Pyramus and Thi sbe .
A naked Woman with wings, seated on a star, with a torch in onehand and an escutcheon in th e other , cal led L a sc ivia .
S . George and the Dragon .
Muciu s Scaevol a.
Amphion saved from the Se a by a Dolphi n . 1 825 .
The Death of Lucretia . Etching .
The Virgi n and Child , dressed i n the costum e of Ratisbon , witha palm-tree .
A Man and Woman dancing .
Engra ved on Wo od.
Forty cuts of the Fall and Redemption of Man . Very fine .
Paris dying on M t. Ida with the three Goddesses . 1 5 1 1 .
Th e beautifu l Virgin of Ratisbon after the pic ture in theOne of hi s best work s .S . Christopher, stooping to take up Jesus . 1 5 13.
The Purification .
36 ALTDORFER ALUNNO.
The Murder of th e Innocents . 1 5 1 1 .
The Re surrec tion of Chri st . 15 12.
The Annunciation . 15 13 .
S . Jerome before a Crucifix in a Grotto .
Abraham ’s Sacrifice .
A lth am flourished about 1 660. A German pain ter ofmarine subj ects and landscape s .A lti ss im o , Cri st o fan o de ll
’
, flouri shed about 1568 . Pupil ofBronz i no . A good portra i t painter . The Duke Cosmo dei Medic iI. ,employed him to copy the portrai ts of illustrious persons in the
Gall . of Count Gi o vi o . Vasari says he finished more than 280 of these,
which were hung around the Guardaroba of the Duke . Manymore were finished later, and they were placed in the corridor ofthe Ufli z i . His family name was Papi .A lun n o , N ic c o lo , born at Fo ligno about the middle of the
fifteenth century . He painted i n distemper , but his colors sti l lendure . His principal work s are, the Annunciation ” in S . MariaN uova at Perugia, 1466 a Crucifixion in the Art Hal l at Carl sruhe
,1 468 ; an enthroned “ Madonna in the Brera at Milan ,
1465 portion s of picture s originally at Ass isi , which represented aPieta,
” much praised by Vasari portions of an altar-piece i n thech . of S . N iccolo, at Foligno, 14 92 a Madonna i n th e Berli nMu s.
,e tc .
,etc . N umbers of his works are dispersed i n the March
of Ancona .
‘
Many of them were in several piece s, although thatmanner of painting had almost passed away in hi s time . Alunnom a y be called the founder of a new style i n the Umbrian school .Hitherto the Art of those quie t valleys had expressed the charac terof the ir i nhabitants , and breathed forth the deep re ligious e nthu siasm of a people liv ing i n re tiremen t, unfamili ar with clas sic studies,and fi lled with fervent spiri tual longi ngs ; i n short, a people whoregarded Assi si with i ts Basil ica as a holy place , and the lovely S .
Franci s as the most perfect earthly model that could be representedi n Art, or imitated i n li fe . But the te ndency to represent merebeauty , the real istic -mode, began no w to be fel t , even in Umbria,and i t was firs t remarkable i n the works of thi s painter . The blending of the two style s resul ted in that wonderful beauty which wefind in the work s of Raphael , where the richness of Italian paintingis made perfec t by the express ion of tender feeli ng, puri ty of soul ,and spiri tual and devotional sentiment . I t i s the union of beautyin form and expre ssion that imparts the charm to the work s of aclass of painters, who, without great power or scope of thought,agreeably portray pure spiritual feel ing w i th grave and quiet dign i ty .
To thi s cla s s N iccolo Alunno belonged , and his mission seems tohave been to prepare the way for others who posse ssed more geniusthan himself. In addi tion to the work s already mentioned thereare at Gualdo, Duomo, several sain ts , a Crucifixion , e tc . a S . Paul
38 AMB ERES AMERIGHI.
Am b e re s, F ran c i sc o de , flourished i n the early part of the six
te e nth century . A painter and sculptor . In 1 502 he ornamentedthe Cath . of Toledo i n 1508- 10 together with Jean de Bourgogneand Villoldo he painted the arabe sque chapel , which i s sti ll an i n te resting objec t .A m b e re s, M i gu e l di , flourished about 1 640. His pictures are seen
i n the rel igious houses of Spain . He was originally of Antwerp,and
somewhat resembled Vandyck i n his style of portrait painting .
A m b e rge r,Ch r ist o ph e r, born at N uremberg 1 4 90 died a t Augsburg
, 1 563 Pupil of th e elder Holbein , he imitated the younger .He painted i n distemper and oil , and is said to have ornamented theexteriors of houses in Augsburg i n the former method . His picturesar e chiefly small portraits . They are not equal to those of Holbeini n execution , but have been mistaken for his . In 1 532, when Charle sV . v is ited Augsburg , Amberger painted his portrait , with which hewas so much pleased that he paid him thirty-six rix dollars
,the price
be ing but twelve , and presented him w ith a medal on a gold chain .
Charle s i s said to have declared the picture as good as one for whi chhe h ad pa id Titian one hundred rix dollars . I t is probably now inthe Berli n Gall . Amb e rge r
’s best work s are i n the Franc iscan ch .
and convent of S . Martin at Amberg . There i s also a fi ne portrai tof Sebastian Munster at Berli n , and one of Henry VIII . at Augsburg
,attributed to A mberger .
A m b ro gi , D o m e n i c o degli , middle of 1 7 th century . N ative ofBologna . Called Me n ich ino del Briz io from hav ing studied withFrancesco Briz io . He painted i n oil and distemper . He excelled i nperspective
,landscapes , and architectural v iews , and painted also
historical subj ects . He was employed in many churches and palaces ofBologna . In S . G iacomo Maggiore there is a Guardian Angel ,
” andi n the N unz iata a S . Franc i s by this artist . He was th e i nstructor o f Fum ian i and Pieranton io Cerva . In 1 653 he published somewood-cuts from his own designs , printed in chiaro—se uro .
Am e lsfo o rt , Q u iri n u s Van , born at Bois-lo -duc (1 760 Apainter of allegorie s
,history
,and portraits , which last were remark
able as l ikenesse s .Am eri gh i , M i c h e l a n ge l o da Carav a ggi o (1 569 calle d
Caravaggio from th e place of hi s birth . He was the ch ief m aster ofthe school called N aturali stic , from its d irect representation of common l ife . Kugler says its style may be called the poetry of the repulsive .
” t e n confined to scenes of common occurrence , and asomewhat low life , these picture s are often powerful and have theirown pecul iar charm but when this style is used to depict sacred sub
je c ts, although , i n a sense , powerful , i t be comes painful and offensive .
Caravaggio was wild i n his nature and li fe . He l ived much in Re i n e ,but went al so to N aples , Malta , and S ic ily . The contrast s of v iv idand subdued lights ; his remarkably effective draperies , and his car
AMERIGHI AMES .
nation tints , give great effec t to his pic tures . Some of his sac redpictures were taken away from the altars where they were placed
,on
account of their coarseness . One of his best work s i s the Beheading of S . John ,
” i n the Cath . of Malta . In Rome , there is at theVatican , the Entombing of Christ ; thi s i s his most celebratedpicture . I t i s impre ssive in its solemnity , but devoid of sacredness orsublimity . In S . Lu igi de ’ Fra nce sc i there is a chapel painted byCaravaggio ; i n the Borghese Gall . an immense Holy Family ;in the Sciarra Pal . , the Cheating Gamester ; i n the Spada Pal . ,Geometry ,” as a ragged girl, playin g with compasses ; and in the
Gall . of the Capito l , a Fortun e-teller ,” whi ch is a. chej ld
’
wu vre .
THE FALSE PLAYERS . BY CARAVAGG IO.
These last are such subjects as he best represents . In the Berli nMu s. i s Earthly Love and a portrait . At th e Louvre i s the pe rtrait o f Vignacourt
,
”Grand Master of Malta .
Am e s , Jo seph , born in Roxbury , N ew Hampshire (1 8 1 6This painter studied i n America and Italy and finally settled i n N ewYork . His best fancy subjects are the Old Stone Pi tcher andMaud Muller .
” But hi s success was i n portrai ts , of which h e
sometimes executed seventy-five i n a year . Of cour se they could notbe very carefully finished , but they were true to nature and his colorswere fresh and bright . His picture of Pope Pius IX .
” was muchadmired at Ro me his portrai ts of Webs te r , Choate , Felton , Rachel ,
40 AMES AMMAN .
and Gaz z ani ga are well k nown . His Death of Webste r h as
been engraved .
Am i c i , F ran c e sc o . A modern I tali an engraver .Am i c o n i o r A m i go n i , Ja c o po , born at Ven ice i n 16 75 ; di ed at
Madrid , 1 752. After pain ti ng in Venice he went to Ro me andthence to Munich , where he acquired considerable fame . Goingthence to England in 1 729 his pictures were much in vogue , and hewas employed by many noblemen in the decoration of staircase s and.
similar work s in the style of Ricc i . He returned to Venice withHe was afterwards called to Spain and made painter to the
king,Ferdinand VI . Two large picture s by him are i n the vestibule
of the Queen of Spain ’s Gall . , The Fi ndi ng of th e Cup in Benj amin’s sack and Joseph in the Palac e o f PharaoAm i c o n i or A m i go n i , O t ta v io , born at Bresc ia (1605
Pupil of Antonio Gandini . He excelled i n frescoe s executed afterthe manner of Pau l Veronese . The scenes from the life of S . Al
bert,i n the Carmelite ch . of Brescia , were partly hi s work .
Am i dan o , Po m po n e o , born at Parma . Flo ur i sh ed about 1 595 .
He has been called a pupil of Parmigianino of thi s there is no proof ,but he was a close imitato r of that maste r . The al tar-piece in thech . of Madonna del Quartiere i s his bes t work , and has been attribu ted, even by good arti s ts , to Parmigianino . Orlandi says that manyof his pic tures were sold to foreigners , but they have probably beenassigned to Parmigianino
,as the name of Amidano is not found in
catalogu es .Am i ga z z i , Gi o . B a ti sta , a scholar of Claudio Rido lfi . He 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 .
Am li n g, Carl Gu stav us, born at Nuremberg (165 1 Adesigner and engraver . The Elec tor of Bavaria sent him to Pari s forinstruc tion
,and he studied with F . de Poilly . He was a respec table ,
but not eminent artis t . He made many plates , and was more successful i n portrai ts than in other subj ect s . He engraved some for theAcad . of Sa ndrart and al so made prints after tapestry , the plates ofwh ich belonged to the Elector of Bavaria .
Am m an , J ustu s ,born at Zurich (1539 \Vent to Nurem
berg i h 1 560,where he l ived until he died . One of the li ttle art
ists,
” who excelled i n wood-cuts . It i s said that he made morethan a thousand
,comprising almost every imaginable subj ec t . His
“
11a vo 1rA(a” i s a remarkable work ; i t contains a description of the
arti s t’s time,and has one hundred and fifteen wood-cuts of mechan
ic s and tradesmen in their proper costumes . Amman himself is presented as the engraver . Th e cuts from this book were used in thatof Hans Sachs , Eigentli che Beschreibung aller S tii nde a uf Erden .
”
He also made i llustrations of L i vy’s Roman History . N early all
hi s cu ts were for books . Amman was a l so an author and wrote abook on “ Poetry , Painting , and Sc ulpture .
”
AMMAN AMSTEL . 4 1
Amm a n , Jo hn . An engraver who lived at Hanau i n 1 640.
A m m an a ti , B arto lo m e o , born at Florence (1 5 1 1- 1589 Studi ed u nder Bandinelli at Florence , and afterwards at Venice with Sansovi no , scu lpto r
’
and architect . He was much employed in Padua, Ur
bino,N aples , Venice , Rome , and F lorence . The princ ipal bui ldings
upon which he was employed as an architec t were the Pal . of Benav ides at Padua , the Pitti Pal . at F lorence , the Pal . R uce lla i andthe facade of the Collegio Romano at Ro me . He also rebuil t th ePonte S . Trini ta at Florence i n 1 569 . This i s hi s best work , a
great ornamen t to the c i ty , and o ne of the most graceful and beautiful bridges i n the world . Hi s most important work in sculpture wasthe fountain for th e Piaz z a dell a Signoria . It cons ists of a colos salN eptune , i n a car , surrounded by other figures , and is open to muchcri tic ism . He also erected a monument for Pope Julius III . whi chmay still be seen at the ch . of Sa n Pietro i n Monto rio . He marriedLaura B a ttife rr i of Urbino , who was a poetess , and a member of theSoc ie ty of the lntronati at Siena . Sh e was a lady of wealth , andthey lived at the Villa Ca se ro tta , near F lorence . His w i fe died threeyears sooner than himself. Ammanati was bu ried i n the ch . of S .
Giovanni , upon which he had lavi shed both time and money . Hisbiographer says , his friends wept at hi s death for the loss of a dearfriend , the poor for a con stant helper , the priests for a z ealous promoter of th e div ine worship
,th e arti sts for a great master
,and all the
c ity of F lorence for a distinguished architec t . ” Before his death hewrote a letter to the F lorentine Acad . of Design
,regretting that he
h ad sculptured undraped figures,and that the ir evil i nfluence must
surv ive him ; warns other art ists against the same sin , espec ially thatof placing inappropriate figures in churches .Ammanat i also wrote a large work called La Citta .
” It conta ined designs for all th e edifices nece ssary to a c ity . When M ichael Angelo died he was one of the four chosen to superintend theobsequies of the great master .
Am m o n , Cle m e n t . So n -i n -l aw of Theodore de Bry , the e n
graver . Ammon added two volumes to the Coll . of portrai ts pubb shed
-by De Bry in six quarto vol s . entitled
“ Bibli otheca Calco
graph ica . Those of Ammon were publi shed i n 1 650—1 6 52. Hewas much superior to De Bry .
Amm o n , Jo h an n , born at Schaff’
hausen . An engraver of pe rtraits . Flo urish ed i n 1 700.
A m o ro s i, A n t o n i o , bo rn at Co m mun an z a . F louri shed about1 736 . He painted some pic tures for churches
,one of which may be
seen i n S . Rocco at Rome , but he excelled in caricatures (bambo cc iate ) , and subj ects from common li fe .
A m ste l, Co rn e li us Plo o s Van , born at Amsterdam ,1 732. An
amateur engraver wh o executed an interesti ng set of plate s in imitati on of the be st masters .
42 ANGUILUS ANDREA .
A n ch ilu s , N ., born at Antwerp , 1 688 ; di ed at Lyons , 1 733 . Apainter of conversat io ns in th e manner of Teniers . He went toL o ndo n and copied the pictures of Snyders for S ir R . Walpole .
A n c o na , A ndre a L i li o d’
, called also Andrea Anconi tano , di ed1 6 10. This pain ter was employed by Sixtus V . i n the ornamen tat ion of the library of the Vatican , and in the Pal. of S . John ofLateran . In the Scala Santa he painted , i n fre sco , Moses strik ingthe Rock in S . Maria Maggiore , Our Sav iour washing the feeto f the Disciple s ; and in the Chiesa N uova , The ArchangelM ichael driving the Ev i l Spirits from Heaven .
” Ancona po ssessedsome works of Lilie ’s
,both in oil and fre sco .
A n de rli n i , D o m en i c o , born at Pesaro , flour i shed about 1 720.
A landscape painter of some merit .A nde rlo n i , F a u sti n o , born at Bre sc ia . F louri shed about 1 786
1 794 . An engraver . He illustrated Several sc ienti fic work s andmade portraits of Schiller , Herder , and Carlo Porta . He also e n
graved The Dyi ng Magdalene ,” after Correggio ; T he Repose i n
Egypt ,” after N . Pouss in ; and the Mater Amabi li s , af ter SassoFerrato .
A nde rlo ni , P i etr o , brother of Faustino . born 1 784 . He stud iedw i th P . Palaz z i and Fausti no , and was undecided between pa i ntingand engraving , but after dec iding upon th e latter , at th e age oftwen ty he entered the schoo l of Longhi , where he remained n inevoars . Under that master he became excel len t in hi s an , and wasallowed to put hi s name upon some plates i n ackn owledgment of hisshare i n their execution . He wen t twice to Rome to make drawingsafter Raphael , and in 1 83 1 he succeeded L o ngli i as superi n te nden t ofth e Acad . of Engravers at Milan . He became a member of severalacademies and distingui shed in his art .A nde rso n , An English pain ter of smal l mari ne pictures .A n de rt o n , H enry , flouri shed about 1 660, di ed 1 665 . After
s tudying under S treater he went to I ta ly . He pai nted some b istoric al pic tures , but princ ipal ly portrai ts ; one of the latter which hemade of Mrs. Stuart (later Duchess of Richmond) , so pleased CharlesII. that he gave Anderton hi s patronage .
A n dre , Je an , born in Pari s (1 662 He was a Dominicanand went to Ro me , where he studied th e w orks of M ichael Angeloand Raphael, and was a pupil of Carlo Maratti . He painted bistorical subjects and portraits .A ndre a, A le ssan dro . An arti s t who flourished about 1 5 78 , when
be engraved a portrai t of the Abbe dc S. Arnaud , th e French ambassador at the court of Constantinople .
A ndre a da F i re n z e . This art i s t was employed in painting thestory of the Beato Raineri, at the Campo Santo at Pisa, as is shownby his receipt for payment made th e 13th of October,(Pisan style) . It i s not possible exac tly to trace thi s a rti st, as at that
ANDREA ANGEL I . 43
time there were seven Andreas on the rol l of Florent ine artists,
either one of whom may have been the one employed at Pisa. Therehas also been a que stion as to whether he did not paint the Cap
pe llo ne de i Spagnuol i, which Vasari ascribed to Simone .
A ndre a da Fi re n z e ,wh o painted an altar-piece i n a chapel of S.
Margare t at Cortona, and a picture of the Conversion of Constantine ,” flo urish ed i n 1 43 7 .
A ndre a de l S a rto . Se e Sarto .
A n dre an i , A ndre a , born at Mantua,1 540 or 1 560; died, 1 623 . His paintingsare l i ttle known
,but he was a very cel
e bra ted engraver . Early in l ife he establi shed himself i n Rome,and
d evoted himself to wood-c uts , which were prin te d in chiaro—scuro .
He excelled all who had preceded h im . It is said that he proc uredthe block s of other engravers, retouched them and cal led them hi sown . The number of prints attributed to him i s very large
,and they
are priz ed by good j udges . From the s imilarity of his mono gram tothat of Albert Altdorfer, the ir work s are sometimes confounded .
A ndre as i , Ippo li t o , a native of Mantua. A pupil of Giul io Romano
,whom he assisted in his cartoons . Andre a si painted pic
ture s of meri t, i n S . Barbara and other place s .A n dri e ss e n , Jn rri a a n , bo rn at Amsterdam (1 742 Pupil
of A . Ellige r and J. M . Q u i nkh art. He excelled in decorative pain ting, and the new theatre at Amsterdam was decorated by this arti s tand Numan . He had several pupils who are distingui shed .
A ndri e sse n , A n t o n y , born at Amsterdam (1 74 6 Paintedlandscape s and figures w ith hi s brother, Jurri aan .
A ndri e sse n or A dri e n se s , H endr icks, cal led Manke nh e in , bornat Antwerp, 1 600 ; died at Zealand, 1 655 . A painter of stil l l ife .
A ndri o li , G i ro lam o . A Veronese pa inter . His name , with thedate 1 606, i s found on an al tar-piece and other pic tures i n the ch . ofS. Caterina di S iena, at Verona .
A ndri o t or H an de ri o t, Fra n z or Prango is , born at Paris about1 655 . An engraver who worked in Rome and Paris . He followedth e style of Poilly, and al though he did not equal that arti s t his plate sare priz ed for the ir subj ect s and th e masters afte r whom he engraved .
A n e da , Juan de , born at Burgos, where he painted , i n 1 565 , several pictures, which are stil l i n the Cath . He was assoc iated in thi swork wi th Juan de Cea .
A n es i , Pa o lo . A native of Florence . Se veral of hi swork s are i nthe palac es and private gal lerie s of that c ity and at Re i ne . Hepainted ruins i n the manner of P. Panini , as wel l as landscapes.Francesco Zucch e re lli was one of hi s pupi ls .A n ge li or A n ge li s . There were many artis ts of thi s name, but
the fac ts recorded of them scarcely serve to distingui sh them fromeach other .
44 ANGEL I ANGUIER.
An ge li , G i uli o Ce sare , bo rn about 15 70 ; die d 1 630. A pupil ofth e Carace i . There i s a large picture by him i n th e ch . of S. Agost ino at Perugia .
A nge li , G i use ppe , born abo ut 1 6 15 . Pupil of Piaz z etta. Hepa i nte d so me altar-piece s
,but pri nc ipally cabine t pictu res .
A n ge li , N i c co lo . An engraver who flourished about 1 635.
A n ge li s, Pe te r, born at Dunkirk , 1685 ; died at Renne s, 1 734 .
He went to F landers, and passed so m e time there and at Dusseldorf.In 1 7 12 he went to England , and met with such succes s that he re
mai ned sixtee n years. In 1 728 he went to Rome and remained threeyears. Hi s pic ture s were much admi red there , but his ret iring dispos itiou and hi s devotion to hi s art prevented hi s pushing hi s fortune .
He left Ita ly with the inte ntion of returning to England , but ste pp ed
at Rennes, i n Bre ta gne , where he found so much employmentth at he spent the remainder of hi s life there . He painted landscapeswith small figure s and conversations . He was fond of introducingfrui t and fi sh into his pic ture s. His designs are graceful and natural
,
but hi s colors sometime s fa i nt and want ing character.A n ge li c o , Pra G io v an n i , da Fi e so le . Se e Fiesole .
An ge li n i , S c ipi o n e , born at Perugia or Ascoli (1 661 Avery ski lful painter of flowers . M any of his w ork s were exportedfrom Rome , where he worked , to France, Holland, and England .
A n ge lo P e dro . Stirl ing call s him the first good engraver ofSpai n . He engraved several fine portrai ts for book s, among whichwere those of Card . Ximenes de C isneros and Pedro Gonz alez deMendoza , the great card inal of Sli
a in .
A nge lo , cal led A n ge lu c c i o . lo u ri sh ed about 1 680. A promisi ng pupil of Claude Lorrai ne who died young.
An ge lo , M i ch a e l. Se e B u o naro tti .
A n gi e rs , P a u l . An engraver of whom little i s k nown . He resided i n London. He was employed mostly by book sellers, but hi sbe st prin t i s a View of Tivoli ,
” after Moucheron, and there i s oneof a View of Roman Ruins ,
” after Panini , dated 1 74 9.
A n gi o le tt o , of Gubbio, was a mosai st who flouri shed about 1 325 .
He worked at Orvieto and at Assisi, where b e assi s te d in the windows of the lower chu rch .
A n gu i e r, Franco is , born at Eu , in Normandy, 1 604 ; died inPari s
,1 669 . A son of a carpenter who early taught him to carve in
wood . He went a fterwards to Pari s to study sculpture , and later toRo me . He was one of the first art is ts of h is t ime in France, andLouis XIII. ma de him keeper of the Gall . of Antiquitie s, and gaveh im apartments i n th e Louvre . At one t ime he was employed inEngland . One of hi s best works i s a Cruc ifix ,” i n the ch . of theSorbonne . His sc ulpture s may also be seen i n the ch . de L ’
Ora
toire ; the ch . S . Andréd e s-Arc s ; and at Moul in s . He also exeo uted four figure s for the tomb of the Duke of Rohan , i n th e ch . ofthe Cele sti ne s , at Pari s . I li s copie s after th e antique were fine .
46 ANGUISCIOLA ANSELMI .
mired,and Lan z i says one of them was in the ducal Call. of Florence,
and the other i n the possession of the L om e llin i fam i ly at Genoa . AtAlthorpe
,i n Northampton shire , i s a portrait of herself playing on a
harpsichord . Th e picture of her s isters playing chess was i n the Coll .of Lucien Bonaparte , and i s somewhere i n England and the Earl ofPembroke
,at Wi l to n , had the Marriage of S . Catherine by her .
Her si sters Lucia , Europa , and Anna Maria a ll pain ted , but none ofth em equal led Soph o n isba .
A ngu s ,W i lli am . F louri shed 1 786- 1 820. An Engl ish designer
and engraver of publ ic bui ldings and landscapes . He made plate s ofmany gentlemen ’s country seats , and was employe d on various topographical work s . He al so made - engrav ings from the de sign s ofothers .An i ch i n i , L u i gi , a Ferrare se engraver praised by Vasari .A n ichin i , Pi e tro . An engraver of whom little i s k nown . Some
of hi s plate s are date d 1 655 .
A nj o n , R e n e’
d’
, K i ng of the Two Sic i lie s, Duke of Lo rrai ne ,and Count of Provence , was a painter . His l ife belongs
,however,
to hi story rather than art. He painted his own portrai t,which was
i n the chapel of the Carmeli te s at Aix . There i s a print from i t inMontfaucon . He painted missals and miniature s on glas s
,and it is
said that he also did a po rtrai t of Charle s VII . of France .
A nn a , B aldassare d’
, Flemish by birth, but of the Venetia nschool, and a pupil of Corona of Murano . After hi s maste r’s deathin 1 605 , Anna completed several of his works . He al so pa i n ted ori ginal picture s for the Serv i, which surpass those of Corona in softnessand the power of chi aro-scuro, but are inferior i n design .
A nsaldo , Gi o . A ndre a , born at Voltre (1584 Pupil ofOraz io Camb iasi ; he a l so studied the work s of Paul Veronese . Hewas an excel len t coloris t both i n oil and fre sco , espec ially in the lat»
ter . His work s are numerous in the churches and palaces of Geno a ;hi s chef-(I
’
wu vre was the (upola of the N unz iata i n that c ity .
A nsalo n i , V in c e n z i o , born at Bologna . Flourished about 1 6 15 ,
and died young . A scholar of Ludovico Carac e i , he becam e a pain terof some meri t . He left two al tar-piece s in Bologna . One at S .
S tefano , representing the death of S . Sebast ian ; th e other a Ma
donna, i n the ch . of the Celestine monks , whi ch i s much admired .
A ns e li n , Je an L o u i s , born at Paris (1 754 An engraver .Hi s chief work s were from the pic ture s of French masters represe n ting historical and poetic al subj ec ts .A nselm i , Gi o rgi o , born at Verona (1 722—1 79 Pupil of Bales
tra . Pai nted the cupola of S . Andrea at Mantua .
A nse lm i , M i cha e l A n ge lo , called M ichel angelo da Siena , bornat Lucea and studied at S iena , but ‘his family were of Parma (149 1
Baz z i w as his mast er . He became a fol lower and imi ta to r ofCorreggio. t e n the latter pain ted th e Cath . of Parma
,Anselmi
ANSELM I ANTONELLO. 47
was one of the artists to whom th e chapel s were given . He paintedmuch in Parma . There i s a Madonna ” by him in the Lo uvre .
His designs were weak ; his heads studied , and hi s colors gay . Hedied at Parma .
A n si a ux , Je an Jo se ph Ele o n o ra A n t o in e , born at L i ege (1 764Pupil of Vincent . I l e painted hi s to rical and poe tical sub
je cts, and large numbers of portrai ts . He rank s among the first arti sts of h is time . There are three pic tu res by him in the ch . of S .
Paul at Liege . He painted portraits of many eminent statesmen a i (1
general s .An t elam i or A n t e lm i , B e n ede tto , born at Parma . Flo urish ed
about 1 185 . A basso-relievo of the Cruc ifixion by thi s sc ulptori s i n the Cath . of Parma , and though rude when compared with a h
cient or more modern sculpture , i t i s excellent for i ts t ime .
A n th em i u s , born at Tralles i n Lydia . An eminent archi tec t andmathematician . In 532 he was employed by Just inian i n the building of the ch . of S . Sophia at Constantinople . In 1 7 7 7 a fragmentof one of his mathematical work s was publi shed at Paris .A n ti q u u s , Jan , born at Groningen (1 702 He commenced
hi s artistic career as a glass painter ; he next studied w ith Jan Abe lWassenberg, after which he wen t to France and painted portrai ts .At length he went to Florence , where he was six years i n the serviceof the Grand Duke of Tuscany. After hi s return to Hol land hepainted various l arge pictures in the Pal . of Le o , one of which wasMars disarmed by the Graces . ” His design and color were good .
A n t o li n e z , D o n Jo se f, born at Sev il le (1 639 Pupil ofDon Francesco Riz i . His hi storical pictures were admired for theirfine landscape backgrounds . He was a man of haughty temper andsarcastic humor . In the Queen of Spain ’s Gall . i s his Magdalene i nEc stasy upborne by angel s .
” The design and coloring are good , butthe saint i s too sad for her triumphant position . In the ch . of LaMagdalena at Madrid are the Miraculous Conception a nd theGood Shepherd ,
” by Antoline z .
A n t o li n e z de S arab ia , Fran c isc o , died 1 700. N ephew of Josefand pu pil of Muril lo. Although he made himself a good reputationas an historical painter
,he gave up the profession to prac tice law ,
for which he h ad been educated at Sev il le . But not succeeding , hewas obliged again to pa i n t as a means of l iv ing . At this t ime hemade a serie s of smal l picture s from the Bibl e and the l ife of th eVirgin
,which have been very greatly admired. After the death of
his wife he determined to be a pries t, but did not live long enough totake orders . Palomino says
,
“ i n spi te of his strange temper and
unsettled habit s , a man of large erudit ion and great powers of memory
,and had an apposite quotation on his tongue for every inc ident
that could occur .
”
A n t o n e lla da M e ss in a . Se e Messi na.
48 ANTONIO APOLLODORUS.
A n t o n i o , M arc . Se e Raimondi .A n t o n i o , Pe dro , born at Cordova (1 6 14 Pupil o fAnton io
del Casti l lo . A good colori st.A n
‘
o n i sz e , Co rn e li us , born at Amsterdam about 1 500. He excelled i n painting v iews of streets and towns. In the treasury ofAmsterdam is hi s picture of that c i ty in 1 536 he also pain ted twelvev iews o f i ts publ ic buildings and engraved them on as many block sof wood . These prin ts are no w rare .
A pe l l e s . The most celebrated Grecian painter . He studiedn a d . r Ephorus at Ephesus , under Pamphilus at Amphipol i s, andlater i n the school of Melanthius at Si cyon . He combined the ele
ga nce o f the Ionic , with the accurate sc ience of the Sicyoni c school .The bes t part of hi s l ife was spen t at the courts o f Philip and Alexander the Great, and he was the only m as ter whom the lat ter wouldal low to pain t hi s portrai t . His most famous work was the VenusAnadyomene . This was painted for th e temple of Asc lepius at Cos .It was taken to Rome by Augus tus and placed i n the temple ofCazsar, and when i t had been inj ured no artis t would attempt i ts resto ra t i o n . He painted Alexander with a thunderbol t in his hand
,for
the temple o f Artemi s at Ephesus , and the monarch i s said to havedeclared that there were two Alexanders ; the son of Phi l ip whowas unconquerable
,and th e work of Apelles , which was i nimitable .
There are many anecdote s of Apelle s, and he i s said to have seenand admitted the excellence s o f other arti sts , but he c laimed that heexcel led al l in grace . In order to tes t the accuracy of his work s hewas accus tomed to expose them in some publ ic place and concealhimself where he could hear the remark s of those who passed by .
On one occasion a cobbler critic ised a shoe ; Apelle s corrected thefaul t ; but when the same man found fau l t with the leg , the masterrushed out and commanded him to stick to the shoes . Apelle s wentto Rhodes , and . to the studio of Protogenes when that master wasabsent . A pane l was there ready fo r use . Apel le s took a pencil anddrew a thi n colored l ine i n such a way that when Protogenes saw i the knew who must have done i t ; he then drew a thi nner l i ne of adifferent color upon that o f Apel les . When the latter saw this hedrew still another l ine which d iv ided that of Protogenes as he haddivided the first. Thi s panel was carr ied to Rome , where i t was conside red the most wonderful work of art in the Pal . of the Caesars .It was burned with that building . N o work of Apelle s’ remains .A po llo do rus . 1 . An Athenian pai nter who flourished about 408
n . C. He was the discoverer of chiaro-scuro . Pl iny says he was thefirs t arti s t whose picture s rive ted the eyes . 2. A sculptor . Hemade bronz e statues and then des troyed them , because they (l id notsat isfy him . He was called the mad-man ,
” and was represented i nthat charac ter by the sculptor S i lan io n . 3. An archi tec t of Damascus . Traj an employed him to build the Forum , Odeum ,
and Gym
APOL LODORUS APPELMAN . 49
nasium at Rome . Hadrian,who took offence at some words of Apol
lode rns’, first banished him ,and afterwards put hi m to death .
A po llo n i o , A go stin o , born at S . Angelo i n Vado . N ephew ofLuz io Dolc i, whom he assis ted in the latter part of hi s l ife . Apollon io removed to Castel Durante and worked both in stucco and oi ls .He was the heir o f L uz io .
A po llo n i o . Ja c o po , born at Bassano (1 584 Grandson ofJaCOpo da Ponte , called Bassano, by whom he was instructed . Hewas the best imitator of his master among all his di sciples . Hisfinest work i s the “ M artyrdom of S . Sebastian ” i n the ch . of thatsaint at Bassano . In the dome of Bassano there i s a Magdalen ,
”
and at the Riformati a picture of S . Franc is ,” by Apollonio .
A po llo n i u s 1 . Born at Tralles and a brother of Tauriscu s. Thesebrothers were the sculptors o f thegroup called th e Farnese Bull,
”
whi ch represents the punishmen tof Dirce . This group , now atNaples , was taken from Rhodesto Rome by Asinu s Polli o ; i t wasfound in the excavation o f th e
Baths of Caracalla in th e l 6th
century , and pl aced in the Farnese Pal . Batt ista Bianca, ofM ilan , undertook its restoration , buthi s work i s very unlike the original . It was origi nally made of asingle block of marble . It i s b elie ved that these sculptors li vedi n the first century o f the Christ ian era. 2. An Athenian sculptor, son of Nes tor , and the authorof the “ Torso of Hercule s in theBelvedere , one of th e most splendid remain s of Grec ian a rt. Therei s al so a statue of JEsculapi u s at Rome by this master. 3. AnotherAthen ian sculptor, son o f Archi as . He executed the bronz e head ofa y oung hero , found at Hercula neum . 4 . A sculptor, whose name i son a beautiful statue of a young satyr i n th e Coll . of the Earl of Egremont at Petworth , Sussex, England.
A ppe li u s , Je a n , born at M iddlebo urg. F lourished about 1 7 78 .
Painted history , portraits , and landscapes . His pictures are mostlylarge . He h ad more than ordinary talent .A ppe lm an , B e rn ard or B a re n t , bo rn at the Hague (1 640
It i s not known where he studied , bu t the fac t that many of hi s pictures are o f I tal ian scenery indicates that he vi si ted Italy. ThePrince of Orange employed him a long time . The landscapes whichhe painted i n the Pal . at Soesdyk are goo d in style and color . He
4
D IRCE . (NAPLES . )
50 APPELMAN ARALDI.
painte d landscape backgrounds to the portraits of other art i s ts,and
al so painted portraits himself .A pp ian i , A n dre a (1 754 An Italian, who painted i n oil
and fresco,i n a n original and graceful style . His frescoe s in the
imperial pal . at M ilan are simple and grand . The portrait which h emade of Napo leon , wh o had appoi nted him hi s painter , i s i n England . He was made a kn ight of the Iron Crown and a m ember ofthe Legion of Honor , but when the Bourbons were restored hi s pension was taken awa y . In 1 8 1 3 he had a stroke of apoplexy
,and be
came so poor that he was forced to sell hi s drawings , and everythingof value that he posse ssed .
A pp ian i , F ran c e sc o , born at Ancona, 1 702. Pupi l of Maga tta .
In S . S isto Vecchio at Rome , he painted i n fre sco, fo r Benedi ct XIIIa picture of the Death of S . Benedict .” The pe pe gave hi m agold medal . IIe settled i n Perugia, was presented wi th the freedomo f th e c ity , and labored unti l he was n i nety years old with a v igorequalled only by that o f Titian . Peru gi a i s full of hi s pictures, andthere are many of them in England .
°
A q ui 1a , Fran c e sc o F ara o n e , born at Palermo, 1 6 76 . A designerand engraver . A brother of the celebrated Pie tro Aquila. In 1 700he establ ished himse lf i n Rome . Some o f hi s e ngrav i ngs are highlye steemed . Beside s detac hed pieces . he made twenty-two plates .calle c Picturae Raph ae li s Urb i na t is ex aula e t c o nclavi bus Pa la ti i
Vatican i,etc .
,Franc . Aquilo
,del . e t i nc id.
A q u i la , G i o rgi o . called Maestro Giorgio (la F ire nz i , flouri shedfrom 1 3 14 to 1 325 . Sa id to have be en th e firs t Itali an arti s t whoused nut oil .A q u i la , P ie tro , born at Marz alla . The early part o f his l ife was
passed i n a seminary preparing for the prie sthood. He went toRome i n 1 700 wit h his brother France sco , and became a. monk , buti n his secl usion he was devoted to art . He painted only tolerably,but excelled as an engraver. His bes t pri nts a re after the Caracci .and these are h ighly esteemed . The number o f hi s work s i s verylarge
,and some of them are after hi s own designs . His drawing i s
correct and hi s etching bold and free . The Farnese Gallery withthe statues and ornaments, i s one of his best works .A qu i la , Po m pe o de ll
’
. Flo urish ed i n th e l ast part of the l 6thcentury . A painter of hi story i n oi l and fre sco . Several of hisfrescoe s are in hi s n ati ve ci ty , Aqui la. At Rome , i n the ch . of S .
Spiri to i n Sassia, there i s a fine Deposition from the Cross by thi smaster .Araldi , Ale ssan dro , born at Parma (1465 Painted hi s
tory . Lanz i says , was indispu tabl y a good arti s t i n the m ixedmanner
,that i s now called a ntico m ode rno . His pictures are con
fined to Parma . He had l it tl e origi nali ty . Th e following i s a l isto f hi s works : Duomo, fresc o, on the wal l to the right as you
ARALIH ARDELL . 5]
enter ; Virgin and Ch ild with S . Joseph and a kneel ing man ;Parma Gall . , an “ Annunc iation on wood , painted i n o il ; ch . ofS . Paolo , a room painted in various designs ch . of S Sepolcro , picture of S. Uba ldu s, between the archangel s M ichae l and Rap
ph a e l with an Annunciation ” and Pieta i n the pediment .A rb a s i a , Ce sare , born at Saluz z o . Flourished 158 3—1 6 14 . A
pupil of Federigo Zucchero . Painte d in oi l and fre sco,but excel led
in the latter . He went to Spain and worked in Cordova and Ma
laga . In 1 583 he painted th e Martyrs of the former c ity i n theCath . Fo r a picture of the Incarnation ,” i n the Cath . of Malaga
,
he received three thousand ducats . About 1 588 he went to Ro mewith his former master. He was one o f th e founders of the Acad .
of S . Luke , of which Federigo was the firs t president .A rc e , Jo se f de . A pupil of Mart i nez Montanes . He executed
e ight colossal stone statues, repre senting the four Evangeli s ts andfour doc to rs of the Church , which were placed on the balustrades ofthe Sagrario o f the Cath . of Sev il le . He also carved i n wood th esain ts which adorned the high altar of the Carthusian s at Xere s .A rch e r , W y ke ham , born at Newcastle-upon-Tyne (1 806
He studied engraving with John Scott of London . He made etchings of places of i n te rest at N ewcastle and Hexham . At Edinburgh,he made drawings of the streets and edifices of the town , and re
turned to London to perfect himsel f i n etching upon steel . He wasa member of the new soc iety o f painters in wate r-colors . Mr . Archer was author of " Vestiges o f Old London,
” il lustrated by e tchings ; and a contributor to different journal s . He claimed to haverev ived th e pra ctice of engrav ing i n monumental brass , and execute dwork s of that description . He also painted a l ittl e i n oil .A rc im b o ldi , G i use ppe , born at M ilan , 1 533 ; died at Prague,
1 593 . He was court painter to Maxi n ili an II. and the EmperorRo dolph . He excelled i n pai nting interiors, k itchens , fru i ts , vogetables, utensi l s , etc . He also painted capricci , or pictures whi chlooked l ike figure s i n th e distance , but fel l into heaps of flowers andleave s as one approached them .
A rc o , A lo n so de l, bo rn at Madrid (1 625 Called El So rdillo de Pereda , and a di sciple of Antonio de Pereda . He was dea fand dumb from his birth . Palomino praise s him . Stirl ing says h ispicture s were mostly painted for publ ic occasions
,such as triumpha l
procession s, etc . Many of his work s were in th e public bui ldi ngs ofMadrid and throughout Spain .
A rde ll, Jam e s M c , born about 1 710. A native of Ireland,or the
son of Iri sh parents . One of the best mez z otin to engravers . Thenumber o f hi s plate s i s l arge . Many of them are po rtrai ts of di sti ngu ish ed men of hi s time . He left a few plate s of historical sub
je cts after Vandyck, M uril lo, Rembrandt, etc ., some of which are
extremely fine .
52 ARDEMANS ARETUSI.
A rdem an s, Te o do ro , born at Madrid, 1 664 . An eminen t architeet, sculptor, and painter. He studied i n the school of Co c llo . Hisattent ion was so gi ven to his other pursuits that hi s picture s werefew . That i n the vaul t of th e sacristy of S . Franci s at Madrid i s achej ld
’
aeuvre . In 1 689 he was master of works to the Cath . of Granada, where he di stinguished himse lf as a c ivi l e ngineer. In 1 69 1 hewen t to Madr id, and fi l led the pl ace of master of work s to the munic ipali ty whi le that functionary was sick . In 1 694 he was appointedto th e same post at Toledo, and in 1 700 at Madrid . In 1 702 PhilipV . made him superi ntendent of works at the A lcaz ar . In 1 704 hewas made painter-i n-ordi nary, and rece ived a key as deputy-Apo se ntade r. He made design s for v arious publ ic occasion s
,funeral s
,etc . ;
th e plan s for the col legiate chu rch and high altar ; for a larg e part ofth e Pal . and gardens of S . I ldefonso ; and for the ch . of S . M i llan atMadrid . I t i s sai d he al so made some engrav i ngs . He w rote andpubl ished work s on engineering and archi tecture , and a eulogy uponPalomino.
A rde n t e , Ale ssandro . Flouri shed 1565- 1595 . He was a Piedmontese , but the exact plac e of his birth i s not known . Many of hi swork s are at Lucca . At Turi n , at the Monte della Pieta, there i s apicture of the Conversion of S . Paul ,
” which indi cate s by its stylethat he studied at Rome . At the time of hi s death he was pain terto the cou rt of France .A re gi o , Pa b lo de . Flouri shed 1 506 . He i s classed among Span
ish painters, but i t i s probable that he was an Ital ian , and of theschool of Leonardo da Vinci . He pa i nted, together w ith F . Ne apo li ,the doors of the great al tar i n the Cath . of Valenc ia. Long afterwardsPhil ip IV . said of them ,
“ th e a ltar was si lver, but i ts doors weregold .
A re llan o , Ju an de , born at Santorcaz (1 6 14 A pupil ofJuan de Sol i s . He did not succeed at first, and began to copy thepicture s of Mario dei F iori . He studied nature c losely, and at lengthexcelled in flowers and frui t s . His picture s are seen i n most Span i shcol lecti ons and are highly esteemed .
A re tin o , S pin e llo , born at Arez z o (1328 He painted atArez z o, F lore nce, Siena, and in th e Campo San to at Pi sa. In S.
Angelo at Arez z o h e painted the Fal l of the Angel s,” i n whi ch
Luc ifer was so terrible that th e remembrance of i t affec ted the mi ndof Spinello, haunted his dreams, and, i n tru th, hastened hi s death.
In general Spinel lo was sketchy and unequal i n execution , but showedgreat talent i n th e vehemence of hi s conceptions . He pai n ted the
history of S . Benedi ct in the Sacri sty of S. M iniato at Florence .
These picture s are well pre served, and some of them are among themost spirited conception s of all th e pictures of the school of Giot to .
A re tus i , or M un ari de gli -A re tu s i ,Ce sa re . Called by so me Mo
denese , because born at Modena, by others Bologne se , since he lived
54 ARIAS ARTEAGA .
some meri t. In the Queen of Spain’s Gall . there i s a picture byArias of “ The Pha ri see s ask ing Christ concern ing the TributeMoney.
”
A riste i de s . 1 . Lived abou t 360 B . C. One of the most celebrate dGreek painte rs . A native of Thebes , son of Aristodemus , and pupi lof Euxe n idas and N ico m ach u s. He exce lled i n depict ing the passionsand feeli ngs which are observed in common l ife . It i s said that thefirs t foreign painting ever displayed in Rome was by this artis t , andrepresented Bac chus .” It was brought to Rome byMumm i us, andplaced in th e temple of Ceres . 2. A sculptor celebrated fo r hiss tatues of two and four-horsed chariots .A rlan d, Jam e s A n th o n y , born at Geneva (1668 He firs t
painted smal l miniature s for the j ewellers, but at length d id someportraits
,which were so succes sful as to i nduce him to go to Paris .
Here he was patroniz ed by the Duke of Orleans, who gave hi mapartments at St . Cloud, and took le sson s i n painting from him . Hedevoted himself to his profess ion , i n order to meri t his good fortune ,and became a favorite of the Princess Palatine . She gave him herportrai t set with diamonds , and when he would go to England , shegave him a letter recommending him to the Prince s s of Wales ,afterward s Q ueen Catherine . Arland painted her portrai t, and waspatroniz ed by many o f the nobili ty . He re turned to Paris, and afew years after
,hav in g acquired an ample fortune, he settled i n his
native c ity , i n which he remained until h is death .
A rm an n o , V in c e n z i o (1 598 A F leming by birth . Hcpainted landscapes and l ived at Rome . Hi s picture s are prai sed forthe ir truthfulness, color, and shading . His figures are good and h i si nvention ce pio u s. It i s said that he was imprisoned in Rome foreat in g meat on fast days, and that on his l iberation he left the c ity i ndi sgu st and went to Veni ce , where he died .
A rn o lfo , erroneously cal led di L apo , was the son of Cambio ofColle de Val d’Elsa (1 232 A disciple of N iccola , underwhom he worked at Sien na . When he died he held the offi ce ofchi ef archi tect and sculptor of S . Reparata at Florence . Many archite c tural monuments were assigned to h im , but most of them haveperished . The tomb of Card . de Braye
,i n S . Domenico at Orvie to
,
was execute d by him in 1 280. This i s a mixture of mosaic,sculp
ture , and archi tec ture , and affords but small Opportunity fo r j udgingof his merits .A rpin o ,
i l Ca v ali e re d’
. Se e Cesari .A rre do ndo . Do n Is i do ro , born at Co lemar de Oreja (1 653- 1
A pupil of Josef Garc ia , and later o f Francesco Riz i. He paintedhistory with great success , and at the death of Riz i was appointedcourt pain ter by Charles II . Palomino mention s a large and verygrand pic ture of the Incarnation by Arredondo.
A rte a ga y A lfa ro , M a ti a s, born at S ev i lle ; died , 1 704 . Pupil
ARTEAGA ASPERTINI. 55
of Juan de Valdes . An eminen t painter and engraver. He paintedmany perspective v iews , i n to which he introduced the storie s i l lustrative o f the legends o f the Virgin . He was secretary of the Acad .
of Sevi lle, at th e t ime o f hi s death .
A rt o is. Ja c o b v an ,born at Brussel s (1 6 1 3 Probably
studi ed with Lo dewyck de Vadde r. Many of hi s pictures are verylarge . He painted only landscapes , and the figure s i n his pictureswere done by Teniers
,Van Herp, Gerard Ze ge rs, and Gaspard de
Crae y e r. They sometimes represented Scripture stories , and are seeni n the churches of Belgium . The picture s of Artois faithfully represent the scenery o f his native country . His penc il was light andfree ; some of his work s are grandly poe tic , and his foliage so perfeet that it seems to be i n motion . His coloring i s not of the be s t .His pic tures are numerous
,and very unequal in merit and value .
The Dresden Gal l . has a fine small picture by thi s master , No . 956 .
The Gall . at Brussels has four ; N o s. 3 7 , 1 , and 4 are the best. Thefigures i n the first are by Van Herp . In N o . 4
, they are by Gaspardde Cra ey e r and Peter Snay e rs, and represen t S . Hube rt adoringthe Cruc ifix .
” In the Vienna Gall . are two large pictures with figures by Gerard Zege rs. In private gal leries i n England there are
good pictures by Artois .A spe r, H an s , bo rn at Zurich (14 99 He pai nted portra its
i n the style of Holbein , and gained a reputation which has been i nj ured by hi s picture s bein g sold for those of Holbein . The portra itsof Zu ingli u s and hi s wife , i n the library at Zurich , are by Asper .
His drawings of game, flowers , and birds , were much esteemed . Amedal was given h im to record hi s merit , and yet he lived and di edin poverty .
A spe rti n i , A m ic o , born at Bologna (14 75 Scholar ofFranci s Francia . Very peculiar i n charac ter all hi s l ife, and insanebefore hi s death , according to Vasari , who says that he studied artby going through al l Italy and mak ing copies of all that pleased him .
He could paint with both hands at the same time , and was calledAm ico da du e Pe nellt
'
. His earlie st works are i n S . Cecil ia at B 0logna, and are much inj ured . At S. Frediano in L ucca , there aren i ne pictures by this maste r , i n th e chapel of S . Agostino . Th e v
are much inj ured . His other work s are,Berlin Mu s.
, N o . 1 1 9 ,
Nativi ty ;” Bo logna Gal l . , N o . 29 7,
“ Virgin and Child ,” with
several saints and the portraits o f two patron s ; Madrid Mu s.,N o .
8 85 , Rape of the Sabines Bologna,ch . of S. Martino Maggiore ,
Virgin and Child with saints,among which is S . N icholas giv
i ng their dowry to three young girl s . At Ferrara , i n the S troz z iPal .
,a Predell a with four scenes from th e li fe of Mary .
A spe rti n i , Gu i do , born at Bologna, about 1460. Scholar of Ercole di Ferrara . Died young. His principal work was an Adoration of the Magi ,” now in the Gall . of Bologna (No . It is somewhat fantastic , but a pleasing picture .
56 A SSCIIE -ATHANASIO.
A ssch e , H e n ri v an , born at Brussel s (1 7 75 Studiedfirs t with his father, and then wi th De Roi of Brusse l s . His pictures,which are landscapes , may be seen at Ghent , Lil le , IIacrlem ,
andBrussel s . I n some there are figures and animal s by Omm e ganck.
A sse ly n , Jan , born at Dicsse n , nearAmsterdam . Scholar of Esaias van deVelde , and Jan Mi cl. He went to Italy
i n 1 630, and remained fifteen years . He painted landscapes whi chare remarkable for tender coloring, good drawing , and poetic co nception . Ili s 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 mountain s i n the distance . In theMunich Gall . Cabinets , N o . 445 has a fine effect o f chiaro-scuro .
I t repre sent s a rui ned castle on a rock . In the Coll. o f T . Baring,
Esq., England, a picture o f a Woman and Catt le reflected i n the
water , at the entrance of a cave , i s one of the best work s of Asse lyn .
A sse n , Jan W alth e r v an . Said to havebeen born i n Holland , about 1 490. One of theearlie st engravers on wood . His cuts are highlypriz ed by collectors . A contemporary o f L u
cas von Leyden , he seems to have had th e same rank in wood e n
grav i ng that Lucas held in engrav ing on copper. Little i s k nown ofhi s l ife. He was li ving in Amsterdam i n 1 51 7. His work s are asfol lowsA set of six pri nt s, c ircular , representing the Passion of Chri st ,
marked with his c ipher, and dated 1 5 13 and 1 514 .
A set of s ix large prin ts o f d i fferent subjects i n arch itec tural com
partme nts. In the middle of each the words : 1 . Superbia ; 2. Luxuria ; 3. Inv idia ; 4 . Ira ; 5 . Gula ; 6 . Avaricia ; and their oppositev irtues.A smal l print of an armed Figure on Horseback ; i nscribed SI.
Hadr ianus Amstelodam us in E dibus B o na rdi Petri , etc .
A sse rre t o , G i o va c ch in o , bo rn at Genoa (1 600—1 64 9) S tudiedunder B o rz o ne and Ansaldo . When but sixteen he painted aTemptat ion of S . Anthony.
” There are altar-pieces painted byA sse rre to i n several convents and churche s at Genoa.
A s ta , A ndre a de ll’
, born at Naples (1 6 73 Schola r ofFrancesco So lim e ne . He went to Rome, where he studied the work sof Raphae l . His be st pictures are the N ativ i ty ,
” and the Adoration o f the Magi , painted , a fter hi s return to Naples , for the ch .
of S . Agostino .
A s tle y , Jo h n , born at Wemm , Shropshi re , Engl and . A portrai tpai nter
,who studied under Hudson . He vi s ited I taly . His portrai ts
were fine , and he was rapidly acquiring great reputation , wh e u , a
wealthy lady , whose portrai t he had pa inted , ofl'
e red him her hand .
Aft er h is marriage he rel inquished his profession. Died 1 78 7 .
A th an as i o , D o n Pe dro . Se e B oc canegra .
ATHENODORUS AUB IN . 57
A th e n o do ru s . Se e Age sander.
A tt av an t e or Van te . Livi ng in 1 48 7 . Thi s arti s t was a celebratedilluminator o f MSS. Lanz i says, the excellence of thi s artist oughtto confer on h im “ greater celebrity than he enjoys . ” He ornam e n ted many book s fo r Matthias Co rvi nu s, king o fHungary . Theseafterwards remained i n the Medi cean and Este u se an l ibraries . Amagnificent M i s sal which A ttavan te i l luminated for Matthi as i s nowin the Library at Brusse l s . I t was probably brought to Brussels byMaria , sister of Charle s V. , and wife of Ludwig II. of Hungary .
After the death o f her husband she obtained the government of theNetherlands . The regents of Belgium formerly took their oathsupon thi s volume . The firs t to do so were Archduke Albert andIsabel la, in 1 599 ; the last was the Prince of Saxen-Teschen, i n thename of Joseph II . , i n 1 78 1 .
A tti re t, Je an De n i s , called Fr‘ere Attire t, bo rn at Dole, 1 702 ;
died at Pek in , 1 768 . After studying at Rome , and di stinguishinghi mself by his picture s at Lyons
,he became a Jesuit at Avignon .
About th i s t ime the Jesuit missionary at Pekin sent to France for apainter . Atti re t was chosen to make thi s jour ney , and left Francei n 1 73 7. A picture which he pre sented the emperor
,soon after hi s
arrival , so pleased hi s maj es ty , that he wished to employ Attire t cont inu ally . He wished him to work in water-colors , for he did not l ikethe glos s of oi l . His commission s were so numerou s that he wasobliged to employ Chinese assi stants , who had at first been j ealous ofhim , but at length became reconciled to hi s supremacy. He becamea great favorite , even among the painters , and was able to establisha drawing- school . About 1 760 the emperor obtained v ictorie s overTartar tribes with whom he was at war . Att ire t was ordered to proo ecd to the northwest part of the empire , where he made accuratesketches of triumphal procession s , festival s, e tc . From these hepainted pictures whi ch so pleased the emperor that he desired tomake him a mandarin , which honor Attire t decli ned. All th e pri nc ipal men o f the empire sat to him for their portraits some of themtravelli ng eight hundred leagues for the purpose . Sixteen of the seportra i ts were sen t to Pari s to be engraved at the expense of the em
pe ro r. Very few im pressions of these plates were reserved in France,
and they are extremely rare . They were of immense siz e . Whenthe artis t died the emperor ordered two hundred ounce s of s i lver tobe given to wards the expense of his funeral .A u b ert, A ugu sti n e , born atMarse ille s, 1 78 1 . Painted hi story and
landscapes . The latter are princ ipally from scenery aboutMarse ille s,and the former represent sacred subj ects, and are ofte n very large .
A ub e rt , M i che l, born at Pari s (1 700—1 An engraver of pe rtrait s and hi stori cal subj ects . He seems to have imitated GerardAudran , but with small succes s .A u b i n , A ugu stin e de S t , born at Pari s (1 736 A ski lful
58 AL'
B IN AUDRAN .
engraver . He engraved the works of several French and Italianmasters .A u b in , A u gu sti n e de S t . , born at Paris , 1 720. An engraver of
meri t . Scholar of Laurent Cars . He engra ved the ce ll. of nearlythree thousand medals belonging to M . Pellerin, and the gems of theDuke of Orleans
,beside s an immense number of portrai ts , his torical
subj ects, v ignette s , ornaments for boo k s , etc .
A u b in , Charle s Ge rm a in de S t , born at Paris, 1 721 . Brother ofthe preceding
,and an engraver.
A ub i n , Ga b ri e l Ja qu e s de S t , born at Pari s, 1 724 . Brother ofthe precedi ng . He pain ted h is torical subj ects , and also engraved afew plates from his own designs .A n b ri e t, Cla u de , born at Chalons-sur-Marne (1 65 1 A
pupil of Joubert . He di stinguished himself first as a miniaturepainter. He was appointed to make drawings of objects of naturalhi sto ry at the Jardi n de s Plantes . He accompani ed Tournefort tothe Levant , and the plate s whi ch afterwards illustrated the Ele
ments de Botanique were after the design s o f Anbriet . At thedeath of Jo ube rt he was appointed painter to the king i n the Jardin(le s Plantes , and many of his drawings are now in the library o f theJardin . There are also five folio volumes of hi s designs in the RoyalLibrary at Pari s . He was a botanist , and the plates in Tournefort’s Voy age to the Levant were afte r hi s de signs .
A u de n a e rde or O ude n a arde ,
R o b e rt v an , born at Ghent
(1 663 A good pain ter,
and celebrated engraver . A scholar of Franc i s van Mi e rhOp andJohn van Cleef. At twenty-two years of age he went to Rome ,and there studied u nder Carlo Maratti . He became a reputablepainter of h istorical picture s . In leisure moments he amused himselfby mak ing plate s
,and when these were seen by Maratti he adv ised
h is pupi l to devote himself to engravi ng . The plates i n whi ch heused th e point are much fi ner than those done entirely with thegraver . The principal part of his print s were after the picture s ofhis Itali an master. His drawing is very correc t and shows pe rfectknowledge of the human figure . lli s paintings are qui te in th e styleof Maratt i . His chef-d
’oeuvre i s the altar-piece i n the ch . of theCarthusian s at Ghent . It re presents the appearance of S . Peter to anumber of monk s . In the ch . of S . James i s hi s picture of S . Catheri ne refusing to worship the Fal se Gods . Other churches andconvents of his native e i tv posses s work s of thi s artist .A udo u in , P ie rre , born at Paris (1 768 An eminent e n
graver and a pupi l of B e a u va rle t . He engraved several of th e fi nestpaintings of the Ital ian and Dutch masters for the ce ll. of th e Mus .publ ished by Laurent .A u dran , B en o i t , born at Lyons (166 1 So n of Germain
AUDRAN . 59
Audran , with whom he first studi ed , but later he became the pupilof the celebrated Gerard , his unc le . Although he did not equal thelatte r , he was an excellent arti st . He was a member of th e Acad .
and engraver to th e k ing. He engraved many portrai ts and histo rical subjects . His style was , l ike hi s uncle
’s,c lear and bold
, hi s
drawi ng correct , and hi s heads full of expression .
A u dran , Ch arle s , born at Pari s (1 594 Thi s name wasemi nent among French engravers for more than a century . Charleswas th e first to make it so . His disposition for the art was shown ve rvearly , and he was sti ll quite young when hi s plate s attrac ted attention in Rome , where he had gone to study . He imitated the styleof Cornel ius B lo em ae rt, and used only th e graver . His work s werefinished with great care . His earli er plate s were marked with aC.
, but when hi s brother Claude used the same letter , he changed toK .
, th e i nitial of Karl .A u dran , Cla u de , born at Lyons (1 6 39 After studying
drawing at Pari s u nder hi s uncle , he went to Rome . He drew welland had great fac ility in execut ion . He returned to Pari s , and wasengaged as an assi s tant by Le Bru n . Under the d irection of thelatter he painted the grand staircase at Versail le s , the Gal l . of theTuilerie s , and the Chape l of Colbert
’s Chate au de Sceaux , al l i nfresco . He became an imitator of Le Brun , whom he also assistedin his Battle s of Alexander ,
” and many other works .A udra n , Ge rard, born at Lyons (1 640 So n of Claude a nd
nephew of Charle s . Thi s artis t may be sai d to have reached pe rfe ction in engraving . He studied first with his father
,then with hi s
uncle , and finally at Rome,i t i s believed under Maratti . He was i n
Rome three years,and made a portrai t of Clement IX. and other
plate s , which gave hi m such a reputation that he was recalled to
Pari s by'
Colbert . He was soon appointed engraver to th e king, witha generous pension and apartments at th e Gobel in s . He became i nti mate with Le Brun , and some of his finest plates are afte r thepaintings of that master . The Battle s of Alexander cannot betoo highly prai sed . His plate s were very numerous .A u dran , G e rm a in , born at Lyons (1 63 1 N ephew of
Charles and Claude,and in ferior to some members of hi s family in
artistic merit . He engraved portrait s , ceil ings , ornaments , vases , etc .
A u dran , Jo hn , born at Lyons (1 66 7 So n of Germain, andbrother of Benoit . After studying with his father , he too was placedunder the famous Gerard, and becam e a celebrated artist. He wasmade engraver to the king ,
and had a pension and apartments at theGobelin s
,i n 1 707 . His print s are numerous
,and he continued to
labor after he was eighty years old .
A u dran , L o u is , bo rn at Lyons (1 6 70 Youngest son ofGermain . He a l so studi ed u nder Gerard . He assi sted his brothersin the ir plate s , and did not execute many of his own . He al so e n
graved copies of the large historical plates of his relatives .
GO AUDUB ON AVEL INE.
A u du b o n , Jo hn Jam e s, born in Lou isiana (1 782 As anarti st
,di sti nguished for his drawings of th e “ Birds of America .
”
He studi ed pai nting in Par i s under the celebrated David . Hi s platesare very pe rfec t , of the s iz e and color of l ife , and the beaks , talon s ,and legs are of ac curate d imensions . The book was th irteen ye arsin preparation and was publi shed i n Edinburgh ; thi s t ime doe s noti nclude the mak i ng of a large po rt ion of Audubon’s pictures . It has435 plate s , contain ing figures . Cuvier pronounced i t the
most gigant ic and most magnificent monument that had ever beenerected to N ature.” Audubon w as al so the author of Orn i th o lo gical Biography
,
” and at the time of hi s death was at work upon theQ uadrupeds of America.
”
A u gu r, H e z eki ah , son of a carpenter , bo rn in N ew Hampsh ire
(1 791 He was first a shoemaker’s apprentice , then a tradesman in N e w Haven , where he failed . He partly pai d hi s debts bycarv ing ornamental furni ture , and inven ted a mach ine for weavi ngworsted lace . Gradually he turned hi s attention to sc ulpture . Hecopied a “ Head of Apollo ,
” and in 1 827 executed a “ IVa shi ngton and a Sappho ,
” whi ch establi shed hi s local fame . His be stwork w as the group o f Jeph th a and his Daughter ,
” still pr e servedi n Yale College Gall . Thi s obta i ned for him several commissions forbusts and monuments .A u stin , W i lli am , born i n London abo ut 1 740. An engraver and
a pupi l of George Bickham . He engraved some la ndscape s afterRuysdae l and other arti sts , but his principal work was a se t ofplates
,of views of Palm yra and it s Rui n s , and of Ancient Rome .
A u z o n, M a dam e , born in Pari s , 1 7 75 . She studied under Regnault. Painted portrai ts and fami li ar subjects . Several of her picture s have been engraved .
A v an z i i or A v an z i , Ja co po de gli . An ancient painter of B 0logna , of whom li ttle i s k nown . He flouri shed abo ut th e middle ofth e 14 th century. In the Colonna Gall . at Rome
,there i s a Cruci
fix io n by this master, and N o s. 1 59 , 1 60, 1 6 1 , of the BolognaAcad . are al so hi s . In the ch . of Me z z arata he pai nted picture swhich Malva s ia as sert s were prai sed by M ichael Angelo and the Carace i . The se have been whitewashed , and restored , and are veryimperfect .A v an z i , Gi use ppe , born at Ferrara (1 655 School of Co
stan z io Ca ttan io . He i s noted for the num bers of his works,rather
than for excellence . Most of them were for the convent s andchurches of hi s native c ity.
A v e d, Ja c qu e s A n to in e Jo se ph , born at Douay (1 702Pupi l of Picard and a portrait pai nter of meri tA v e lin e , A n th o n y , born at Paris , 1 662. Designer and engraver.
His pri ncipal work s were views of the palace s and Chateaux o f Eu
rope .
62 AZZOL IN I B ACHEL IER .
Flourished 1 5 10. He resided ch iefly at Genoa,and hi s picture s are
i n the churches and convents o f that c ity. He excelled in wax-work .
and formed heads w i th a wonderful expre ssion of li fe .
B aa de r, Am ali e , born in Erding , Bavaria , 1 763 . An amateur e ngraver. She studied under J. Dorner . Her mark is an A and Binterlaced , and i s found on copies after Rembrandt , Schm idt , andsome Italian masters .B a ak, Ha tt i gh Jan . An artis t of Utrecht about the middle of
th e 1 7th cen tury . I n the hospi ta l of S . Jo b of Utrecht there i s awork of hi s dated 1 642. It i s a land scape ,
with figures,and from it s
style he was probably a pupil of Po e lem burg.
B a an , Jo hn de , born at Ha e rlem , 1 633 di ed at the Hague , 1 702.
An emin ent portrait pai nter. In s tructed first by an unc le namedPiemans, he then studied under Jacob de Backer. He succeeded sowel l i n po rtrai t painting , that b e confined himself almost enti rely tothat branch of art . He was an admirer and worthy imitator of Vandyck . Charle s II. of England was anxious to be pai nted by De Baan ,
and inv ited him to his court for that purpo se , where he al so pai ntedmany of the nobili ty. t e n L o uis XIV. had conquered a part ofIlo lland, he se nt to Utrecht for this arti st to come and paint hi sportrai t . But he received a refusal , the excuse be ing , that when hiscountry was i n the midst of mourning , he could not trace the featuresof her conqueror . One of the be st work s of De Baan i s hi s portra itof Prince Maurice o f N assau-Ziegen .
B a cc ari n i , Ja c o po , bo m at Reggio (1 6230 Painter of history and a pupi l o f Oraz io Talami . Two of his be st work s are inthe e h . of S . Fi li ppo at Reggio , and repre sent the “ Death of S .
Alessio and the Repo se in Egypt .”
B a c c i c i o . Se e Gau lli .
B a c c i o . Se e Della Porta .
B a ch e le y , Ja c q u e s , born at Po u t l’Evéqu e in N ormandy (1 7 12
An engraver and designer. Member of the Acad . of Rouen .
We have pri nt s of la ndscape s after Dutch masters by this arti st.B a ch e li e r, Je an Ja cq u e s , bo rn at Pari s (1 724 As an a r
ti st he is unimportant , but he gai ned a fort une of francs ,which he devoted to the e stabl ishment of a free school of drawingfor arti sts . He was d irector of the porcelai n manufac tory a tSevres , and greatly improved i ts taste . Bacheli er assi s ted Countde Caylus i n hi s attempts to di scover the anc ient method of e n
cau sti c pai nting , and invented a k ind of encaustic varn ish to preserve marbles from the action of the weather. He a l so wrote twobook s ent itled “ Le Con se il de Fami lle , and a “ Mémoi re surl’I'fdue ati o n des F ille s.
B ACHELIER B AERSE. 63
B a ch e li e r, N i cho las , born at Toulouse (1 4 96 An unimpo rta nt sc ulpto r and archi tect .B a chi a c a . Se e Ubertino.
B a oke re e l, G i le s. An arti s t who adorned many of the churchesof the L ow Countries . A contem porary of Ruben s, and like h im instyle . One of the be st arti sts of his country, when art was at its best .An altar-piece of hi s i n the Cath . of Bruges , represents S. Charle sBorromeo administe ring the Sacrament t o those stricken with thePlague .
” A grand and striking composition , with fine coloring. Inthe ch . of the Augustine s at Antwerp , there i s a fine Crucifixionby B acke re e l. and at the Francisc an ch . at Bru ssel s, a picture of theVirgin and Child ,
” with S. Beatrice and other saints .B a ckh u y s e n , L udo lf, born at Embden , 1 6 3 1 ; died at Amsterdam ,
1 709 . Unti l he was eighteen years old , he was employed in mercantil e pursu its ; but constantly sought the company of painters , and atthat age became the pupil of Alde rt van Everdingen . He went consta ntly amongst the shipping, and made sketche s in Indian ink andbistre
,which were purchased by collectors, at large prices . He at
length began to paint with good succe ss , and became , i n time , themost noted pai nte r of rough seas . He often exposed himself and hi sboatmen to great danger , by going out in storms , to study the wavesand clouds
,when in their wi ldes t state . In coloring he cannot com
pare with Willem van der Velde , but the pictures of the latter represen t mostly smooth waters . The pic ture s of B ackhuyse n were ingreat demand , not only in hi s own country , but i n others . Smithenumerate s one hundred and eighty-four of his work s , and many ofthem of considerable s iz e . I t i s not possible - to give a fu l l l i s t ofthem and the places they are in , but the following are some of th ebest . One in th e Van der Hoop Col l . at. Amsterdam
,a coast scene ,
sea and sky agi ta ted with coloring or light ing, of great beauty. N o .
5,Amsterdam M u s. , dated 1 6 73
,v iew of the River Y ; clear and
bril l iant . N o . 6 , same place , stormy scene . Louvre , No . 7, roughsea at the mouth of the Maas ; a fi shing boat i s trying to run i n .
N o . 5 of the Louvre give s te n men-o i -war at the mouth of the Texel .A v iew of the last river i n the Bridgewater Gall . , N o. 1 22, wi th sevenvessel s, and dated 1 6 70, i s very fine . In th e M u s. at th e Hague , N o .
6 i s fine in th e sunshine and shadow upon the water, but N o . 7 i sheavy and hard . Many of his pictures are i n England , i n the N a
tio nal Gall . , ce lls. of L ord Ashburton , Mr. Baring , and others .Peter the Great was a pupil of B ackh uy se n , who m ade for the Cz arnumerou s drawi ngs for the construction of vessel s .B a ckh u y se n , L u do lf, grandson of th e precedi ng, born at Amster
dam (1 7 1 7 Good painter of horses and battles .B a e rse , Ja cq u e s de la . A sculptor of Dendermonde
,who la
bored i n 1 39 1 . He did the carv ing of the remarkable shrines , designed and painted by Melchior B ro e de rlai n , for the Cath . of Dijon ,whi ch are now preserved in the Mu s. of that c ity.
64 B AGL ION I B AILL IE.
B a gli o n i , Ce sa re , born at Bologna. A contemporary of the Carace i , he profited by their style, though not of the i r school . He wasan arti s t of considerable merit , and painted landscapes, hi story , an imal s
,fruit
,etc . His principal work s are at Bologna and Parma , and
are much esteemed . In the ch . of th e Madonna del’ Soccorso at B ologna there i s an Ascension , and in the ch . of S. Giorgio , an altarpiece
,repre senting S. Anthony and S . Martha,
” by this maste r.He was l iv ing i n 1 6 10.
B a gli o n i , Ca v ali e re G i o ., born at Rome . A pupil of France scoMorelli . He was much employed during the time of C lement VHI.and Paul V . In S . N iccolo in Carcere , there i s a fine pic ture of hi sof the “ Last Supper .” In S . Peter’s there i s a picture of sth a t
sai n t raising Tabitha from the dead, for wh ich he was made aKnight of the Order of Ch rist, by Paul V. This artis t was th eauthor of the Live s of the Pain ters, Sc ulptors , and Archi tec ts whoflourished at Rome from 1 5 72 to 1642.
B agn a c av allo , I] . The real name of thi s arti s t was BartolommeoRamenghi . He was called Il Bagna cavallo from his birth place .
Born 1 484 ; died at Bologna , 1 542. Ile studied under Francia atBologna , before he went to Rome , where he was a pupil i n the schoolof Raphael, and afterward s assis te d that great master i n some important works . B agnacava worshipped Raphael , and fel t that to im ii tate h im ,
was an aim worthy of his ambition . Upon his return toBologna he brought the Roman style of painting to that c ity.
The works of this artis t are not common i n gallerie s . It i s saidthat his picture s were admired by the Caracc i . He distinguishedhimself at Bologna by a Crucifix ion which he painted for the ch.
of S . Pietro . It i s dated 1 522. In th e Dresden Gall . there i s aMadonna and Child in a glory
,with four male saints , which is ,
by some , considered his m asterpiece . It i s a picture of great andenergetic expression .
” A Holy Fami ly ” w1 th saints , i n the Gal l .at Bologna i s pleasing , but not powerful . In S . Maria della Pace atRome , there are fre scoe s of a Sai nt and a Prophet i n armor , colossali n siz e . There are also work s of hi s i n the Berlin Mus . , the ColonnaPal . , and in the Solly Col l . There are others i n different churchesof Bologna.
B agn a c a v allo , G i o . B a ti sta . So n of Bartolommeo Ramenghi .He went to France as an assi stant to Primaticc io , when he undertookhis work at Fontai nebleau . When he returned to Bologna , he wasmade chief of the Acad. of that c ity.
B ai lli e , Capta i n W i lli am . An amateur engraver.Born i n Ire land about 1 736 . His early li fe was passed i nthe army , from wh ich he retired wi th the rank of captai nof cavalry. He devote d the rema i nder of hi s l i fe to art .
He was one of the most i ntel l igent connoisseurs of his time . We
have about a hundred plate s of hi s, engraved i n d ifferen t manners .
B AILL IE B ALDOVINETTI. 65
His copies after Rembrandt, and his plates after the style of thatmaster
,are his choicest works . The following are a few of his
latesPChristHealing the Sick , called the Hundred Guilder Pri nt. Orig
inal plate by Rembrandt, and admirably retouched by Bail lie .
Beggars at th e Door of a House ; afi er R embra ndt’s print.The Gold-weigher ; finely copi edfrom R embra ndt’sprint.Three Trees ; landscape ; after sam e .
Old Man ,half- l engt h , with a Cap and Beard ; 1 765 ; afte r R em
bra ndt.L andscape , with a Horse ; after R embra ndt’s prin t.The Pen-cutter ; afte r Ge r. Do uw.
Interior of an Ale-house, wi th figure s regal ing ; afler Ten i ers
fine .
Another Interior with Peasants Smok ing and Drink ing afte r A .
Ostade . 1 765 .
B a i li i , D a v id, born at Leyden (1 584 Painter of portraitsand perspective church interiors . The latter works of hi s are muchadmired.
B a i llu or B a i lli u , born at Antwerp , 1 6 14 . An engraver,whose
principal plates are after Ruben s and Vandyck . Although not thebest
,his prints are wel l e steemed .
B a i llu or B a i lli u or B a le an , B e rn hard, born i n the N etherlandsabout 1 625 . An engraver of portraits and a few historical subjects .
He executed entirely with the graver .
B a j a rdo , G i o . B a t is ta , born at Genoa (1 620 A painter ofhistory whose pictures are e steemed in Genoa. The best are in the “
portico of S . Pietro and the cloi ster of S . Agostino .
B akke r, Ja c'
o b , born at Harl ingen (1 608 Lived chieflyat Amsterdam , and painted history and portrai ts with great rapid ity .
His work s are praised by the poet Vondel . M any of them are inSpain . An altar-piece i n a chapel of th e Antwerp Cath . representing the “ Last Judgment ” i s by Bakker
,and i s a fine picture .
Another of his work s is a large archery p1ece,N o . 34
,i n the new
Hotel de Ville at Amsterdam .
B akke r, A dri a n , born at Amsterdam (164 3 N ephew ofJacob . Studied at Rome . Excelled most of his countrymen in corre ctn e ss of design . His eke/ ld
’
aeuvre i s a picture of the Judgmentof Solomon ,
” i n the Hotel de Vi lle at Amsterdam .
B a ldi , L a z z a ro , born at Pisto ja (1 623 A scholar of Pietroda Cortona , i n Rome . He became an eminent painter of his time .
In the Pontifical Pal . at Monte Cavallo,there i s an esteemed work of
his representing Dav id and Goliath .
” The “ Martyrdom o f S .
Laz z aro i s in the ch . of S . Luke .
B a ldo v i n e tt i , A le ssi o , born at Flore ne e (1 4 22 He isbel ieved to have been a pu pil of Paolo Uccelli . His works are few ,
5
66 B ALDOVINETTI B ALDUNG.
and are disti ngui shed for minuteness in detail . He is said to havepainted straws so that their stems and j oints could be seen . He exe cu ted portrai ts and hi storical subj ec ts, both in oils and fre sco . Hisremaini ng work s are much inj ured by scali ng or the abras ion of thecolors . Those be st known are a fresco i n the cloi ster of the Anunuz iata at Florence ; N o . 24 , Utfiz i Gall . ; and a Trin i tv with Saint s
,
painted for a chape l i n S . Trinita at F lore nce . He was inte res te di n mosaic work
,and studied much to learn the be s t manner in whi ch
i t could b e done . In 1 48 1 he repaired the mosaic over the portalat S . Mi niato al Monte . He was a chemist , as well as an arti s t . Heclaims to have been the teacher of Gh irlandaio. He was buried i nS . Lorenz o at Florence .
B aldri gh i , G i us eppe , born at Pavia (1 722 A pupil ofVi nce nz io Me u e c i . He was inv ited to the court of Parma, and appoin ted painter to the Duke . He painted portrait s of the ducalfamily, which were much admired. One of h is finest pictures i s i nthe saloon of the Acad . of Parma, and represents Prometheus .”
B alduc c i , Gi o ., cal led Cosc i , died 1 600. Sai d to have been anative of Florence and a pupil of Batista Naldin i . He w as employedat Rome by Leo XL, when Card . De’ Medic i . His work s may beseen at Rome, at F lorence , and at Naples , which he v i sited towardsthe close of hi s l i fe .B a ldu n g, Han s , called Grun . Born at Gemund , 1 4 70 ; died at
Strasbourg , 1 552. A contemporary,and perhaps a pupil of Albert
Durer , but inferior to hi m i n beauty o f design and color. A numberof his pic tur es may be seen i n the Cath . of F re iburg . An altar-piecedated 1 5 1 6 i s considered his chef d
’
aeuvre . One of h is be st portra i tsi s i n the Vienna Gal l . N o . 1 4 8 , Munich Gall . Cabinets
,i s a por
trai t o f the Margrave of Baden. Berli n Mu s., N o s. 603 and 623 are
his work s . He was an engraver,and worked chiefly on wood .
Bartsch assign s to him two engrav ings on copper , and menti on s fi ftynine wood-cuts . His drawing was sometimes i ncorrec t ; but theexpre ssion of the b e ads was good . The followi ng are some of hisprints :Adam and Eve pluck ing the apple.The Fall o f Adam ; i nscribed on a table t , L apsus kuma n is ge n
eris. 1 5 1 1 .
Christ and the Apostle s . 1 5 14 . Thirteen plate s .The Crucifixion , wi th S. John , the Virgin , and Mary Magdalene ;
i n chiaro-scuro ; fine .
Two landscapes ; very sc arce .
Four smal l upright prin t s : Solomon’s Idolatry , Sam son and Delilah ,
David and Bathsheba,and Ari s totle and Phryne ; very fin e .
An Incantation : i n chiaro-scu ro . 1 510.
The Holy Fam i ly, with SS. Eliz abe th and Catherine half-length .
1 5 12.
B ALDUNG B ANDINELL I . 67
Two prints of Horse s i n a Fore st ; marked B A LDU N G . 1 534.
A Man with a Horse ; large upright no date .
B ale ch o u , Je an Ja cq u e s , born at Arles , 1 7 1 5 died at Avignon,
1 764 . Very celebrated engraver . He excell ed all French engraverswho preceded h im i n the clearness of hi s stroke s and bri ll iancy ofcolor . In neatness of execution he has rarely been surpassed. Therei s,however
,a deficiency in his drawing , especially i n portraits , which
detracts from the effect of hi s works. His three plates a fter Vernet,
representing th e Storm , the Calm ,
” and the Bathers,
”are
among hi s finest plates .B a le n , H e in ri ch v an , born at Antwerp (1 560 Pupil of
Adam van Oort . He went to Italy , and re tu rned to Antwerp , wherethe demand for hi s pictures was greater than he could supply . I npuri ty of color he excelled the older F lemish arti sts , but was cold i nfeel ing
,and mannered in design . The backgrounds of his pic tu res
were often painted by Jan Breughel , and sometimes by Ki e rings.
These work s were found in the best collection s . His nude figure swere the most pleasing
,and exquisi te in finish . In the Antwerp
Cath . are two al tar-piece s , and in the ch . of S . Jacques an Aseension by Balen . He was the first in structor of Vandyck .
B a le stra , A n t o ni o , born at Verona (1 666‘ Pupil of Carlo
Maratti at Rome , where he was employed to paint in several churche sand palace s . He gained the priz e at the Acad . of S . Luke in 1 694 .
He was not a great master , but hi s work s are held i n good e stimation . One of h is finest pictures i s in the ch . of S . Ignatius at B 0logna . He was al so an engraver , and his plates from hi s own designsare etched i n a free and masterly manner.B a ltz , J. G e o rges , born at Strasbourg , 1 760. Painted miniature
portraits and land scapes on porcelain, many of which are seen in thecabinets of Europe .
B am b in i , G ia c o m o , born at Ferrara ; died 1 622. Pupil of Domeni co Mona . There are many of hi s works i n th e churches andpubl ic edifices of Ferrara .
B am b in i , N icc o lo , born at Venice (1 651—1 7 Pupil of Gi uli oMaz z oni and Carlo Maratti . He imitated Liberi
,and li ke hi m was
di stingui shed for hi s beautiful women. He was a reformer in Venet ian art . Many of his work s are in the churche s of Veni ce . Bambini was the master of Zanett i .B am b o c c io . Se e Peter de Laer.B an ok, P e te r v an de r, of F lemish extraction , but born at Pari s
(1 649 Pupil of Franci s de Poi lly,and an eminent engraver .
In 1 6 74 he went to England with Henry Gase ar . He painted portraits of many eminen t person s of hi s time
,which are much esteemed
for their his torical value , as wel l as for the ir merit as engravings .B an di n e lli , B a c c i o , born at F lorence (148 7 Sculptor
and painter . Scholar of Rustic i , and friend of Leonardo da Vinc i .
68 B ANDINELL I B ARB ARIS .
His designs were powerful , and hi s treatment bold , but he had muchmanneri sm . He hated M ichael Angelo , whom he never could equal .He was e nv ious , false , and calumnious , full of silly vanity , his onlyv irtue being that of i ndustry . B ut al l that has passed away
,and hi s
work s remain to claim for him hi s due distinction . The best of theseare a ha s-rel ief on the screen of the choir (or the high al tar) of theFlorence Cath .
, which represents the Prophets , the Apostles , th eVi rtues , etc . ; a bas-reli ef on a pedestal i n the Piaz z a of S . Lorenz o ,at F lorence and a group representing N icodemus supportingChr i st
,
” which he intended for his own monument . This las t i s i nthe ch . of th e Annunz iata , at Florence , and the N icodemus i s aportrait of Bandinelli himself .B anks , Tho m a s , born at Lambeth (1 738 He served hi s
apprenticeship to a w o od carver . He obtained several premiumsfrom the Soc ie ty for the Encouragement of the Art s
,for models in
sculpture . He then entered himself a student of the Ro yal Acad .,
and obtained their gold medal . This entitled him to study in Romethree years . He appl ied himself closely to the s tudy of the antique
,
and there executed two of his bes t work s i n marble : Cupid catching a Butterfly
,
” purchased by Catherine II . of Russia ; and Caprac tacu s brought Prisoner to Rome .
” He returned to England,and
attempte d to i ndulge his fancy i n work s of a lofty and heroic style,
but he was compelled to adopt the more l ucrative employment ofmonumental sculpture . He was inv ited to Russia by the Empress, andremained two years . Monuments executed by him are i n severalchurches i n England ; and in the Hall of the British In stitution i s th emodel of Achi l le s mournin g the Loss of Brise1 s,
” never executed i nmarble . His l ife was one o f
'
di sappo intm e nt . His poe tic groups werereceived wi th coldne ss
,and he lacked that encou ragement which
stimulate s to the highest attainment .B apti st e . Se e Mo nno ye r.
B arab b in o , S im o n e , born near Genoa about 1 585 . Pupil of Bernardo Castel lo , who became jealous of hi s talent , and expelled hi mfrom hi s Acad . He then painted a pic ture for the Annunz iata delGuasta to ,
repre senting S . Diego , which has be en much praised .
He removed to M ilan , where he received the honor due to his abili ty .
One of hi s fines t work s is a Madonna ,” with the dead Chris t , and
Saint s , i n the ch . of S . Girolamo . Lanz i says he became a merchant , and died i n jail .B arb alu nga . Se e Ricc i .B arb a re lli . Se e Giorgione .
B arb aris , Ja 00po de Little can be told of thi s pain ter ;i ndeed
,i t i s doubtful by what name he shoul d be called
,for he i s
thought to be identical with Jacome Barberino Venez iano , and withJacob Walch ,
an arti s t alluded to by Diire r i n hi s correspondence .
Hi s signature and emblem (a wand of Merc ury) , are on a panel i n
70 B ARB IANI B AROCCIO.
to ri cal paint i ngs . The churche s and public buildings of Ravenna.and Rim in i are adorned with hi s work s
,one of the bes t being i n the
vault of the Cath . of Ravenna , and repre senting th e “ Four Evangel ist s . ” He was an arti s t of considerable merit .B a rb i an i , Gi o . B a ti sta , born at Ravenna . Flouri shed about
1 635 . Probably s tudied under Bartolommeo Cesi . His bes t frescois the Assumption of the Virgin ,
” i n the dome of the chape l of N .
Signora del Sudore , in the Cathedral . Some of hi s best picture swere at Bologna .
B arb i e r-W alb o n n e , Ja cq u e s L u c , born at N i smes , 1 760. Pupilof Dav id . He painted historical pictures, and portraits of the distingu ish ed generals of France .
B a rb i e re , D o m e n i c o de l, born at Florence about 1506 . A pupilof 11 Rosso , whom he accompanied to France , when he came by i nvi tati o n of Franci s I . to ornamen t the palaces of Fontainebleau andMeudon . After the death of Primati cc io , Barbiere executed so mefrescoe s after the designs of that master . He was al so an engraver
,
but hi s work s possess li tt le merit . They are valued,however
,on
account of their scarc i ty , and are found in c uriou s collect ions .B arb i e ri , G i o . Fran c e sc o . Se e Guerc ino .
B arb ie ri , Pa o lo A n to ni o , brother of Gio . Francesco,called Guer
c ino,born at Cento (1596 A painter o f still-life . He e s
pe c ially excelled i n picture s of fi sh .
B arca , D o n V ic e n te Calde ro n dc 1a , born at Guadalaxara
(1 762 Pupil of Do n Franc isco Goya . Pai nted hi story andportraits
,and excelled i n the latter. His finest h i storical work i s in
a col lege at Av ila , and represent s the Birth of S . N orbert .”
B ardi n , Je an , born at Mo ntb ar (1 732 Pupil of th e elderL agre née . Studied al so at Rome . He was a popular arti st i n Franceand was admitted to the Acad . i n 1 795 . His subject s were rel igiou s
,
poet ical,and historical . David and Regnaul t were instructed i n the
elements of painting by Bardin .
B a rke r, R o b e rt (1 739 In ventor of panoramic pai nting.
His first picture of thi s k ind was a v iew of Edinburgh , which wasexhibited i n that c ity i n 1 788 , and in London a year later . At firstthi s k ind of exhibition attracted but little attention , but se e n it s u seful ness was apprec iated , and i t became popular .B arn u e v o , D o n S e b a sti an de H e rre ra , born at Madri d (1 6 1 1
Architect,sculptor , and pai nter . Studied firs t with his
father who was a sculptor , then became a pupil i n painting u nderAlon so Cano. He gained reputation i n the three branche s of art towhich he gave hi s attention . Many of hi s work s are i n Madrid.
Th e N ativ ity ,” i n the ch . of S. Geronimo, and the Beatification
of S. Augustine , i n the great chape l of the Augusti ne Récol let s ,were his principal picture s .B aro c c i o , F e de ri go , bo rn at Urbino (1 528 S tudied de
B AROCCIO . 7 1
s ign with hi s father,who was an engraver. Became the pupil of
Battista Franco of Venice . \Vc nt to Pesaro,where he saw the art
treasure s of the Dukes of Urbino , and when twenty years old, toRome . He was hindered by his modesty
,but M ichael Angelo
chanced to see some of hi s drawings , which he pra i sed , and Gio . daUdine became hi s friend . He also became known to Card . Giuli odella Re ve re , who gave him his patro nage . He returned
,after four
years , to Urbino , and executed some church paintings which gainedhim great reputation , and when , i n 1 560, he returned to Rome , PiusIV. employed hi m i n th e Vati can
,with Federigo Zucchero . He re he
was poisoned by some rival , and although the potion was not fatal ,i t i nduced a stomachic disorder , which prevented him from workingmore than two hours a day during th e fifty -two remaining years ofhi s l ife , wh ich years , with the exception of three at Perugia , and av isi t to F lorence , were passed at Urbino. Some of his be s t work swere , the Pardon of S . Franci s of Assi s i
,
” for th e Franci sc ansof Urbino
,on which he spent six years ; a Depo si tion from th e
Cross,
” for th e Cath . of Perugia , three years , now in the Vatican ;the Calling of S. Andrew ;
” the Annunciation ,” now in th e
Vatican ; Santa M icheli na ,” the Presentation of th e Madonna,
”
and th e Visitation ,” in the Chiesa N uova , at Rome ; th e Insti
tu ti o n of th e Sacrament ,” accordin g to the Romish rite , in the ch
of th e Mi nerva, at Ro me ; the Cenacolo ,” and a S. Sebastian ,
i n th e Cath . of Urbino ; a portrai t of Duke Francesco Ma ria , i n richarmor
,i n the Tribune at Florence ; and a Madonna del Gatto ,
”
i n th e N ational Gal l . Thi s i s by no means a l is t of his pictures , forthe amount of work which he ac compl ished was wonderful , when weconsider hi s sufferings. Baroccio lived when the art of Italy wasdecl in ing
,and although b e avoided , very considerably , the prevalent
mannerism in form,his coloring was imperfect . He admired M ichael
Angelo,but he imitated Correggio in color. Mengs finds his picture s
wanting in yellow ; Reynolds critici ses hi s flesh colors ; and Bellori ,his biographer
,thought he u sed vermilion and u ltramarine too freely .
His design was correct . Bel lori says he always made two cartoo ns ,and two colored sketche s ; made all hi s drawings from l ife , anddre ssed model s i n the required costumes . In spite of hi s faults hea cqui red a great name i n hi s day, and merits the reputation of intro(lucm or harmonious appl ication of light and shade into L ower Italyin which management of li ght , added to variety and novelty ofconception
,his meri t consist s . Excepti ng hi s heal th hi s l ife was
fortunate . For he was i n goo d c ircumstances , happy 1 1] his temper,had many pupil s
,and more orders than he could execute . Duke
France sco Maria often v i sited him i n hi s house i n Urbino , and on the1st of October , 1 6 12, made thi s entry i n hi s diary : Federigo B aroccio of Urbino died
,aged 7 7 ; an excel lent pai nter , whose eye and
hand served him as well as i n hi s youth .
” He was , i n truth , e ighty
72 B AROCC IO B ARRET.
four years old, and pai nted without spectac le s , but not as wel l as
earli er in life . He was bur ied i n S. France sco , where , i n the corridor,the tablet to hi s memory remain s . At hi s funeral a standard paintedby himself, representing the Cruc ifixion , was placed at the foo t ofhis bier. Baroccio was al so an engraver, and left several plate s , correct i n design and good i n expression , though not e specially del icatein the ir execution .
B a ro n , B e rn ard, born at Paris , 1 700; died i n London , 1 762. Aneminent engraver , and a pupil of N icholas Henry Tardieu . He e n
graved several plate s for the Croz at Coll . He resided i n Englandsome years before his death . His work s have considerable merit
,
although coarse in the ir exec ution .
B aro n , Jo h n , or B ar o n i u s , ca lled Tolosano, born at Toulouse1 63 1 . Passed most of his life at Rome . An engraver of portrait sand hi s torical subject s .B a ro z z o , Ja c o po , ca l led Vignola, from hi s birthplace , in the ter
rito ry of Modena (1 507 An i llus trious archi tect . He comm e nced to study pai nting i n the school of Passaro tti at Bologna , butbecam e so enamored of the study of perspect ive , that by that means
(as he himself said) he was led to devote himself to architec ture .
He be came a law-giver in that art i n Italy . He was employed inRome by a so c ie tv of noble s and gentlemen to make accurate measu rem e nts of the greater par t of the Roman antiqui tie s . These measures or moulds were sent to France to be cas t i n bronz e . Vignolathen accompanied Primaticcio to France , where he was employed i narchi tec tural works as w e ll as i n the casting of the above namedsta tue s . I n 1 550 Jul ius III . was made Pope , and Vignola , by therecommendation of friends, was appoi n ted arch i tec t to His Holi ness .Soon he became k nown to Card . Farnese , who employed him to design his magnificent Pal . of Caprarola , and would have everyth i ngabout i t done accordi ng to his dec is ion . In thi s palace some picture sby Vignola were seen . After the death of M ichael Angelo Pius V.
employed Vignola to sup eri n te nd the work at S . Peter’s . This master al so publ ished valuable work s on architec ture , i n one of which hegave defini te rule s for the increase or decrease of every part in all
the five orders of architec ture . This was i l lustrated by engrav ingsand proved a ve ry u seful book . Mi liz ia ca l led i t L
’
Abb ie c i del l’
Archi tettura .
”
B a rre t , Ge o rge , born at Dubl in , 1 728 ; di ed at Paddington , 1 784 .
First studied i n the drawing Acad . of his native c i ty under Mr.W’est.The Ea rl of Po w e rsco u rt became h i s patron , and he pai nted manyviews around Po we rsc o urt Park . In the Du bli n Soc iety he took thepremium for the finest landscape . I n 1 762 he went to England , andthere took priz e s al so . He greatly assi sted i n the establ ishm ent ofthe Royal Acad . He was a good pai nte r of Engli sh landscape . Hiswork s are in the posse s sion of the nobi lity
,the princ ipal ones belong
B ARRET B ARTHOLOMEW. 73
ing to the Dukes of Portland and B u ccle ugh . He also left severalSpirited etchings .B a rry , Jam e s , born at Cork (1 74 1 So n of a coasting
trader . Commenced to pai nt as a boy . His picture of S . Patrickbaptiz i ng the King of Cashel ,
” obtained for him th e noti ce of Burke,
who gave him the means to go to London , and late r , defrayed hi sexpenses i n Rome . He returned to London in 1 7 7 1 . In the greatroo m of the Society of Arts , at the Adelphi , he pai nted six large picture s
,i llustrating the Civ i l iz ation and Regeneration of Man .
”In
1 782 he was made Professor of Painti ng to the Royal Acad . In 1 799he was expelled the Acad . on account of a letter which he had publi sh ed, and other disagreement s with hi s academicians . He diedpoo r and alone . He was laid in state in th e Adelphi
,i n the mids t
of hi s works , and was buried in S . Paul ’s Cath . His other pictureswere an Adam and Eve ; Venus Anadyomene ; Pandora ;and King Lear .” His works are not great, and his unle vely character prevented his being treated w ith chari ty, although by many heis regarded as a martyr to his appreciation and love of high art .Grandeur seemed to mean vastness in hi s mind . The HarvestHome
,
” at the Adelph i , i s the best of the six i n composition andfinish . He o ve re ste em ed his own pictures , and could see no beautyin those. of other artists .B artho lo m e w , Edw ard S h eme ld, born at Colche ster , Conn ,
1 822. After trying variou s employments b e abandoned all i n di sgus t ,spent his t ime in drawing
,and studyi ng any pictures which were
withi n his reach . Af ter a t ime,he read the l ife of Cel lini . Thi s ,
to use his own words,put the dev il i n to him .
” He abandoned all
employment, and his friends regarded him as good for nothing, practically . By some means he studied a year at the l ife school of theAcad . i n N ew York , and did some drawings which reveal ed hi stalents to a few friends . He was the intimate friend of Church . Heobtained the appointment of Curator of the Wadsworth Gall . atHartford . He made careful copies and studies , but when heattempted to paint in oil found that he was color-bl ind . He thendetermined to attempt sculpture . His Flora was hi s first work ,and from its execution may be dated hi s art i stic career . By his ownexertions and the aid of friends he obtained th e means to v i si t Italy .
When in N ew York he was attacked wi th smal l-pox , which left himlame for li fe , with a weakened con stitution . When , at length , hesa iled , i t was i n an il l provided vessel , and he suffered much on thevoyage . He requested to be landed on the coast of France , andmade his way thence to Ro me . So great was hi s energy that , i nspite of all h is hindrance s
,with in three days after his arrival he
was engaged in model l ing the Bli nd Homer led by his Daughter.”
From that time hi s l ife was prosperous . His chef—d’
wuvre , the R e
pe n ta nt Eve ,” belongs to Joseph Harrison of Phi ladelphia. His
74 B ARTHOLOMEW B AETOLO.
Shepherd Boy to E. Pratt of th e sam e city . In Hart ford therei s a large col lec tion of figures
,busts , and has-reliefs by thi s artist .
He also executed several monumental works , and vis ited Americato superintend th e erect ion of a monum ent to Charle s Carrol.His home was always i n Rome . On a second v isi t to America b erenewed hi s fr iendshi p with Church
,and the c itiz ens of Hartford
complimented him by a public din ner . He return ed to Italy withfresh z eal and aspirat ions
,but i t was only to d ie . In a fe w months ,
on account of his health,he went from Rome to Naple s
,where he
l ived but a short time .
B art o li , Pi e tro S an te , sometimes called Il Perugi no , born at Perugia , 1 635 . He first pract i sed pai nt ing, but gave i t up for e ngraving
,i n which he became eminent . He left a great variety and num
ber of plate s , which are chiefly etched in a free and masterly manner .He sometimes marked his plates with hi s ini tial s
,and added an F . fo r
fec it : thus , P. B . E, but more frequently he use d the followi ng
Pe tr . Ss. B a rt. se . R omce .
B a rt o h'
n o f P ia c e n z a . Little i s known of thi s old painter. Inthe Bapti stery of Parma , and in th e ch . of S . Antoni o at Piac enz athere are several picture s at tributed to hi m . They are beli eved tobelong to the c lose of the 14 th , and rise of the 1 5th cen tu ry , and arevery rude .
B a rt o lin i , Gi o sefl'
o M ari a , born at Imola , 1 65 7 . Pupil of Lorenz oPa sinclli , at Bologna . His pictures were historical , and some whichstil l rema i n in the publ ic edifices at Imola are much esteemed
,espe
c ially one in the ch . of S . Domenico , representing a m irac le by S .
Biagio. Thi s artis t was living in 1 7 18 .
B art o lin i , L o re nzo , born i n F lorence (1 7 7 7 He studiedfirst in Paris v i s i ted Rome , and se ttled in Florence . He left manywork s some of considerable merit , but others bear th e i mpress o fFrench affectation . He executed many stat ue s and monuments
,and
was considered a leadi ng master of his t ime . At the Esterhazy Mus.
i n Vienna are three Ge nn by thi s master, remarkable for theirelegance and truthful ness .B a rt o lo , Tadde o di . A S ienese painter of the early part of the
1 5th centu ry . His earli e st picture s are at Perugi a . There i s anal tar-piece dated 1403 . It repre sents the Virgin and Child ,
” withtwo angel s and S . Bernard . This i s now in the Acad .
, where thereare two other work s of thi s master . In the ch . of S . Agostino , Perugia
,a De scent of the Holy Ghost,
” by Taddeo, i s admirable .
The Acad . of S iena h as an Annunciat ion , and the Louvre atPari s several picture s not important in cons idering Taddeo
,but those
of the L ife of the Virgin ,” on the walls of the chape l of the
Palaz z o del la S ignoria at Si ena , are worthy of note . They weredone in 1 407 , and are peculiarly impre ss ive from their refinement andtrue feel ing . In 1 4 1 4 he painted a hal l j oining the chape l which ismuch inferior
,and repre sent s anc ient orators , poets , and statesmen .
B ARTOLO B ASAITI. 75
B art o lo , Do m e n i c o di . Flo uri sh ed 1 440. The brother or nephewof Taddeo
,but much inferior to h im . An “ Assumption i n th e
Berlin Mus . i s somewhat effective i n arrangement , but coarse i n themanner of execution . In 1440 he represente d the Work s ofMercy ” i n the Hospital dell a Scala at S iena , but they are pic turesof no merit .B art o l o mm e o , Pra . Se e Porta , Baccio del la.
B a rt o lo z z i , Fran c e sc o , born at Florence (1 730 Thi seminen t de signer and engraver studied drawing under Hugfo rt Fe rretti at F lorence , and engrav ing with Joseph \Vagner at Venice . Hewent to England in 1 764 and became eminently distingui shed . Hepracti sed every k ind of engraving. The number of his plate s i senormous andth e ir finish exquisi te . His etchi ngs are remarkable forthe truthfulness with whi ch he reproduced the Spiri t and expre ssionof the work s he copied .
B artsch , A dam , born at Vienna (1 75 7 Engraver andauthor . He was principal keeper of the Imperial and Royal Gal l . atVienna
,and publ ished Le Peintre Graveur ,
” which i s the be staccount of prints yet publi shed . Beside s th i s he publ ished a Catalogue of th e Etchings of Re mbrandt and his Pupi ls ,
” which like theformer book i s wonderful for i ts accuracy . Fo r the first he made fa csim iles of rare e tchings , in which the spiri t of th e original s i s perfe ctly reproduced . In 1 8 18 , hi s son Frederic publ ished a Catalogue Raisonne' of the work s of the father , whi ch numbered 505 .
B a s , Ja cqu e s Ph i lippe L e , bo rn at Pari s (1 708 Celebra ted engraver. Studied with N . Tardieu . The number of plate swhich he left i s very large . He had many pupil s , was an ingeniou sart i st
,and Bryan says , avai led himself much of the freedom and
faci l ity of etching , which he harmoniz ed in an admirable mannerwith the graver and dry point .” He made more than one hun dredprint s after Teniers , and copied that maste r most successfully.
B a sa i ti , M arc o . It is not known whether this arti st was born atFria l i or Venice . He was of Greek parentage . F louri shed from1 4 70 to 1520. He i s bel ieved to have been the ass i stant of LuigiVi va rin i , and Gio . Bell ini . He acquired much of the manner ofboth the se masters
,and imitated besides , at different periods , Palma ,
Lotto, and Carpacc io . He probably surv ived Raphael , but a widerd ifference could scarcely be imagined than exist s between th e pictures of the two . B a sa i ti
’
s colors are brill iant , and his picture s finish edwith the greate st care
,even in the most minute detail s , which
results i n a dry real i sm . His figure s have charac ter,and a peculiar
dignity , but his draperie s are stiff and his heads have a t ire somesamenes s . His work s are almost numberle ss
,and there are few co l
lections without them . The following are some of the more importan t : N ati onal Gall . , S . Jerome reading and the Virgin seated i n
O ,
a meadow with the Child asleep on her lap ; Munich Gall . , De
7 6 B ASAITI B ASSANO .
posi tion from the Cross ; Venetian Acad ., Chri st with the Disc i
ple s i n the Garden ,” and th e Calli ng of SS . Pe ter and Andrew
,
”
15 1 1 ; Vienna , Belvedere Gall . , Calli ng of James and John,
” wi thfine landscape , signed , 1 515 , Marcus B axai tj , F.
B asi li , Pi er A ngi o lo , born at Gubbio (1 550 Studied firstunder Fel ice Damiani, and then with Cb risto fano Ro ncal li . Hiss tyle resembled that of the latte r master , but was more delicate . In
the ch . of S . Ma z z iale i s a picture of Ch ri s t Preachi ng ,” with a
great number of figu re s . His frescoe s in the c loi s te r of S . Ubaldoare much esteemed .
B a ss an o , Fran c isc o da Po n t e , born at Vicenz a , 1 4 75 died atBassano , 1 530. Thi s was the founder of the fami ly of Bassano
,six
of whom were pain ters . Francisco , the elder , probably studi ed underGio . Belli ni , and imi ta ted that mas ter in hi s youth , but later i n lifehe worked with more freedom and sp irit . His S . Bartholomewin the Cath . of Bassano , shows hi s early manner and the De scentof the Holy Spirit ,
” at the v i llage of Oliero , is grand in composi tion ,good i n color and express ion , and di splays hi s later excellence .
B assan o , Ja c o po da Po n te , born at Bassano (15 10 So n
of the preceding . He studied w i th hi s father , and afterwards withBon ifaz io Venez iano . But he gai ned much of hi s k nowledge fromstudying the work s of Tit ian , and copy ing the designs of Parmigiano .
He excel led i n pa i nt ing landscape and animal s , a nd i ntroduced thelatter i nto almost every picture , sometimes wi th marked impropriety .
He was,perhaps
,the earlie s t Itali an genre painter . His coloring
was good,and al so his use of light and shade . He di stinguished
himself as a portrait pai nter , and pain ted many emi nent persons ,among them the Doge of Venice , Arios to , and Tasso . He had foursons
,who al l painted with h im , and many other scholars , so th e
amount of work completed i n hi s atel ier was very large . Hi s late stpic tures are by far the best . He had the habit of conceal ing thehands and feet , wh ich inj ured hi s pictures very much . His work sare to be seen almost everywhere . The Entombing of Chr i st
,
” i nthe ch . of S . Maria i n Vanz o
,at Padua ; A Family Concert i n
the Uffiz i portrai t of an old man , Berli n Mus ; portrait of a r i chlydre ssed woman , i n Studj Gal l . , at N aple s
“ The Mourning Maries,
at Chi swick , and a N ativity ,” at the Louvre , are some of hi s l arger
work s . His cabinet picture s are very n umerous .B assan o , Fran c isc o da Po n te , the younger , son of the preceding ,
born at Bassano (1 548 Trai ned in the school of hi s father .He establi shed h imself i n Venice . Was employed to paint a serie sof picture s repre sent ing the h i s to ry of th e Re publi c , on the wall s ofthe publ ic palace , and one of hi s be s t work s i s on a ce ili ng there .
He also pain ted for the churche s of Venice . He became melancholy ,and this tro uble was i ncreased by hi s over applicati on . He at lastj umped from a window , and k illed himself .
78 B AS ’I‘ B AUR .
B as t, D o m in i c de , born at Ghen t , 1 782. An amate ur painter ofland scape s , cattle , and marine subjects , i n the last of which he wassaid to excel . His works are mostly i n the private collec tions ofGhent , but one was purchased i n 1 822 b v the Commiss ioners fo r theEncouragemen t of F ine Arts , i n that c i tv .
B a stare , Gi u se ppe de l, born at Rome . F louri shed in the time ofUrban VIU . His picture s m a y be see n i n several Roman churches .In S . Maria Maggiore i s hi s Assumption of the Virgin ,” and in S .
Girolamo , a “ Descent from the Cross,
” and The Death o f S .
Jerome .
”
B a sta ru o lo , II. Se e Maz z uol i Filippo , or Giu seppe .
Ea to ni , o r B a tt o n i , Po m pe o , born at Lucca , 1 702 ; died at Rome ,1 78 7 . Pupil of France sco Fernandi . He was a contemporary ofRaphael Mengs
,who pai nte d mostly in Spain . B a to n i excelled
most i n portrai t pain ting . He be stowed much labor upon th e hands ,and fini shed cravats , laces , etc .
,etc with exquisi te care . He lived
after the decline of Ital ian art,and showed a desire for severer study
than was u sual with artists of his time . Of hi s his to rical pictures ,the Fal l of Simon Magus in the ch . of S . Maria degli Angeli , atRo me , deserves to be ment i oned . In the ch . of S . Maria Maggiorethere i s an al tar-piece representing the Annunciation ; in the ch .
of S . Girolamo , a Madonna ,” with saints and angel s ; i n the pa
v i lio n at Monte Cavallo there are five pictures by this art i st , one ofwhich represen ts Chris t giving Peter the Keys , and is sometime scal led his best work . Being the best artis t of his day in Rome , hewas constantly employ ed , and his work s were wel l es teemed al l overEurope . At Hampton Court there i s a portrait of Gregory XIV. byBate ni , and i n the Dresden Gal l . a Magdalene ,” and a S . Johni n the \Vi lde rne ss. These last are good specimens of his works ,and display pure ac ademic art
,as i f they were painted but to show
color and design .
B a u de t , S t e ph e n , born at Bloi s , 1 620; died at Pari s , 169 1 . Aneminent engraver. After studying i n Pa ri s he w e nt to Rome . Heu sed only the graver
,at this t ime
,and seems to have imitated Corne
li us B lo e m art . Upon his re turn to Pari s he greatly improved hisstyle by usi ng the poin t al so . He was a member of the R o val Acad.
His choice of pictures from which to make plates w as excel len t , andwere those of some of th e best pai nters of I taly .
B a u du i ns , A n th o ny Fra n c i s ,born at Dixmude , i n Flanders ,
1 640 died at Pari s, 1 700. He first studied painting under F . A .
Vanderm eulen,but afterward s became an engraver . Most of hi s
plates were from the designs of Vande rm e nle n , and were etched in abold and effec tive style .
B a ur, Jo hn W i lli am , born at S trasbourg (1 600Pupil o f Frederick B re n te l, whom he soon surpas sed.
He went to Rome,where hi s v iews of th e env iron s of th e
ci ty were much admired . In 1 63 7 he went to Ven ice , and then to
B AUR B AZZI . 79
Vienna,where he was employed by Ferdinand HI . His color was
superior to his design . He acquired some celebri ty as an engraver .B a ur , N i ch o las ,
born at Harlingen (1 76 7 One of the bestm odern Dutch painters of mar i ne v iews . He al so painted landscapeand v iews of c i ties
,and frequently represented winter and moonlight
scenes . Many of hi s work s are in private houses in Holland , and theKing of Holland purchased two of his marine v iews for th e Mus. atth e Hague .
B a u sa , Grego ri o , born at Mallorca , near Valencia (1 596Pupil of Franci sco Ribal ta . His picture s had considerable meri t .At Valencia , i n the ch . of S . Philippe of the Carmelite s , there i s analtar-piece repre senting the Martyrdom of the Saint , and in themonastery of L o s Trin i tario s Calz ados there are several work s of hi s .B ay e u y S ub ia s, D o n F ran c isc o , born at Saragossa (1 734—1 7
He first s tudied and gained the priz e at the Acad . i n hi s nativec i ty. Then
,a pension be ing granted hi m , he was able to
.
go toMadrid , where he studied with Antonio Gonz ales Velasquez . Hepainted for the churche s , and was employed by Charle s III. i n thePrado
,and the palaces at Aranjuez , and Madrid . He became a
member of the Acad . i n 1 765 , and three years later was made pa i nterto th e king . Some pictures of the li fe of S . Bruno , at the Carthusians ,are among his best work s .B ay e u , D o n R a y m o n , born at Saragossa (1 746 Brother
and assi stant of the preceding .
B a z in , N ic ho las , born at Troyes , 1 636 . Pupil of Claude Mellan .
He executed plate s of historical subject s and portraits i n a stiff,dry
manner.B a z z an i , G i u se ppe , born at Reggio (1 701 Pupil of Gio .
Canti,whom he surpassed . Many work s of his are in the churche s
and convents o f Mantua and v ic in ity , and have cons iderable merit .At the t ime of hi s death he was direc to r of th e Acad . at Mantua .
B a z z i a e a lu v e or B e z z i a c alu v a , B re o le . An eminent engraverof Pisa or Florence , who flourished about 1 640.
B a z z i or R az z i , Gi an a n to n i o , called Il Soddom a (1 4 74Born at Vercelli , he seems rather to belong to Siena , for he settledthere and became one of the best painters of the Sienese school .I l i s mode of l ife 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 i n his house. A raven who imitated himperfectly i n voice , and manner of speech , was his especial pet . Hisdress and whole appearance was such that b e attrac ted all sorts of oddpeople about him , and was not over fastidious about their character.He was married to a young wife , who left him soon after the birth ofa daughter . When we cons ider his peculia ri tie s i t i s a surprise thathe could have pai nted such women as he d id
,for they are often of a
remarkably pure and noble type . His conception of beauty was extrao rdinary , and his expression of deep enthu siastic feeling not less
80 B AZZI B EATRICI.
so . His women resemble those of Leonardo. under whose influencehe probably came i n youth ; he was also familiar with the F lorentineart
,and stud ied the work s of Raphael i n Rome . He became vain
and careless after attaining a good degree of fame , and pain ted onlyfrom the force of whims
,or need ; and yet , i n spite of his careless l ife ,
and unequal temperamen t , his genius made him great . In 1 505 hepainted twenty-s ix frescoe s i n the convent of S . Uliveto Maggi ore ,near Siena , which are sti ll well preserved . They represent scenes inthe l ife of S . Benedi ct , and are full of able characteriz ation and individualism . Soon after thi s , Po pe Juliu s II . called him to Rome topaint in the Vatican , where but l ittle of h is work remains . At theVi lla Farnesina there are two fine frescoes which he did for thebanker Chi gi . Th ey represen t the “ Marriage of A lexander andRoxana ,
” and Alexander in the Tent of Darius . ” The first i s e s
pe cially beautifu l ; warm i n color , exquisi te i n softn ess , the head ofRoxana compare s well with some of Raphael ’s . After his re turn toSiena he put new l i fe into its art , and produced some of hi s be stpictures . Among them are the frescoe s which he did i n connec tionwith B e ccafum i and Girolamo del Pacchia i n the Oratorium of S .
Bernar di no ; figure s of saints in a chapel of S . Spiri to ; and picturesof S . Caterina , both in the oratory of S . Cateri na and in thechapel of S . Caterina i n S . Domenico . There are al so fre scoe s ofhis i n the Palaz z o Pubbl ico . In the Uffi z i there i s a panel paintingof S . Sebastian which i s one of the best works of thi s time . T hereare al so a few other fine panel pic tures . There i s a Resurrectioni n th e Studj Gal l . , at Naple s ; a Scourging of Chri s t i n the Acad .
of Siena , which has been transposed from th e wal l to canvas ; theSacrifice of Abraham in the Campo Santo at Pisa ; a ve rv beauti
ful portrait of Lucrez ia which belongs to M . Co m th ur v . Kestner ;and lastly
,a Dead Christ i n the Berlin Mu s .
, and a Madonnai n the Borghese Pal . , which are attributed to him . The Ec stasyof S . Cateri na at S . Domenico i s espec ially fine ; the sain t i s represente d in a swoon , Lubke says , “ with the deepest feel ing and th e
noble st expression of pain .
” Raz z i i s sometimes called the pride ofthe Siene se school .B e ale , M ary , born i n Suffolk (1 632 A good portrai tpain ter . Pupi l of Sir Peter Lely . Sh e stu died the work s of Vandyck , whom she re sembled i n color. Her picture s were much soughtby the distingui shed person s of her time .
B e ale , Ch a le s . Husband of the preceding , and a painter , but ofno celebrity .
B e a tri c i , N i c c o lo , born at Thionville about
m ]\B L 1 500. Early i n life he went to Rome . and hi splate s show that he was there from 1 532 to 1 562.
He i s supposed to have studied under Agostino Venez iano , cal led DeMu si s. The work s of Be atri c i are not equal to those of the master .
HEAD o r ROXANA, FROM THE p a s see o r“ ALEXANDER’S MARRIAGE ,” BY
1 1. SODDOMA ,i s m rxaxssrxx, ROME .
B EATR ICI B ECCAFUMI. 83
His subject s,however
,were excellent , and his plates have been
valued on that accoun t . His prints are somewhat numerous .B e a um o n t, Cla u di o ,
born at Tur i n (1 694 After studyingat Turi n he went to Ro me and spent some time i n copying the work sof Raphael
,the Carace i and Guido . He admired Trevi sani and
imitated him in execution and color . Returning to Turin , hebecame distinguished
,was employed by the King of Sardin ia
,and
by him knighted . He decorated several apartments i n the royalpalace . A fine De scent from the . Cross ,
” by Beaumont , i s i n theChiesa della Croce . His pictures should be j udged in comparisonwith others of his own time . Many other emi nent foreign artis tswere employed by the court i n competition with Beaumont . He remodelled the Turin Acad . and extended it to al l branches of art ,under the name of the Royal Acad .
, and from that time the cul tivation of the fine art s increased . The name of Beaumont i s deservedlyrespected in hi s native c ity .
B e a um o n t ,Ge o rge H o w lan d (1 753 An Engl ish baronet ,an amateu r painter and a pupil of Wi lson . He pai nted landscape srespectably . He li ked rich ly glaz ed foregrounds , but light and silverysk ies . His wood scenes resemble those of Ruysdael . Beaumontwas a liberal patron of arti sts , and was much associated with them .
B e a u v ai s , N i ch o las D a uph in de , born at Pari s about 1 6 8 7 .
Pupil of John Audran . His engrav ings are held i n good estimation .
B e a u varle t, Jam e s Firm in , born at Abbevil le , 1 733. Celebra ted engraver . Pupil of Charle s Dupuis and Lawrence Cars atPari s . His earlier plates are bold and free
,whi le the later ones are
fini shed with great neatness and delicacy .
B e c c afum i , D o m e n i c o , called Me cch e rino , born atSiena (1 484 He was a shepherd boy , andaccustomed to sketch upon stones while watching hisflock . This attracted the attention of one Me cch e ri no ,
who obtained hi s father’s consent that he should study u nder amaster i n Siena . Capanna was hi s in structor . He copied the designs o f various masters , and , at first , adopted th e manner ofPerugino . He afterwards wen t to Rome , and studied antiques , aswell as the work s of M ichae l Angelo and Raphael . Returning toSiena , he competed with Ra z z i , next to whom he was ranked by theS ienese . His earl ier work s had more beauty and grace than thoseof his late r years . His color was cheerful and pleasing
,and of such
a bo dy that his picture s have endured the test of time better thanmany others . He used to say that he could not paint out of S iena ,and hi s work s are numerou s there both i n publi c and private col leetions . He painted be tter in di stemper than in oil s . His frescoes i nthe oratory of S . Bernardino were fine . In the Acad . of Siena thereis a picture by him of S . Catherine receiving the S tigmata ,
” whichis one of his be st easel pictures . He al so did some works i n sc ulptureand engrav ing , and we have a number of prints by h im . One of hi s
84 B ECCAFUMI B EECHEY .
most interesting late r work s was the pavement of the Cath . of Sienaexecuted in mosaic . This has been engraved by Andrea Andreani .One of h is points of excellence was the power to sui t hi s compositions well to the style of the architec ture by which they were surrounded
,and to ornament them with grotesque designs
,so that they
required no gil t s tucco , etc .
, etc . He loved th e reflection s of fires,
and other li ghts , and was more learned in the principl es of art thanmos t artists of his time . He al so understood foreshortening
,espe
c ially on ceil ings . He sought strength and dign ity i n hi s figures,and
even his small pictures appear larger than they are for this reason .
He was an upright man of sol i tary habit s . His memory was cheri sh ed by the S ienese
,and honored by their poets .
B e c c aru z z i , F ran c e sc o , born at Co n igliano i n the Fri o u l.
Scholar of Pordenone . He pai nted reputabl y both i n oil and fresco .
Many of his picture s are i n the churche s and convents of Trevigi .One of hi s best works was a S . Franci s receiv ing the Stigmata ,
”
painted for the Franc i scans of Co n iglian o .
B e ce rra . G a spar, born at Baiz a i n Andalusia , 1 520 died atMadrid, 15 70. One of the great fresco painters of Spain ; also anarchitec t and sculptor . I t i s difficul t to say whether he was mostcelebrated for his picture s or his figures . He was a c lose s tudent ofanatomy and made plate s for a work on that subjec t , and al so designed anatomical figures for the use of arti sts He s tudied in Ro me ,and returning to Spain , was made sculptor and pain ter i n ordinary toPhi li p II . Perhaps his most celebrated production was an image ofthe Virgin made for Q ueen Isabe l de la Pa z . He had alreadymade two whi ch did not pl ease th e Queen , when , as he sat one n ightover his work
,he fel l asleep , and was awakened sudden ly by a voice .
saying,Awake , and arise , and out of that log of wood blaz i ng on
the hearth , shape the thought within thee , and thou shal t obtai n thedesired image .
” He did so , and having quenched the burning stick ,
began at dawn to work . The statue grew rapidly , and became amirac ulous image , and , draped in widow
’s weeds, was pla ced'
i h achape l devoted to her by the Minim Fathers at the ir convent i nMadrid
,to whom she brought much gain . This image i s known as
N uestra Senora de la Soledad .
” I t disappeared during the war ofi ndependence . The most important work of thi s maste r was thehigh al tar in the Cath . of Astorga
,which was composed of many
bas-reli efs and figure s . It cost ducats,
of which madethe share of Becerra . Many work s of th i s maste r are in the publ icedifices of Madrid , Asto rga , and Zamora .
B e e ch e y . S i r W i lli am , born at Burford i n Oxfordsh ire , 1 7 72;died at Hampstead , 1 839 . Portrait pai nter to the Que en , appointedi n 1 793 . He was made a kn ight by George III . for his picture , nowat Hampton Court , which represents the king rev iewing troops . -In
sixty-four years he exh ibi ted 36 2 portraits at the exh ibi tions o f theRo yal Acad.
8 6 B EGARELLI B EHAM .
B e gare lli , A n t o n io ,called Anton io da Modena , born at Modena
(1 4 99 A modeller i n clay . A pupil of Gio . Abati . He wasassociated with Correggio in the decoratio n of the c upola at Pa r ma ,and made many model s from which that arti st painted his floati ngfigures . These artist s were the best of friends , and re sembled eachother i n their conception s of th e grand and beauti ful . In 1 529
M ichael Angelo met B egarclli in Modena , and saw his work s . I t i ssaid that he exclaimed
,Alas for the statues of the ancients , i f thi s
cl ay were changed into marble ! ” B egare lli was an i nstruc tor i ndesign and model ling
,and greatly influenced the painting of th e
Lombard school . To hi m may be traced in a measure its excellencein design
,especial ly it s art of fore shortening , and i t s reli ef and
grace,whi ch often approache s that of Raphael . The works of B e
garelli are in the Berlin Mus .
B e gas , Ch arle s , born at Heinsberg (1 794 t i le at theUnivers ity of Bonn he received some instruction in paint ing . Hewent to Pari s and studied u nder Gros . He attracted the attention ofthe King of Prussia i n 1 8 1 5 , and received an allowance with whi chto v i si t I taly . In 1 825 he wen t to Berl in and became a professor i nth e Acad . of Art s . He pai nted portraits of Schell ing , Humboldt ,e tc . ; and various rel igious subject s, among which are the De scentof the Holy Spiri t the “ Transfiguration Christ beari ng hi sCross , etc .
B e gy n , A b rah am , Dutch painter , born in 1 650. Painted landscape s and cattle in th e style of N icholas Berghem . His pic turesare j ustly adm ired . He painted in a light , free manner , and hiscolori ng i s agreeable .
B e h am , B art e l, born at N uremberg , 1496
di ed i n Italy , 1540. A painter , but more celebra ted as an engraver . Pupil of Albert Dii r er .
He gave so much promise of excellence that DukeWilhelm of Bavaria sent him to study in Italy . His early pictureswere much in the style of D ii re r , real istic , broad and crude i n color .A Chri s t beari ng his Cross ,
” i n the chapel of S . Maurice , andChris t on the Mt. of Olives in the Berl in Gal l . are of thi s time .
‘Vhen in Italy he attempted to change his manner , but without muchsuccess . N o . 2,Munich Gall ., repre senting AWoman rai sed from theDead by the True Cross ,
” i s a remarkable picture . N o . 98 , same Gall .,represents Marcus Curt ius leaping in to the Gulf ,
” and is inj ured bytoo much antique archi tec ture . I n the Gall . at Schle issheim ,
a numberof portraits show his exce llence i n that department of painting . Hestu died engrav ing under Mar e Antonio Raimondi , and w as one of themost successful imi tators of that arti s t . His drawing was that of amaster
,and his heads are fine i n expre ss ion . Many of hi s plates have
no mark , and th is has occasioned some difficulty in designating them .
His signature was BB , and the pri nts that have it are dated from 1520
B EHAM . 87
to 1 533 . His portrai ts of the Emperors Charle s V. and Ferdinand I .
are well k nown for their masterly conception and execution . Thefollowing are a part of his printsPortrait of Will iam , Duke of Bavaria .
Bust of Erasmus Ealderman . 1 535 .
Bust of Leonard Van Eek.
Adam,Eve , and Death before a Tree .
Judith sitting on the body of Holofernes . 1 525 .
The Virgin suckl ing the Child ; very fine .
A'
Sibyl reading and a Boy holding a Torch . BB .
Susanna before the Elders ; afler Giulio R oman o .
Lucretia .
Cleopatra. 1 520.
The Judgment of Paris .The following prints are marked with a B . on a die , thus ;
and have sometimes bee n attributed to N . Beatrici , b ut arenow called those of Beham .
Apollo causing Marsyas to be flayed ; afler R apha el.
Christ giving his charge to S. Peter ; afle r the sam e .
A N aval Combat .A Landscape
,with animals about a tree , at the top of whi ch a
Phoenix i s burning her nes t .Four Friez es , with Boys playing and Festoon s of Flowers ; RA FH.
V R B . I N . Am. L aferi i fo rm is.
The two followi ng have the d ie withou t the letter B .
Apollo and the Python .
Apollo and Daphne .B e h am , Hans S e b ald, born at N urem
berg, 1 500 died at Frankfort,1 550. N ephew
of the preceding , from whom he rece ived hisearl iest i nstruction . He afterwards studied with Albe rt Diire r .
His bad habits compelled him to leave N uremberg i n 1 540, when h esettled in Frankfort . He often painted humorous subjects, andsometimes those that w ere v ulgar and indecorous . He was a gooddraughtsman
,had singular powers of invention , and was not wanting
i n feel ing for beauty and grace . His only oil picture now known i sin the Louvre . It represents scenes from the l ife of David, and wasexecuted for Albrecht
,Archbishop of Mayence , i n the form of a
table, i n 1 534 . He al so executed five miniature s in a prayer-bookfor the same eccle siastic . These are in the royal l ibrary at Aseh aflenburg
,and prove h is sk ill i n thi s l ine of art . He was more important
as an engraver than painter, and belonged to what are called “ thelittle masters . ” We have no better examples of the manners andcus toms of hi s t ime’ than his Triumphal Entry of Charle s V. intoMunich,
” and two procession s of soldiers by him . His wood-cutswere free and spirited . His copper-plates are executed e ntirely
88 B HAM B EICH.
with the graver,and are neatly done . From 1 5 1 9 to 1 530 he
marked hi s plates w ith the letters H . S . P. From 1 53 1 to 1 549 heused H . S . B . His copper-plate s are very numerous . The following are a few of themPlate s with the firs t c ipher which were engraved at N uremberg
from 1 5 10 to 1530Portrait s of Hans Sebald and hi s wife the cipher wi th a wreath of
laurel i n the midd le e ngra ved a lso by Ho lle r.
Adam and Eve i n Paradise two small plates . 1 5 1 9 .
S . Jerome with a cardinal ’s hat,and a Lion . 15 1 9 .
The Virgin suck ling the Child . 1 520.
T he Virgin with a Glory , standing , holding the Child . 1520.
The death of Dido ; Regina: Di do m'
s z'
mago . 1 520.
S . Anthony , Hermit, writing . 1 521 .
Plates with the second c ipher which were engraved at Frankfort .1 531 to 1 549 :Adam and Eve , a Stag behind them . 1 536 .
Adam and Eve in Paradise ; the Serpent pre senting the Apple ;very fine .
The Emperor Trajan li stening to the Mother’s complaint agai nsthis So n . 1 53 7 .
Melancholy ; i nscribed , llIela nco lia 1 539 afte r A lbert Dilre r .
Fortuna a woman holding a Wheel . 1 54 1 .
A Man trying to pull up a Tree inscribed , Imposs ible . 1 549 .
Twelve small plates of the labors of Hercule s ; i n scribed , E rumnw
He rcu lis. 1 542 to 1 548 .
The Judgment of Pari s Judic ium Pa ridls ; 1 54 6 fine .
Death seiz ing a youngWoman ; Omn em in. hom ine , e tc . ; 1 54 7 ; fine .
VVo od-cuts , marked sometimes with one , and agai n wi th the otherof his two ciphersPortrait of Beham with a Cap .
Eight prints of the Passion of Christ .S . Jerome w i th a Book and Crucifix .
A Vil lage Fair , with a Steeple and Clock large friez e ; veryscarce .
A March of Soldiers large friez e , i n four sheets very scarce .
B ibli e ae Histo riaa, 348 print s ; most of them with figures on bothsides .The Bapti sm of the Anabaptist s ; c irc ul ar , scarce .
T he same subjec t ; large, four sheets ; very scarce .
He bn e s , W i lli am (1 801 An Engl ish sculptor,distin
gu i sh ed part icularly for his busts . In 1820he gained the silver medalfor the be st mode l from life .
B a i c h or B e isch , Fran z Jo a ch im , born at Munich (1 66 3He was firs t a pupi l of his father
, Wilhelm B e ich , then we nt toI taly , where h e became an im i tator of Gaspar Poussin . But h e i s not
90 B ELL IN I.
shop of Fabriano and threw in stone s . Jacopo was sent out to drivethem o ff
, and came to blows with one Bernardo di ser S i lve stri , ason of a nota ry . Thi s young man was determined on revenge
,and
Jacopo, fearing trouble, left Fabriano , and took serv ice on boardof the gal ley s of th e Florentine State s . ” Bernardo went before aj udge and preferred charge s agai ns t Jacopo , and he w as summonedto appear , which faili ng to do , he was se ntenced to a fine . After ayear he returned to F lorence , ignorant of what had been done . In afew days he was se iz ed for contempt of the court
,and se n t to th e
Stinch e . Whi le there he compromised with Bernardo, and promisedto pay him twenty-five smal l flo rins, and to submit to an ac t of penance . Th i s was performed on the 8 th of April
, 1 425 , when hemarched bareheaded, surrounded by a guard, to the Baptis tery o f Sa nlio vann i , where i t w as proc laimed by sound of trumpet , that Jaco pohad come to do penance , for hav ing shown contempt of F lorentinelaw . This ceremony ended , he was se t at liberty . From th i s timethere i s much uncertain ty respecting Jacopo . His master gave himno assi s tance i n the t ime of his trial . We know that Jacopo pain tedthe portrai t of Fabriano , and that Fabriano held the firs t child ofJacopo at the font but the date s of these occurrence s are notk nown . The only certain thing is , that Jacopo was i n Venice in1 430, as i s proved by his sketc h-book . This book , a fter passingthrough many hands
,i s now in the British Mus. It has 99 pages ,
1 7 by 1 3 i nches . The drawings are do ne i n penc il, t inted with greenearth in wate r-colors , and sometimes reto uched with pe n and ink .
Many of the sketche s are very imperfect . In thi s book we are introduced to the very innermost artistic l i fe of Jacopo . I t has sketchesof almost everything . S til l and animal l i fe , nature , ancient sculps
ture,bu ildings
,and human figure s are all there . N othi ng seemed too
small for h is study . Some subj ec ts are several times repainted, rearranged
,and brought to the perfec tion of his manner . The s tories of
Judi th a nd Holofernes , of David and Go liath , many Ne w Testamenthistorie s
,the wonders of the hagiology and those of mythology al l find
a place . In contras t with the se are studies of ape s , eagle s, dogs, cats ,vil lage scenes
,hawking partie s
,e tc . , e tc . The student of art del ights
i n this book,and understa nds the feeli ng whi ch led Genti le Bel li ni
to leave i t an heir-loom in his family, i n order to perpetuate , as nothing el se could
,the remembrance of hi s father . In hi s time arti sts
were not maste rs of anatomy and motion , and for that reason th edrawi ng o f Bell i ni i s the more admirable . He attained a middle
plac e be twe e n the conventional i sm o f art which preceded him , andthe natura l i stic art wh ich followed him . He worthily commencedwhat his son Giovanni , and Titian perfec ted . I t i s scarcely possibleto j udge of Jacopo Bel l in i as a coloris t , for the two panel picture swhich remain to u s are greatly inj ured . One of these is a smal lha lf- length of th e Madonna and Child ,
” at Lovere , in the Coll .
B ELL IN I . 1
of the Count s Tadin i . The other,N o . 44 3. Acad . of Venice , repre
sents the same subj ec t . These are inj ured by scal ing and blackenedby time . Of h i s wall picture s, i t i s bel ieved that some remai n atVenice
,but those of Verona are better known . That of th e Cru
c ifixio n ,in the Arch-episcopal Pal . , fully illustrate s the style of this
master . A copy of another Crucifixion,” in the Cath . of Verona,
i s in the Casa Albri z z i at Ven ice . The arrangement i s li ttle changedfrom that i n hi s ske tch-book, and these work s served as modelsto the arti sts who followed him , espec ially Antonello of Messina,Carpac cio , and Mantegna . Of hi s other work s , there i s a smallChri st i n Limbus
,
” i n the Communal Gall . of Padua , much i n
j ured ; at S. Zaccari a , Venice , some fre scoe s in the dome of th eChapel of S. Te ras io ,
much abraded and blackened and a pictu reof a Dominican Friar , preaching i n a Square ,
” i n the Oxford Mu s.
This last was probably the work of some one i n his ate lier , and isa panel on gold ground . It i s known that Jacopo dwelt for a timei n Padua , and there had a work-shOp i n which his sons assi s ted hi m ;that his daughter N ico lo sia married Andrea Mantegna , and that hepain te d pictures and frescoe s i n that ci ty , one of wh ich was done i n1 459 . I t is be lieved tha t he induced Mantegna to study Donatelloand Uccelli , and thu s greatly influenced the sty le of the gifte dPaduan
,and that he hi mself was affec ted by contac t with that of
Do natello . JaCOpo also painted portraits, one of which R ido lfi noticede spec ially , that of the King of Cyprus , who was beheaded at Venice .
Although Jacopo was greatly surpassed by h i s son s , he was a re
markable man for hi s time , and deserves to be remembered for preparing the way , and making it easier to those who followed .
B e lli n i, Ge n ti le , eldes t son of the preceding, born at Veni ce
(1 421 After laboring with hi s brother Giovann i i n theatelier of the i r father , at hi s death they declared their perfec t inde
pe nde nce of each other , but continued to labor together , and sharedthe respect of their countrymen and the laurel s which they won .
The study of Jac0po and of hi s master, Fabriano, w as of great valueto them , but they progressed far beyond both , and , to gether, laid thefoundation for the perfec t style of Titian andhis followers . Giovanniwas the most excellen t , and Gentile was called c lumsy by late rVenetian s . But he did a noble work in teaching them the value of athoughtful imi tation of nature . In 1 464 Gentile pa inted the doors ofthe great organ of S. Marco . He represen ted four gigantic sa ints .These are now in a Gall . leading from S . Mark ’s to the Ducal Pal.Ge ntile was ofte n employ ed as a portrait painte r . Of hi s work s ofthis k ind I shall only mention N o . 1 36
, Gall . of the Capitol, Rome ;one in the University Gall . , Oxford , of two boys in profile ; Correr Mu s.
,
Venice , No . 1 4 , and one of Lorenz o Giustiniani, now i n the lumberroom of the Acad . of Venice . In 14 74 he was appoin ted to restorethe old , and pai nt new pictures i n the great cou ncil-chamber of
92 B ELL IN I .
Venice . His works there gai ned him much reputation . In 14 79 Sulta n M eh em e t, the conqueror ofConstanti nople , sen t to the S ignoria of Ven ice for a good painter.The Doge dec ide d to send GentileBell i ni , and he was d ispatchedwith two journeymen
,i n galleys
belonging to the s tate . In Constan tinople Gen tile was treatedwith great consideration
,and made
many portrai ts of notable personages . At one time he presentedthe Sul ta n with a pictu re of thehead of John the Bapti st i n acharger . The Sultan cri tic ised thepainting of the neck , and when hesaw that Gentile did not understand his mistake
,he called i n a
slave , and had his head instantlystruck o ff, to prove to the artis twhat was the true action of themuscle s under such circumstances .Such an ac t did not tend to makeBel li n i enj oy his residence in thedomains of Meh cm e t II . He re
mained there a year, was made aknight, and received many presents at parting . The Sultan o f
fe rcd him any gif t he would name ,but he only demanded a le tter of
praise to the Signoria of Venice . He carried to Ven ice manysketches , and a portrai t of Mehcm e t. He also brought a picture,Louvre N o . 68 , which represents the reception of a Venetianembassy by the grand viz ier and other officers . When Gentileleft Venice
, Giovann i was appointed to hi s place in the counci lchamber
,and when he re turned
,they continued the work i n com
pany . Th e picture s pain ted there were partly legendary, and partlyhistorical
,and represented even ts i n th e Venetian wars i n 1 1 7 7 th e
combats on the Adriatic ; and the reconcil iation of the Emperor withPope Alexander III. These were done i n fourteen compartments .They were almost de stroyed by fire i n 15 7 7
,but enough remain s to
m ake their loss a subj ec t of regret . T he other great work i n which thisart is t was engaged was the decoration of the school of S . Giovann iEvangel is ta , at Venice . Two of these pic tures , one representi ng am iracle by means of a re lic of the holy cross , the other a processionin which the same re lic is borne , are in the Venetian Acad . Of hi s
8 . LORENZO GIU STINIANI .(Venice. S. Maria de l l Orta . Gentile
B e l l in i . )
94 B ELL INI .
figures , rather than a spiri tual one, and he seems to stop just on thel ine which separate s the highest earthlytype from the heavenly . Kugler says :His Madonnas are amiable beings
,
imbued with a lofty grace hi s sai ntsare powerful and noble forms ; hisangel s cheerful boys i n the ful l bloomof y outh .
” His representation s ofChri st are ful l of moral power, such ashas rarely been equalled . His draperiesare peculiar in the crystal-l ike clearnessof their deep , rich colors . His authenticwork s do not belong to hi s youth . We
have seen how he labored with Genti lein the great counc il-chamber , i n whichplace he conti nued to paint , at times, during al l hi s l ife . His earli es t dated workis of 1 48 and represents a Madonnaand Child standing on a parapet . It i sin the Acad . of Venice , and there i s asimilar one in the Berl in Mus. I t i sin te re sti ng to see prev ious works of thismaster , and study the changes throughwhi ch his style has passed . In thisway one can comprehend , i n a measure ,
the stru ggle s through which he reached his late r style , and his groping after the proper handli ng of the new oil mediums , which was anart in i tsel f. To 1 48 8 belongs a large al tar-piece in the Sacristy ofS. Maria de ’ Frari two angel s in thi s are espec ial ly be autiful . Thewhole pic ture i s a fine piece of color , and nicely fi nished . There i salso a large al tar-piece i n SS . Giovann i e Paolo , which is one of hi searlier picture s and another, very similar, in the Acad . I n the ch .
of S . Zaccaria i s a Madonna with sain ts and an angel , dated 1 505,and at S . Salvatore , Ch ri st at Emmaus ,
” belonging to the sameperiod . Thi s last i s espec ially fine . A s imilar picture
,but not as
good , i s i n th e Manfrin i Gall . Perhaps his late st work of this k indis in S . Gio . Cri sos tomo
,dated 1 5 15 . In this he painted SS . Jerome ,
Augustine , and Christopher . The shade s of moral contrasts arefinely and powerfu l ly drawn . It i s a pic ture that compels one to
study i t . Other works of his are i n the ch . del Redentore, the Ma n
fri ni Gal l . , and the Acad . Some of them are allegorical repre se nta ti o ns, ful l of na i ve lé and cheerful nes s . One of his latest works wasa Bacchanal ian ,
” with a landscape by Titian . He often pai nted thesingle figure of the Redeemer . L ii bke says of these represen tations :By grand noblene ss of expression
,solemn bearing, and the excellent
a rrangement of the drapery, he reached a dign ity which has been
CHR IST . B Y G10 . BELLINI .
B ELL IN I B ELLOTTI . 95
rarely surpassed .
” The pic ture s of Giovann i are very numerous i nVenice
,and found in' al l large col lections e lsewhere . Space will not
al low description . The following are some of the more importantones N atio nal Gal l . , N o s. 726 and 280 No . 27 , Correr Gal l . No .
4, Lo chis Carrara Gall . , Bergamo ; a Pieta,
”N o . 1 88, i n the Brera
Pieta” i n the Cath . of Toledo ; Stuttgart Mu s. , N o . 4 B e rli a u s. ,
N o s. 4,6 , and 36 ; Padua Ga l l . , N o . 4 8 ; Ufii z i , N o . 58 1 ; Castle
Howard, N o . 1 25 ; Leuchtenberg Gall . , N o . 68 ; M us. of Rovigo,
N o . 80 ; Doria Gal l . , Rome , N o . 5 Belvedere , Room 2, N o s. 63 and65 ; N aples Mus.
,N o . 3 78 ; Stadel Gall . , Frankfort, N o . 1 7 ; Madrid
Mu s.,N o . 665 ; Brera, N o . 209 ; Louvre, N o . 69 bis ; and many , many
oth ers . His very last work was a “Madonna i n S. Giustina, Padua ,dated 1516 . It i s a singular truth that some of hi s lates t pic turesare much more like those of a youthful arti st than were hi s earl iero ne s . Fo r in 15 1 4, almost at the close of his life, he painted a feastof the gods
,which represents the gay and sensual with the happiness
of the bright days of Titian . This picture i s now at Alnwick Castle .
In 1 5 1 5 -h e pa inted the Venus of the Belvedere ,” Room 2, N o .
43 His last work s were thus in marked contrast wi th h is first .He is bel ieved to have i nstructed Giorgi one and Titian . It 18 sai dthat Albert Durer v i si ted him i n the last year of his l ife, and prono u nced him the best artis t of that time . His death occurred on the29th of November. and he was buried in SS . Giovanni e Paolo, bythe side o f his brother Gentile .
B e llin i , Fili ppo , born at Urbino, 1 594 . A go od'
pa inter, and animitator of Federigo Barocc io . One of his most important works i sa serie s of fourtee n representation s of the Works of Chari ty , i n theChiesa della Cari ta at Fabriano . In the Basilica of Loretto there i sa Circumcision
,
” and in the dome at Ancona a Marriage of theVirgin
,
” by this mas ter .B e llin i , G i a c i n t o , Cav ali e re , born at B ologna , was liv ing in 1 660.
Pupil of Francesco Albano . Late r he studied with FrancescoCaracci in R ome . There he attracted the at tention of Card . Tonti ,who employed him a long time. and procured h im the knighthood ofthe Order of Loretto . His pictures possess much of the gracefulnessof Albano.
B e lli n i a n o , V i tt o re , born at Venice . Flouri shed about 1 526 . Apainte r of h istory . Several of his work s are i n the Confraternity ofS . Mark ’s , and the neighboring churches of Venice .
B e llo tt i , B e rn ardo , born at Venice , 1 724 ; di ed at Warsaw , 1 780.
A painter and engraver . N ephew and pupil of Anton io Canal,
called Canaletto . Bellotti painted perspective and architec tural viewsi n a pleasing manner. He lived much i n Germany , and e tched, fromhis own designs , v iews of Vienna , Dresden , and Warsaw . He wasa membe r of the Acad . of Dresden , and many of his pictures arei n the Gall . of that ci ty . They are called by the name of Canaletto ,
9 6 B ELLOTTI B ENASCHI.
which he assumed . He signed some of h is works Bernardo B e lo ttodetto Canaletto . The fine v iews of Dresden were ordered by Coun tB riihl, at 200 thalers each . The figures were the work of S tefa noTorell i of Bologna .
B e lt ramo , G i o . A n t o n io (14 6 7 A M ilanese gentleman,
and a pupi l of Leonardo da Vinc i . His charac teristic i s gentleness .
In the Louvre i s an al tar-piece pai n ted for a ch . i n Bologna . I trepresents the Madonna and Ch ild with John the Bapt i s t and S .
Sebastian ; th e donors are kneeli ng . It was painted i n 1 500. Inthe Be rli n Mus. there i s a S . Barbara ” by B e ltra f’fio . A figureof peculiarly grand , statue-l ike dignity .
” In the N ational Gall .there i s a “ Madonna and Ch i ld ascribe d to him ; hi s work s arescarce .
B e llu c c i , A n to n i o , born at Pieve di Sol i go (1 654 Apainter who excelled i n small figures . He painted these in many ofth e landscapes of Tempesta . In color he belonged to the Te nebm sz
,
but used sha dow so j udiciously as not to spoil hi s color . He is sa idto have painted altar-pieces i n Venice and Verona . There arepictu res of h is in the Dusseldorf Gall . , and a N ativ ity in the ch .
of th e Ascension at Venice .B e ltran o , Ag o sti n o , and hi s wife , A n i e lla . Neapoli tan painters
wh o flouri shed about the middle of the 1 7th century . They werethe pupil s of Massimo, and Aniella was hi s n iece . Beltrano was agood fresco painter , and more than ordinary i n hi s coloring i n oil .This i s proved by numerous cabinet pic tures , and a few large frescoes
,Ani ella painted i n the same style , and worked with her
husband . Sh e had talent and beauty . The picture s which arecalled hers a re prai sed , especially th a t
'
o f the Birth and Death ofthe Virgin ,” i n the Ch iesa della Pieta de’ Turchin i . But i t is notunlikely that she was assis ted by Massimo . In 1 649, when thirty-sixyears old
,she was murdered by her husband , i n a fi t of j ealousy .
She surv i ved her wounds long enough to pardon Bel trano . He fledto France
,and wandered , an outc ast , til l 1 659 , when he returned to
N aple s and re sumed hi s work . He li ved , tormented by remorse ,ti l l 16 65 .
B emm e ll, W i lli am v an , born at Utrecht (1 630 Pupilof Herman Sach tle e ve n , and , l ike h im , an excellent l andsc apepainter . He went to I ta ly and made many studies of scenery aboutRome . He settled
,at length
,i n Nuremberg . His pictures were
much admired , and are most ly in German collecti ons .B em m e ll, Pe te r Van , born at N uremberg (1 689 Grand
son o f the preceding , and a land scape painter . His pictures arescarcely known outside his native ci tyB en a sch i or B e in asch i , G i o . B a ti sta , Cav a li ere (1 636
An imitato r, and probably a pupil of Lanfranco . Most of h is work sare i n Naples , wher e he pai nted ce ili ngs and o ther fre scoe s .
98 B ENCOVICH B ENEFIAL .
Bologna . I n the latter c ity , i n the ch . of La Madonna del Piombo ,
i s an altar-piece b v this master , repre se nting the Crucifixion of S .
Andrew .
” Many of his easel picture s are in Germany,where he
resided for a t ime .
B e n e de t to , da M aj a n o , born at Florence (1442 An
eminent archit e ct and sculptor . He commenced l ife as a worker i nwooden mosaic or in tar s iatore . His brother, Giul iano, was also acelebrated art is t, and a younger one , Giovanni , was of less importance . Together the y executed th e Madonna del l Uli vo ,
” i n terracotta
,and a Pieta in bas-rclief. Th ey stand at a wayside shrine ,
a mile outside the gate of Prato , to wards Flore nce . \ve have on lyto compare the relief of the brothers with the “ Madonna ” ofBenedetto, to perceive hi s excel lence . His greatest work as anarchitec t was the Palaz z o S troz z i , which was commenced i n 1489 .
After the death of Fili ppo Stroz z i the work was suspended , and thebuild ing was finished under the direct ion of Cronac a . I n 1 490 hemade busts of Giotto and Squ arc ilupo i n the Duomo at Florence .
In th e sam e vear he went to Naples , where he remain ed two years,and was constantly occupied by the Duke of Calabria . He al soexecuted the ha s-re liefs of the Annunciation i n the ch . of MonteOlive to , and, in 14 9 1 , the monument to Filippo Stroz z i was erec tedi n Santa Maria Novel la, whi ch he had commissioned Benede ttoto make before his death . It i s the chej ld
’asum‘
e of Maj ano , andone of the finest works of the 1 5th century . He also made thebeautifu l altar of S . Sav ino for the Cath . at Fae nz a ; a marblepulpit at Santa Croce , Florence and some work s at S . Sim ignano .
The pulpit at San ta Croce was very fine he supported i t against acolumn , through wh ich he carried the staircase the reli efs repre
sent scene s from the life of S . Franci s . In the Uffiz i there is a bustof Pietro Me llin i , who commissioned Benedetto to execute the pulpit,and i n the same Gall . a figure of S . John .
B e n ede tt o . Se e Castiglione .
B e n edi c to , R o qu e , died at Valencia, 1 735 . Hi s picture s aresometimes taken for those of his master , Gaspar de la Huerta . Hisbe st work represents S . Franci s de Paula feedi ng three thousandpe ople with a li ttle bread.
B e nfa tt o , L u i gi , born at Verona (155 1 Nephew andpupil of Paul Veronese . He was dist inguished for hi s works in thepubl ic places i n Venice . In the Chiesa di S . Marta are several ofhis pictures i llustrati ng the l ife of the saint , and i n th e ch . of S.
N icholas a grand composition re pre senting the Ascension of that
B e n e fial, Ca v ali e rs M arco , born at Rome (1 684 In thePalaz z o Spada, Rome , there i s a saloon painted e ntirely by thisartist ; i n the Acad . of S . Luke a picture of Chri st and th e Samari tan \Vo man ,
” and in the Stimmate a Flage lla tio n .
” Hi s merits
B ENEFIAL B ERCHEM. 99
have been much discussed, and hi s admirers give him unqual ifiedapprobation , while others call him fee ble i n all po ints . His monument i s i n the Pantheon .
B e n so , G i u li o , born at Genoa (1 601 Pupil of Gio .
Batis ta Paggi . Soprani calls hi m an archi tec t also . He pai ntedhistory and perspective. He was a protégé of the house of Doria
,
and some of hi s work s were i n their Palace . Several of hi s oi l picture s are in the churches of Genoa . That of S Do menico ismuch admired , and the Crown i ng of the Virgin
,i n the N unz iata
,
i s a fine produc tion .
B e n t, Jo hn v an de r, born at Amsterdam (1 650 Landscape painter . Scholar of Pete r Wo uve rm ans and Adrian van deVelde . Whi le he is not equal to hi s masters
,his works are de se rv
ing of esteem . Many of them are i n England . They bear a s trongresemblance to those of N icholas Berghem .
B e n v e n ut o , G i o . B a ti s ta , called L ’Orto lano ,or market gardener
,
from the occupation of hi s father,bo rn at Ferrara (about 1 490
A contemporary of Garofalo,the pri nce of Ferrarese pai nt
ers . L ’Orto lano s tudied in Bologna under ll Bagnac avallo. Hisstyle w as severe , and his pictures curiously fini shed. His heads areweak, but his landscapes and backgrounds good , and his figures wel lbrought out. His works are i n S . N iccolo , S . Maria de Servi, and S .
Lorenz o at Ferrara.B e rc h em , N i ch o las , born at Hae rlem16 24 So n of Pieter Klaa sz e . Thereason for hi s being cal led Berchem
,or
Berghem , i s not known , but he usually signedhi s works with that name . He studied with his father, Va n Goyen ,J . B . Ween ix , and Ja n W113 , and married the daughter of th e lat te r .It is ev ident from hi s work s that he went to Italy, although no account o f h is having done so i s given . He painted ge nre , battle s, landscape s
,cattle
,and portraits . Hi s best works are his small landscape s
with figure s and cattle . He painted with great facil ity , and hi s w ifew as so avaricious that she constantly excited him to work . She alsosaw to i t that hi s money w as saved , as he liked to spend i t for Italiandrawings . Berchem is the most ce lebrated of the group of paintersto which he belongs . Smith describes 4 1 7 of hi s work s , and he leftbesides more than 50 etchings, some of whi ch show a better feeli ngfor nature than i s found in hi s oil pic ture s . B v their dates it i s see nth at he handled the poin t when but ten years of age . T he galleriesof Mun ich , Dresden , Vienna , B erlin , St . Petersburgh
,and the
Louvre contai n the largest number of his work s . Some are al so inEngland , i n the National Gall . and at Dulwich and L ord Ash bur
ton has one of his be st productions , called “ Le Fagot ,” from abundle of wood carried by a man in the foreground . He seldommade large pictures, but i n 1 648 he painted an Itali an landscape , now
100 BERCHEM .
at the Hague,in which the figures are l ife-s iz e . It was sold in 1 827
for £500, but it i s cold and unsati sfactory , though well drawn and
lighted.In addi tion to his other work he often painted figures and
animals in the landscape s of other arti sts , such as Ruysdael, Hobbema,
Jan Wil s , Abraham Ve rbo om , and Isaac Moucheron .
102 B ERCHET B ERGMULLER .
de l a Fos se . Went to England in 1 68 1 . His best work 1 8 theceili ng of th e chapel at Trin ity College , Oxford , represent i ng theAscension .
”
B e rg, M a th i as Van de n , bo rn at Ypre s (16 15 It i s sai dthat his father had th e care of the estates of Rubens , and that maste rtook the son into his Academy . He is known only by hi s excellentcopies of the work s of his master .B e rgen , Dirk Van , born at Hae rlem (1 645 Pupil of
Adrian Van de Velde , and one of his most successful imitators .
l l is earliest works are the best , and are warm and sunny in color ; inhis later ones the cattle become crude i n tone
,and hard in execut ion .
N o s. 1 5 and 1 6 , Louvre , are among his best pic tures , as are a lsoNo s. 28 and 29 , Amste rdam Mus . He e stablished h imself i n London i n 1 6 73 .
B e rge r , D an i el, born at Berlin , 1 744 . Pupil of his father . He
became a good engraver , made a number of portraits of th e roralfamily and many plates after different artists
,principa lly those of
his own country . In 1 78 7 he was appointed Rector and Profess orof Engrav ing at th e Acad . of Berl in .
B e rge re t , Pi e rre -N o lasq u e , born at Bordeaux (1 780- 1 828A pupi l o f David , and a distinguished painter of history and landscapes . He was happy in th e choice of interesting subj ects . Manrof hi s works were placed i n th e Call. of the Luxembourg , and otherroyal col lections . He also painted four portraits for the Hall of theChancellors . He designed ha s-rel iefs , among which may be ment io ned those on the column o f the Place Vendome . Many of hispic tures have been engraved and some of them used as illustrat ionsof splendid edition s of La. Fontaine ,
” Boi leau ,” etc ., etc .
B e rg le r , Jo se ph , born at Salzberg, 1 75 3 ; died at Prague , 1 829 .
When twenty years old he h ad made himself so good a nam e th atPrince F irm ian of Passau sent him to Italy, with a pension . Hewent first to M i lan , where he w as the pupil of Martin Knoller. Heremained five y ears in Milan , copyi ng w ork s of th e masters , andexecut ing frescoes with his teacher . From Milan he w ent. to Ro me.and i n 1 784 gained the priz e of the Acad . i n Parma . From thistime he received a s many commission s a s h e could execute . Heremained in Rome until 1 786
,when he returned to Passau . In 1 800
he wen t to Pragu e to assume th e place of director of th e Acad . ; th e
number of hi s oil pictures i s very large . T he v are almost withoutexception represen tati ons of rel igious subject s , and may be seen inthe churches of h is own country .
B e rgm u lle r, Jo hn Ge o rge , born at Dirkh e im i n Bavaria (1688Pupil of Andrew \Vo lfi . Pai nte r of h istory and portraits .
but be st k nown by his engravi ngs , which were from his own designs.Some of hi s pic ture s are in the churche s of Augsburg , where h ere sided .
B ERINGEROTH B ERNA . 103
B e ri n ge ro th , M art in , born at R am elsb o u rg, 16 70; died in Leipsic ,1 733. An engraver who execute d a great number of portrai ts .B e ri n ge ro th , Jo h n M a rti n , born at Leipsic (1 7 1 3—1 76 So n of
the preceding,and an engraver of portraits .
B e rkh e ide n , Jo b , born at Hae rlem (1 628 He is not k nownto have had any teacher , but when young , made sketche s which wereso much prai sed that he determined to become an artist . His pic tare landscape s with smal l figures , and sometimes represent v illagefete s , etc .
,with some success . He travelled with his younger brother
Geri t , and , when he returned to Holland , was well patroniz ed . Hewas employed by the Elector Palatine, when in Germany , and re
ce ived from him a gold medal and chain . Entire pictures by him arerare. He painted some portraits . N o . 845 , Berl in Mu s.
, a landscape ,has hi s signature . He was drowned in a canal at Amsterdam .
B e rkh e ide n , G e ri t, born at Hae rlem (1 645 His pic ture schiefly represent the exteriors of buildi ngs i n his own country , andItaly. They are good , but not equal to those of Van der Heyden .
His work s are rare i n publ ic gallerie s . There i s a fine serie s i n theHope Coll . ; Amsterdam Mus . , N o . 26 i s on e of his best . The samei s true o fDresden Gall ., N o . 14 70. Louvre N o . 28 , i s a view of Traj an ’s Column . Mr. Baring has an excellent v iew of a Dutch town ,with numerous figure s .B e rkm a n s, He n ry , born at Ola nder , 1 629 ; died at M iddlebo urg,
1 690. His last i nstruc tor was J. Jordaens. At first he painted hi story
,but his portrait s were so good , and in such demand , that he
could not fulfil his commissions . He painted many of the most di sti n
gu ish ed men of hi s time . His be st work i s a large picture of theCompany of Archers
,in the Town Hall of Middleb o urg.
B e rlin gh i e ri , M arc o , B aro n e , and B o n av e n tura . These areth ree arti s ts of thi s name mentioned as signing a treaty of peace withPisa
,in 1 228 . The work s of Bonaventura alone remain . They con
sist of a serie s i llustrative of the Life of S. Franci s,i n th e ch . of
that saint at Pesc ia ; and No . 28 , a Crucifixion,
” i n the Acad . ofF ine Arts at Florence . These picture s are charac teriz ed by childishsimpl ic ity . The angel s are merely motionl e ss half-fignre s, withembroidered dresses , and the resoluteness with which the differentoccurrences in the life of the saint are crudely indicated
,i s ludicrous
i n the extreme. The sparrows to which he talk s are huge birds ,perched on trees ri sing from a conical hill ; and those person s whomhe freed from evil spiri ts have l ittle devil s flying out of their mouths .B e rli n ghi e ri , Cam i llo , called Il Fe rrare sino , born at Ferrara
(about 1 596 Pupil of Carlo Bononi . Paint e r o f history .
His work s are chiefly at Ferrara and Venice . A picture of theM irac le of the Manna ,
” i n the ch . of S. N iccolo at Ferrara , i s afine work
,also that o f the Annunciation i n S . Antonio Abate .
B e rn a or B a rn a . True name thought to have been Barna Bertini .
104 B ERNA B ERNIN I .
Siene se pain ter (died 1 38 1 In the capitular ch . of S. Gimignano,i n
the Valde lsa ,there s till may be seen some remains o f th e fre scoe s of
this old artist . Th ey represent stories from the N ew Testament,and
have been inj ured by retouching. As far as can be j udged , Barn acombined the pecul iari ties of Simone and Ugolino m i nute drawi ng ,
abundant ornament,muscular limbs , stifi
'
e ned action, close—fittingdraperie s
,and a. general flatness in effect . Vasari cl aimed prai se for
Barna on account of hi s having been the firs t to depic t animal s wel l .In the Berlin Mu s . are three pic tures , No s. 106 7 , 1072, and 1 1 4 2,which may be th e work s of Barna ; the latter especi ally h as hi s charac te ristics, and in th e Chapel del Rosario at S. Dominico inSiena , there i s a Virgi n and Chi ld attribute d to him . He waskilled by a fal l from his scaffold .
B e rn ab e i , Pi e r A n t o n i o , called della Casa , born at Parma .
Flouri shed 1 550. An imita tor of Correggio. The Cupola of La Madonna del Q uarticrc prove s him to have been a good fresco pai nter .Lanz i says, equal to any of that. time i n Lombardy , and perhaps inI ta ly . There are al so considerable works of his at the Carmeli te s ,and in other places i n Parma.B e rn a e rts , N i c a i s e , born at Antwerp (1 608 Pupil of
Franc is Snyders . His pictures so nearly resemble those of hi s mas terthat they have been sold as genuine Snyders .B e rn ard, Jan (1 765 A copyis t of Paul Potter and
Berghem . A member of the Institute , and of the Acad . of FineArts at Amsterdam .
B e rn a rd of Brussels . Se e Van Orley.
B e rn ard, S o lo m o n , or L i ttle B e rn ard. An engraver , born a t
Lyons , 1 5 12. His best pri nts are those for a Bible publi she d atLyons from 1 550 to 1 580.
B e rn ard, S am u e l, born at Pari s , 1 6 15 . A mi niature pain ter andengraver . Pupil of Simon Ve net . He atte mpted fre scoe s, butfailed . He succeeded bette r in miniatures, bu t at last became anengraver .B e rni n i , Gi o . L o re n z o , bo rn at Naples , 1 598 ; di ed at Rome, 1680.
As early as his tenth year he had become k nown as a prodigy in art .At this time his father took him to Rome . Pope Paul V. becameinte rested i n him , and al so Card . Barberini , who assi s ted him i n hi ss tudies . Good fortune ever attended hi s steps , and , although helived duri ng n ine po ntifica te s , the favor of the reigning Pope wasalways his . His fame exte nded to other countries , and he was
inv ited to France , to which country he went when sixty-eight yea rsold
,accompanied by o ne of his sons and a numerous retinue . He
was loaded with favors , and received la rge sums of money andvaluable present s . He held several be ne fice s at Rome , and hi s son
'
was Canon of Santa Maria Maggiore . He was buried with grea tmagnificence in the last named ch . , and left th e immense fortune of
106 B ERN INI B ERTHELEMY .
Louis XIV . , execu ted by Bernin i , was afterwards converted intoMarcus Curtius, and was sent to Versailles . Bernini al so executedthe monuments of Urban VIII . and Alexander VII . i n S . Peter ’s
,
and the decorations of the Bridge of S . Angelo . Among his characte ristic and exaggerate d work s are the foun ta i n in the Piaz z aN avona ; the Ec stasy of S . Tere sa ,
” and the Apollo andDaphne before mentioned .
B e rre’
, Je an B apti s te , born at Antwerp, l 77 7 ; died in Paris, about1 830. A painter of subjects in the manner of Weenix . His pic tureswere hi ghly finished , are much sought for by amateurs , and bringlarge prices . He lived mostly i n Pari s . His work s are in severa lrich collection s .B e rre gu e t t e , A lo n s o , born at Parades de Nava, i n Castile, about
1 480. The most eminen t Spanish arti s t of hi s time . He is calledthe Michael Angelo of Spain , for he was pain ter , sculptor , and
archi tec t . He studi ed with his father Pedro, and was pain ter toPhilip I . He was i n Florence i n 1 503 , and went with M ichaelAngelo to Rome in 1 505 . He devoted many years to study i n I taly .
returning to Spai n i n 1 520. He was appoin ted painter and sculptorto Charle s V. He received 4400 ducats for the high al tar of th e.ch . o f S . Benito cl Real , i n Valladol id , where he se ttled . Whenalmos t e ighty years old he went to Toledo , ,
to cons truct a monumentto Card . Tavera i n the Hospital of S . John Baptist . He was lodgedin the hospi tal
,and there died i n 1 501 . He left a large fortune,
and was buried wi th magn ificent ceremonies at the expense of th eemperor .
B e rre sty n , C. V ., flourished about 1 650. A German engraver.There i s one pla te of a woo dy landscape , s igned w ith his n ame andthe above date, which i s very scarce .
B e rre t o n i , P ie tro . Se e Cortona .
B e rre t o n i , N ic c o lo , born at Montefeltro, 1 627 . He was the be stscholar of Carlo Maratti . I n the ch . of Montesanto
,at R om e , there
i s an al tar-piece repre senting a scene i n th e l ife of S . Franci s, whichi s hi s best work . He became a member of the Acad . at Rome i n1 6 75 , and died i n 1 682.
B e rt a u d, M a ri e R o sali e , born at Paris , about 1 700. An e n
graver,whose be st work s are after the pictures of Ve rnc t . Sh e was
instructed by S . Aubin and Ch o IIard.
B e rt e lli , Cri s t o fa n o . born at Rimini , 1 525 . \Ve have a fewplate s by him , stiffly executed with the graver.B e rt e lli , Pe n ando , born at Vcuice , 1 525 . He engraved m o stlv
after the Venetian painters .B e rt e lli , L u c as. A relative of the precedi ng, who engraved after
the I ta l ian mas ters . S ome of hi s pri nts are very scarc e .
B a rth e lem y , Je an S im o n , born at Laon , 1 743 ; died i n Pari s,1 8 1 1 . Pupil of N . Hal lé . His subjec ts were historical and poetical .
B ERTHELEMY B ETTELINI. 107
He painted ceil ings in the Pal . of Fontainebleau , the Luxembourg,and at the Museum . He was a member of the Acad . and Directorof the School of Design .
B e rt in , N ich o las , born at Pari s (1 66 7— 1 7 So n of a scu lpto r,who died while he was a boy . He studied with John Jo uve n e t, andlater with the elder Boulogne . So much talent had he , that hegained the first priz e at the Acad . when eighteen years old, and wassent to Ro m e with a pension f rom the king . He remained threeyears . Returning to Pari s, he so distingu ished himself, that he wasmade a Ro yal Academic ian i n 1 703 . He was employed by Loui sXIV. at the Trianon . He painted in Normandy , and in the Abbeyof S . Germain de s Pre s i s a representation of the Bapti sm of theEunuch of Queen Candac e,
” which is fine .
B e rtu c c i , Ja c o po , cal led Ja c 0po n e da F a en z a , flouri shed about1 530. Wa s be st known as a copyist of Ra phael , and also executedsome good pictures at Fae nz a .
B e rtu c c i or B e rtu si o , Gi o . B a ti sta , born at Faenz a, died 1 644 .
Studi ed under Denys Calvart , and afterwards i n the school of theCarace i . He painted history and imitated Guido . His drawingwas good
,but hi s color chalky and cold . Many of hi s work s are in
the churche s of Bologna .
B e rv i e , Ch a rles Clem e n t , born at Pari s (1 756 A pupilof J . G. Wil le . A fine engraver. A plate of the “ Laocoo
'
n , madeby him for the Musée Francais, Bryan calls the be st representationof that group ever engraved . It has been sold as high as £30.
B e sc h e y , B alth a sar , born at Antwerp (1 708 A weakpainter of history and portraits . Antwerp Mu s. N o s. 4 96 and 4 9 7are his
,and seem to imitate Gaspard de Crae y er. Th ey represent
scenes in the life of Joseph . His own portrait i s N o . 4 98 AntwerpGal l .B e sc h e y , J. P ., born at Antwerp (1 739 A copy i st of Dutch
and F lemish painters .B e s e n z i , Pao lo Em i li o , born at Reggio (1 624 An imitator
of Albano. Hi s best pictures are i n the eh . of S . Pietro,at Reggio,
and are worthy of commendation .
B e st a rd. A Span ish arti st who li ved at Palma at th e end of th e1 7th century . He ornamented several publ ic buildings there , andpainted a picture for the convent of Monte Sion
,which was 24
palms wide,and 1 5 palms high . It represents “ Christ i n the
Desert attended by Angel s ,” and i s the wonder of Palma . He h ad
good knowledge of draw ing , color, and chi aro-scuro .
B e t te lin i , Pi e tro , born at Lugano , 1 763 . A very emi nent e n
graver . Thorw aldsen so esteemed him that he employed him to
engrave his finest works . His plate o f the Entombment,” afte rAndrea del Sar to , i s called hi s chef-d
’
azu vre , and is a magnificentwork of art .
108 B ETTI B IGARI .
B e tt i , Padre B ia gi o , born at Pistoj a (1545 Pupil ofDan iele da Vol terra. . After the death of his master Betti became amonk of the Theati ne order . His works are principally i n the
monastery of his order at Ro m e .
B e tt o , B e rn ardi n o di . Se e Pinturicchi o .
B ew ick, Tho m as , born at Cherry Burn , 1 753 ; died at Gateshead ,1 828 . This arti st is disti ngui shed as the rev iver of wo od-engraving .
He was apprenticed to Ralph B e ilby at Newcastle , an excellen t andpainstak ing master , who pointe d out to hi m i n what he could excel .His first considerable work was th e i l lu s tration of Dr. Hutton’s bookon mensurat ion . He at length became a partner of B e ilby and , i n1 790, publi shed his His to ry of Quadrupeds .” From thi s t ime hisfame was establ ished . He afterwards made the il lustrations formany fine book s, among which were British Birds ,
” BritishWater Birds ,” Goldsmith
’s Deserted Village and Travel ler,”
e tc . He had many distinguished pupil s , such as Harvey , Nesbitt,Hole , Ransom , and Cle nne ll.B i an ch i , Cav ali e re Isi do ro , born at Milan . F louri shed abou t
1626 . Pupil of Mo ra z z o ne , and one o f hi s be st followers . Hi s fre scoes were hi s be st work s , and may be seen i n the . churches of Come ,
and in S . Ambrogio , at Mi lan .
B i an ch i , P ie t ro , born at Ro me , 1 694 . Pupi l of Benedetto Luti .One of his best work s i s a picture of the Conception in the ch .
of S . Maria degl i Angeli .B i an c u c c i , Pa o lo , born at Lucca 1 583 Pupil of Gui do.
His work s re semble those o f Sas soferrato . A representation ofPurgatory ” i n th e ch . of the Suffragi o, and an al ta r-piece i n S.
Franci sco are among his best works .B i c c i . There were three arti sts o f thi s name , and there has been
much confusion regarding their i ndividuali ty. It now seems to beestabl ished that L orenzo (Ii B icci married Madonna Lucia d’
Ange lo
da Panz ano . Thei r son B icc i was born i n 1 3 73, married in 14 1 8 ,
and was fath er of N e ri di B icc i . Thus we have Loren z o di Bier-i ,Bicci di Lo renz o his son , and Neri d i Bicc i hi s grandson . No
picture s now remaining are po sitively known to be those of L ore nz o .
Of th e work s o f Bicc i , a few remain . No . 1 4 first corridor , Ufli z iGall . , representing SS. Cosmo and Damian , was fo rm e rlv i n theCh . of S. Maria del Fiore , execu ted about 1 429 Some other work sst ill remain in S . Mari a del F iore , and a terra cotta above the porta lof S. Maria N uova ; the drawing of these was better than the color .Neri d i Bicc i w a s l i ttl e more than a house-pai nter but he filledhalf Tuscany with pic ture s . Many of these sti ll remam in churches,and there are four Annun c iations ” by hi m in the Acad. of Artsin Flore nce . The se artists were among the last of the weak imi tators o f Giotto .
B igari , V itt o ri o . born at Bologna. Hi s work s may be see n in
1 IO B ISCAINO B LACHERNITA .
pictures by this art ist i n the Dresden Gal l . He al so etched so meplates in a free , bold manner, with good drawing and high finish .
B i se t, Charle s Em an u e l, born at Antwerp , 1 633 . Thi s art is twent to Pari s
,where his pictures , which were conversations , or
representations of gallant assembl ie s, were much in vogue . He metwith good succes s, but hi s love of Antwerp caused him to returnthere
,and he was made director of th e Acad . i n 1 6 74 . In th e hall
of the Soc iety of Archers there i s a picture of “ Tell compelled t oshoot the Apple from hi s Son ’s Head ,
” wh ich i s the work of thisartis t .B isi , M ich a e l. A celebrated engraver of Milan . He gained his
first reputation by the Pinac oteca del Palaz z o Reale , della Sc ienz edel le Arti
,
”e tc .
, which he publ ished . He commenced a set ofengrav i ngs after the works of Andrea Appiani in 18 1 9 , i n which hewas assisted by the best pupils of Longhi . Later he made platesafter various masters
,al l of which were good . He also pai nted land
scapes with some success .B i sso lo , Pi e r Fran c e sco . A Venetian arti st
,who painted from
1500 to 1 528 . He was brought up in the school of the Belli n i . Hisheads are beauti ful and ful l of express ion . Hi s charac teri stic s aregentleness
,and del icacy of execution . In the Berl in Mus. there i s a
fine work of h is, representi ng the Resurrection of Christ ; i nthe Manfri n i Gall ., an Annunc iation , and in the Venetian Acad .
S. Catheri ne of Siena , exchanging the crown of thorns for a crownof gold ; signed F ra nc iscus B issolo .
B issu c c i o , L e o n ardo di . But one work of this artis t i s knownto remain . It i s the decoration of the monumental chapel to Se rgi an iCarracc io lo , in the ch . of S. Giovann i a Carbonara , at N aples . Itwas bui lt i n 1433 . The style of the picture s i s Giotte sque , but theheads are more l ike those o f F iesole . Carracc io lo was the lover andsene schal of th e younger Queen Johanna , and one o f these picture srepre sents him naked , as he was found after hi s murder . There areal so scene s from the Life of the Virg i n,” and pictures of severalmembers of the Carracc io lo family . There i s an i nscription whichclearly tell s the name and origi n of the pain ter .B la c e o , B e rn ardi n o . An art is t o f Udine , i n the Prio nl, who
flouri shed about 1 550. His work s are i n several churche s in Udine .
B la ch e rn i ta , M i ch a e l and S im e o n . These artist s were paintersof miniature: or th e i l lumination s of MSS . Their names are uponthe miniatures i n th e celebrated Menologium or Calendar of theEmperor Basil iu s I I. It was executed about 1000 A . and i s nowin the Vatican , N o . 1 6 13
,Vaticana. It i s supposed that Ludov ico
Sforz a, Duke of M i lan , procured i t from Constantinople . Thereremain at pre sent but five months
,but these contain 430 mini ature s
on gold groun ds , representi ng scenes in the Life of Chri st,” and
in the lives of those saints whose days occu r i n these months . This
B LACHERNITA B LAN SERI. II 1
MS. was presented to Paul V . who plac ed it i n the Vatican in1 6 1 5 .
B la ckm o re , Jo hn . An Engli sh mez z otinto engraver, who h asleft some well-scraped plates of portraits . F louri she d 1 7 70.
B lake ,W i lli am , bo rn i n London (1 75 7 Poet and painter
,
a man of wonderful,rather than practical genius . He was appre n
ticed to an engraver . He l ived in a sort of dream-land , and tookwhat he called portrait s of Moses , Homer M i lton, etc . He said ofhimself, that hi s business was “ not to gather gold , but to makeglorious shapes, expressing godl ik e sentiments .
” He painted butl ittle . He married Catherine B o u tch er, who was a devoted wife .
He al so possessed the strong friendshi p of the sculptor F laxman .
He loved the antique, and th e work s of Raphael and M ichael Angelo.
Hi s il lustrations of the Book of Jo b , Young’s N ight Thoughts ,
”
Blair’s Grave ,” etc .
, are astonishing conceptions, but hi s publishedwork s are too wel l k nown to need description or critic ism .
B lan ch ard, Ja c qu e s , born at Pari s (1 600 When twentyfour he went to Italy , and l ived two years in Rome and two in Venice .
He perfected himself in the coloring of the Venetian masters,for
which he was much admired a fter hi s return to Pari s . He has beencal led the French Ti t ian . His pictures are agreeable
,and hi s fle sh
t int s are very good . In the ch . of N otre Dame are two pictures bythis master, representing the Descen t of the Holy Ghost,
” andS. Andrew kneel ing before the Cross .” Several of hi s work s are
in the Louvre . He al so etched plates from hi s own design s andthose of other masters .B lan ch e t, Th o m as , born at Pari s , 1 6 1 7 ; di ed at Lyons , 1 689 . At
first he studi ed sculpture un der Sarraz in , but abandoned it on a c
count o f hi s delicate health . He went to Ro me and studied underAndrea Sac chi . He was a friend o f Algardi and N icholas Poussin ,both of whom advised and encouraged h im . Return ing to Pari s , hepai nted the Vision of S . Phi l ip ,
” and the “ Baptism of the Eunuch
,
” for the Cath . of Notre Dame , and was then employed toexecute variou s work s for the Hotel de Ville at Lyons . These la s tearned h im a reputation as an historical painter . t e n admitted toth e Acad . at Paris
,he painted for his picture of reception , Cadmus
killing the Dragon .
B lankh o f, Jo hn Te u n i sz , born at Alkma e r (1 628 Pupilof Caesar van Everdingen . He spent some time in It aly . He excelled i n marine v iews
,and some of his best picture s represent
storms on the Mediterranean coast , i n which he imitated the sceneryof Italy wi th Dutch truthfulness .B lan se ri , Vi tt o ri o , bo rn i n Veni ce (1 735 Educated i n
the school of Cavaliere Beaumont,he was his best scholar , and hi s
succe ssor in the office of painter at the court of Turi n . His principalwork s are i n that ci ty , one of whi ch ,
represent ing S . Luigi faintis i a the ch . of S . Pelagio , and i s much admired .
1 12 B LECK B LOEMEN .
B le ck or B le e ck, P e te r Va n . A Flemish engraver,who went to
England about 1 730. He engraved in mez z otinto , and hi s plate shave considerable merit .
B le s , He n ri de , born at Bouvignes , 1 480 ;died probably 1 550 at Liege . A painter oflandscapes who belonged to one of the lastbra nchcs of the Van Eyck school . He adopte dan owl for his monogram
,and was called
Cive tta in Italy . His manner was s tiff and dry,resembling that of
Jacob Pa tin i e r i n color . He ofte n introduced a Scripture subj e c t ina landscape . N o . 624 , Berli n Mus.
, i s one of his earl ier works , andis a male portrai t with a landscape background . No . 9 1 Mun ichGall . Cabinets , repre sents the “ Adoration of the Kings . In theColl . of the Prince Consort at Kensington there i s a Cruc ifixionby thi s master . His work s are rarely for sale
,and are much
esteemed .
B lo em a e rt, A b rah am , bornat Go rcum about 1564 ; died atUtrecht , 1 64 7 . Painter and e ngraver , a contemporary of Ru
bens , and the son of Cornel ius B lo em a e rt, an eminent archi tect .He painted history
,landscape
,and animals . His drawing was very
bad .
“ The Wi se Men ’s Offering ,” i n the Jesui t ch .
'at Brussels ;a ” N ativ i ty at L e lie nda e l; al so N o s. 745 and 722
,Berli n Gal l . ;
N o . 1 93,Mun ich Gal l. ; the Feast of the Gods ,
” in the Hague Gal l . ,and a Madonna i n the Mechl i n Cath . are by B lo e m a e rt. He deserves the most attention as an engraver , fo r hi s e tchings are good , hisplate s i n chi aro- scuro are spirited and effective , and the outlines are.not cu t on block s of wood
,as i s cu stomary , but etched on copper .
B lo em a e rt, Co rn e li us , son o f the preced ing . Born at Utrecht .1603 ; died at Rome , 1 680. A very di stinguished engraver . Ilc
s tudied firs t under h is father,then with Crispin de Passe . In 1 630
he went to Paris , where he d istinguished himself . He went to Romewhere he passed the remainder o f his life . His engravings were fine
,
but he effected a change in hi s art , which added to his fame morethan his work s . Befo re hi s time there was an i nattention to harmony
,and the lights were left i ndi scriminately clear, which had an
i ncongruous and spotted effect . B lo e m a e rt effec ted a gradual ori n sensible gradation from light to shade , and made a varie ty o f
ti nts in the distances . Thus he may be called the originator of thes tyle fol lowed by Poil ly , Audran , Picart , and the great Frenchengravers . His work s a re much priz ed , and several of them have.become sc arce . He marked his plates C . B L . or CO RN . B LO . orC . B 1. o .
B lo em e n , Jo hn Fran c is Van , called Oriz o nti , born at Antwerp .
1 656 ; died at Rome, 1 7 40. He painted l ike an Itali an , for he went
1 1 4 B LOOT B OCCACCINO.
B lo o t, Pe t e r . A painter o f Holland . F lourished about 1 650,died 1 66 7 . He repre sented scene s from low l ife ; drunke n frol ics ,quarrel s , e tc . His charac ters are uncomely , grote sque , and evendisgusting . Unlike some other arti s ts , such as Ostade and Te n i e rs,he has not attempted to reconc ile u s to v ulgari ty by ingeniousarrangement or beautiful colors . His work s are very rare a nd highlypriz ed i n Hol land .
B lo o te lin g or B lo te li ng, A b rah am , bo rn at Amsterdam ,
1 634 . His style indicate s that he studied under th e
Vissche rs. He became a very eminen t des igner and e n
graver,and produced a large number of etchings ; some plates in
mez z otinto , and some executed with th e graver . He went to England in 1 6 72, and remained two years . He etched plate s o f theCol l . o f gems of Leonardo Augo stin i , and publi shed them i n 1 685 .
B lo t , M a uri c e , born at Pari s (1 754 Pupil of Aug . S.
Aubin . He engraved i n a neat style, a nd has left some plates of
portraits and fancy subjects .B o b adi lla , G e ro n im o , born at Antequ erra ; died , 1 680. Pupil
o f Zurbaran at Sev il le . He thorou ghly unders tood perspect ive , andarranged the figure s in his picture s well , but his designs were notgood . His color was better . Muril lo compared th e varnish he usedto crystal . He was one of the founders of the Acad . at Sev il le . Hemade a large Coll . of drawings , models, sketche s after celebratedarti sts, etc .B o c an e gra , D o n Pe dro A ta n as i o , born at Granada (1638
A pupil of Alonso Cano , he al so studied color from th e work s ofPedro de Moya and Vandyck . He was a boaster , vain and arrogan t
,disl iked by al l who knew him, and when he was chal lenged
to prove his sk il l he sto le away from Madrid to avoid th e tes t . Buthi s work s were much esteemed, and no Coll . was thought comple tewithout them . At the college of the Jesuit s , Granada, i s the Conversion of S . Paul , one of his finest work s ; and in the Cloi ster ofN ue stra Senora de Grac ia a Conception .
B o cc ac c in o , B o c c a c c i o , born at Cremona (1 460 Few
fac ts are known i n the life of thi s old painter. I n 1 49 7 he hadpainted a serie s of frescoes i n S . Agostino, and had a school atCremona
,from which Garofalo ran away in 1499 . Ili s composi tions
are scattered hi s perspec tive bad bu t there i s a certai n grace andspirit i n hi s figures . His remaining work s are frescoes i n the Cath .
of Cremona at S. Quirico i n Cremona , a panel much in the Venetian style of pain ting ; an ear ly tempera on canvas i n the Bishop
’sPal . at Cremo na ; No . 1 32, Venice Acad .
, and an al tar-piece at S .
Giul iano at Venice . There are others that are supposed to be hi sin various col lec tion s, which are attributed to Perugino, Pinturicchi o ,etc .
B o c c a c c in o , Cam i lle , born at Cremona (15 1 1 So n of
B OCCACCINO B OEY ERMANNS. 1 15
the preceding . At the time of his early death he was the mostpromising arti st of the Cremonese schoo l . The Raising of L a zarus
,
” and the Adul teress before Chri st , at Cremona , are wel le steemed, and he painted the Four Evangel i sts , i n S . S igi sm o ndi ,i n a style which showed great knowledge of perspective and foreshortening .
B o c c iardo , Clem e n te , cal led Clem e nto ne , bo rn at Genoa (1 620His pri nc ipal work s are at Pisa , and a “ Martyrdom of S .
Sebastian ,” i n the ch . of the Carthusians, i s one of the best .
B o cciardo , Do m e ni c o , born at Genoa , 1 686 . I n the ch . of S .
Paolo , Genoa, there i s a picture by him of S. John baptiz ing severalperson s .B o ckh o rs t , Jo h n Va n , cal led Langen Jan , bo rn at Munste r ,
1 6 10. His family removed to Antwerp, and he became a pupil ofJac ob Jordae ns . He pai nted much in the s tyle of Vandyck . Hispo rtrai ts were excellent, and hi s historical pictures rank among thebes t productions of the Flemish school . They are i n many F lemishchurches . In the ch . of S . James, at Gh e ndt, there i s an al tar-piecerepresenting the Martyrdom of the Saint, and in the ch . of th eBeguines, at Antwerp, a Resurrection ; both fine work s by thismaster .B o édas . Third son of Lysippus , the great sculptor of Sicyon .
Nothing i s known of B o e'
das but that he made a statue of a prayingfigure . Many bel ieve the Praying Boy i n bronz e
,i n the Mu s. of
Berl in , to be hi s work . Of course there i s no way of proving thi s,but the whole style poin ts to the school of Lysippus .B o e c e , C. P . Se e Boetius .B o e hm . Se e Beham .
B o e l, P ie te r, born at Antwerp (1 625 He studi ed underFranci s Snyders , but completed hi s education under hi s uncle , Corn e li u s de Wael , at Genoa. He was very nearly al l ied to th e mannerand excellence of Snyders , and considered a fine pai nter . Hispictures are rare . At Antwerp there is a series cal led the “ FourElements . ” Mun ich Gal l . , N o . 327
, represents two sporting dogs
guarding dead game ; very fine . His etchings were al so fine,and
take place among the rarest work s of the kind . A serie s of six platesof Birds, and a lVi ld Boar Hunt, meri t spec ial not ice
'
.
B o éth us of Chalcedon . \Ve have an account of three statue s ofbo ys by thi s sculptor . The “ Boy wi th a Goose
,
” i n the Louvre,i s
copied from one of them .
B o e ti u s or B o e c e , Ch risti an Fr e de ri ck, born at Le ipsic , 1 706 .
Lived chiefly in Dresden , and was made professor of the ElectoralAcad . i n 1 764 . He engraved several plate s from the pictures i n theDresden Gall . , for the volumes publ ished in 1 753 and 1 75 7 . He alsoengraved some portraits, and other subjec ts .B o e y e rm an n s
, Th e o do r, born at Antwerp (1 620 An
1 1 6 B OEY ERMANNS B OL .
excellen t painter , and imita tor of Vandyck . Wa s made a memberof the Antwerp Guild i n 1 654 . His picture s are scarce . Either hedid not put h is name on them , or it has been re moved in order topass them as Vandyck
’
s. The Antwerp Mu s. has two of his pic tu re s :No . 403 , ca lled L
’Ambassade ur,
” and N o . 404 , The Pool of
Bethesda ,” a large composition dated 1 6 75 . His work s are al so i n
the ch . of S . James , and the Convent of the Jacobin s at Antwerp,but h is chef-d
’ce u vre i s a representation of S . Franc i s Xavier con
verting an Indian pri nce i n the Jesui t ch . at Ipre s .B o iss i e u , Je an Ja cq ue s de (1 736 An
‘I70eminent engraver, who has left about s i xty charming plate s . They are of landscapes and other
subj ec ts,both from hi s own designs and those of other arti sts . He
marked hi s plate s D . B ., with the date . He also painted some por
trai ts,and a few picture s of subjects s imilar to those of Ostade .
B o i z o t, L o u i s S im o n (1 743 French sculptor. Hi sfatherwas a designer, and at the age of nineteen Loui s had gained the
grand priz e of the Royal Acad . , and was se nt to Rome by the king.
The group o f allegori cal figure s i n the Place du Chat e le t i s his bestwork . There are two bust s execute d by hi m i n the Gall . of Fonta in ebleau .
B o i z o t , M a ri e L o u i se A de la i de , born at Pari s , 1 748 . She wasin struc ted by J. J. Fli part , and engraved with neatnes s both portrai ts and other subject s .B o l, F e rdin an d, born at
'
Do rtre ch t, 1 609 ; di ed at Amsterdam ,
168 1 . A pupil of Rembrandt , whose s tyle he followed but for atime . His historical subj ec t s are not skil fu l i n composi tion , and hi sheads have a t iresome sameness , while hi s color was t oo yel low .
The force of h i s picture s i s as tonishing , and ye t they lack re finement . His portra it s were hi s be st efforts ; they were pai n ted in ful ll ights , and hi s flesh tones were tru thful, whi le the expression w asanimated and l ife-l ike . One of hi s fine early work s is a po rtra i t
pa i nted i n 1632, Berlin Mus . , No . 8 10. His best work is probablythat in the L epro se nh uys,
” at Am sterdam , i n which a doc tor i srecommending an infected boy to the Regents . The heads are
masterly , and the hands are finely pa i nte d . In the Huyssi tte n
buys there i s a picture of the same k ind . Mr. Baring has a scenefrom Guari n i ’s Pastor Fido ,
” and a couple of fine portraits . N o .
42, Louvre , i s also a portrait . In the town-house at Lcyde n there isan allegory of Peace ,
” and in the Dresden Gall . , No . 1 203 repre
se nts “ Joseph presenting Jacob to Pha raoh ,” and N o . 1 205
,
“ David’sLe tter concern ing Uriah .
” These las t are o f the be st of hislater work s. Bol was al so an engraver , and hi s e tchings, though notequal to those of his ma ster
,are highly e steemed . Hi s ligh ts and
shadows are good , and hi s s tyle wi th the point i s bold and free ,rather than light and ta s te ful , l ike tha t of Rembrandt .
1 18 B OLSWERT B ONCUORE.
B o lsw e rt or B o lsu e rd, B o e ti us A dam ,
born at B o lswe rt i n Friesland , 1 580. Wh erehe studied engrav ing i s not known , but hebecame eminent in that branch of Art . Hefollowed the manner of Cornelius B lo e m ae rt .
Ile se ttled with hi s brother Sch e ltius i n Antwerp, as a print-se l lerand engraver . He used the graver only . His fi nest plate s areafter Rube ns , and have more color and finish than hi s others .
B o lsw e rt or B o lsu e rd, S ch e lti u s A . ,
born at B o lsw e rt , 1 586 . A very eminentengraver ; i n truth , one of the most so ofhis country . His plate s embrace all classe s
of subject s,but he was e spec ial ly happy i n repre sent i ng the finest
work s of Ruben s and Vandyck . It i s said that Ruben s often re
to uched hi s proofs with chalk , and he made the corrections with thegraver . He never use d the po int . Some of the se proofs are i n theportfolios of lovers of the c urious .B o m b e lli , S e b a sti an , born at Udina (1635 Pupil of Guer
c ino . Espec ial ly di stingu i shed as a portrai t painter and a Copyis to f Paul Verone se . B o sch in i says that in his imitation of Verone se ,he could not be excelled . I n early life he painted some hi storicalpicture s which gave prom i se of excellence , but portrai t paint-ingpromised him gr eater reward s , and he confined himself largely to
that branch of pain ti ng . He travel led through Germany and pain tedportrai ts of many eminent persons at di fferent courts .B o n a ci n a , G i o . B a ti sta , born at Mi lan , 1 620. An engraver who
imitated Corneliu s B lo e m ae rt , wi thout equallin g him . His s tyle isneat
,but dry and stiff.
B o n as o n i , G i u li o , born at Bologna about 14 98 . Apai nter and very em im e n t engraver . Some of hi spicture s are i n the churches of Bologna , but i t i s as anengraver that he demands attention . He was i nstructed
by Marc Antonio , and although he did not equal h im , he exec ute dplate s after the works of some of the be st masters with great fac ili tyand elegance . He used the graver almost entirely. The distributi onof l ights and shadows , and breadth in the masse s are especial pointso f excellence in hi s plates . He engraved after M . Angelo , Raphae l ,Giul io Romano, Parm egia no , etc .
, and a l so several plates from hi s
own designs .B o n a tt i , G i o . , born at Ferrara , 1 635 ; died at Rome , 1 68 1 . Pupi l
of Guerc ino , and a protégé of Card . Car lo Pio . Later , i n Rome , hes tudied w i th P. Francesco Mol a . In the Gall . at th e Capito l thereare work s of his , and in the churche s of Santa Croce in Ge rusalemme , and Chiesa N uova .
B o n cu o re , Gi o . B a ti s ta , born at Abruz z o (1643 Pup i l ofFrance sco Albano . Hi s best cha rac teristic is force and v igor of effec t .One of his be st work s i s in the Chiesa degl i Orfanel l i at Rome .
B ONE B ONIFAZIO . 1 19
B o n e , He nry , born at Truro in Cornwall (1 755 He wasa manufac turer of ch ina , but became an eminen t enameller . Hewas firs t dis tinguished by his 00pies of th e Sleeping Girl by SirJoshua Reynolds, but his greatest work was the “ Portraits of theI llustrious Me n and Wom en of England,” which he reproduced inenamel . Since his death they have been bought by col lectors of thebeautiful . He was a member of the Royal Acad .
B o n e s i , G i o . G i ro lam a , born at Bologna (1653 Scholarof Gi o . Viani . He imitated Carlo Cignan i . His work s may be seeni n the churches of S . Mari ne , S. Biagio , the Certosa , and o tln r
publ ic edifices of Bolo gna .
B o n fan t i , A n t o n i o . An arti st of Ferrara , cal led ll Torricella .
His pictures are i n the public edifices of that city . The moste steemed are the “ Holy Family , i n the ch . of La SantissimaTrin ita
,and Christ i n the Temple ,
” at S . Francesco.
B o n fi gli, or (i i B u o n figli o , B e n e de t to , born at Perugia (1420He was superior to al l the Umbrians of his time, except
Piero della France sca, and mus t have been acquainted with theclassic art of Florence . His works were considered the greatestornament o f Perugi a . His largest work was the Hall of th e Palaz z oComunale, which he decorated with scenes from the l ives of S . Louiso f Toulouse and S . Ercolano. They were commenced in 1 454
,and
were not finished i n 1 4 96 . The progress of painting i n his t ime i swell i l lustrated in the works of B o nfigli , and they prepare th e wayfor the excellence of Perugino . Besides the Hall already mentionedhe undertook the chapel of the “ Magistrato , and a Brutus in th erefecto ry of the Priori i n the Palaz z o Comunale . Fo r S . Domenicohe painted an “ Adoration of the Magi ,” now N o . 1 8
,Perugia
Gal l . ; for the company of S . Bernardino , a banner, 14 65 aVirgin of Mercy ,
”14 78
, and many works which te st ify to his greati ndustry. Vasari says that Pinturicchio was the assis tant and friendof B o nfigli , and Lanz i says that Perugino was his pupi l . Whetherthese artists were associated with hi m or not
,they undoubtedly
profited by his example , and were indebted to him for gi ving aconsideration to Perugian art, which had not before belonged to i tB o ni , G ia c o m o , bo rn at Bologna (1 688 Pupil and as
s is te nt o f'
Marc Antonio France sch in i . Said also to h ave studiedunder Carlo Ci gnan i , whose style i s im itate d in some of his frescoes ,such as the ce ilings of S . Pietro Celestin i at Bologna
,and S . Maria
della Costa at S . Remo . A pic ture of the Infant Jupi ter ,” and a
saloon at the Palaz z o Pal lavicino,by this master
,are much admired.
B o n i fa cc i o , F ran c e sc o , bo rn'
at Viterbo, 1 63 7 . Pupil of Pietro
da Cortona . His work s were in the public edifices o f Viterbo , andpossessed considerable meri t . In the Palaz z o Braschi i s hi s pictureof the Woman taken in Adultery.
”
B o n ifa z i o , Ve n e z i an o A pupil of the elder
120 B ON IFAZIO B ONVICINO.
Palma,and an imi ta tor of Titian . In color he approaches the last
named master, and i s altogether an eminen t example of what patientappl ication can do even when great talent i s wanting. There aremany work s o f hi s i n Venic e . His most pleasing pic ture s are thoseof simple arrangemen t, such as Saints and Holy Familie s . TheRich Man ’s Supper ,
” i n the Acad . at Venice,i s one of his best
work s . I l i s late st pictures are weak and mannered .
B o nin gt o n , R i ch a rd Parke s , born at Arnold , N ott ingha m (1801A fine landscape and mari ne painter . He copied in the
Louvre,was a studen t i n the Ecole de s Beaux Arts
,and occa sional l y
attended the s tudio of Baron Gros . He v i sited Italy,and pain ted
some pic tures i n Venice . He exhibited a few picture s at the RoyalAcad . before h is death , but s ince the International Exhibi tion of1 862, he has been more apprec iated i n England .
B o n o n e , Ca rlo , born at Ferrara (1569 Pupil of GiuseppeMaz z uol i . IIe v is ited Bologna, and so admired the work s of th eCarace i , that he copied some of their principal picture s ; he wen t toVenice , and to Parma , where he s tud ied the excellence s of PaulVeronese and Correggio . His smal l picture s are i n the style of th eCarace i , but h is larger work s are more ak in to those of PaulVeronese: Many of his work s are i n the publ ic edifice s of Ferrara.and some of the best Fe rrare se painters w ere his pupil s .B o nsi gn o ri , F ran c esc o , born at Verona (1455 Little is
posi tively known of this old master,although many of his work s
remain i n Verona and Mantua, and spec imens are to be seen i n manyof th e large gallerie s of Europe . Vasari call s him a pupil of Man
tegna,but thi s seems improbable , u pon a careful examination of his
work s,as a change in hi s manner about 1 48 1 indicates that he came
under the influence of Mantegna at that t ime . He was patroniz edby the Marqui s Francesco Gonz aga , who gave him a salary and ahouse i n 148 7.B o nv i c in o , A le ssan dro , called ll Moretto di Bresc ia , born at
Brescia (1500 At first he imitated Tit ian,but afterwards
studied th e Roman school , and produced a manner ful l of grace ,stateli ness , and simple digni ty . l l i s oi l pic tures were bette r than hisfrescoe s
,and h i s best work s were quie t altar-pieces , for he did not
succeed in th e action necessary to historical painting . He has left.fine work s i n his native c i ty , and his pic ture s are to be seen i nVienna, Frankfort , Berlin , the L ouvre, etc . A large altar-piece ,representi ng The Virgi n between SS. Anthony and Sebastia n ,
”
i n the Stadel Institute , Frankfort. i s worthy of notice . A colossal“ Adoration of the Shepherds
,
” Berli n Mus . , i s excellen t . In theImp . Gal l . , Vienna , there i s a fine picture of S . Justina, with th e
Duke of Ferrara (cal led a Pordenone) kneel ing be side her, whichhas been engraved by Rahl . Hi s portrai ts have been l ikened to
tho se o f Titian , and he was the master of Moron i . The N ational
1 B ORDONE.
8 . JU STINA AND ALPHONSO 1 . OF FERRARA. B Y IL MORETTO .
B elvedere, Vienna.
B o rdo n e , Pa ri s ,born at Trevigi (1500 Hi s portrai ts
were h is best works,and fo r them he i s di s ti ngui shed . He was of
noble family , and wel l educated before he entered the school ofTitian . Many of his female portraits are in the U lfi z i ; the M a nfrini
Coll.
,Venice ; th e Belvedere and Esterhazy gallerie s , Vienna ; and i n
other places . All his head s are fine , and some of them closelyresemble Ti tian . Two of h is larger wo rks are in the Berl in Mus. ,
but the best of this class i s i n the Acad . of Ven ice , and representsthe fisherman presenting the ring of S . Mark to the Doge ; it i s
B ORDONE B ORGIAN I . 123
splendi dly executed . Bordone was inv ited to France by Franci s I.,
and painte d the portrai ts of the king and many of the nobil ity .
B o rgan i , Fran c e sc o , born at Mantua . F lourished in the middleof the 1 7th century . Scholar of Domenico Feti . Lanz i says thi sartist merits more atte ntion than he receive s . His works are i n thechurche s of Mantua .
B o rgi a n i , O ra z i o , born at Rome (1 5 7 7 Stud ied with hisbrother called Scalz o . Copied the work s of the masters of Rome .
A man of v iolent temper . Riding one day in a coach , at Rome , hesaw some arti sts , among whom was Caravaggio , laughing at him ; hesprang from the carriage , seiz ed a bottle of varni sh from the shop ofa druggist , and threw it at the heads o f the offenders . He passedsome years in Spain , where he was well received and patroniz ed , a ndon hi s return to Rome was employed by the Spanish ambassador.
CORONATION o r THE V IRG IN. BY BORGOGNONE .
In S. Simpl iciano , M i lan .
124 B ORGIANI B ORZONE.
His work s may be seen i n some churche s of his nati ve c i ty , and heal so left a few plates etched in a free , bold man ner .
B o rgo gn o n e . Am b ro gi o . Flourished abo ut 1 500, born at M ilan .
His pic ture s are by no means excel len t , but his heads are gentle andmeek in expre ss ion ; and sometimes they have a pe culi arly au s te re andmournful look . His work s may be see i n Mi lan
,espec ially in the ch .
o f S . Ambrogio ; in Pavia the frescoes i n the Carthusian Convent ,formerly ascribed to Bramante , are by Borgognone . In the Berl inMus. there are two work s by this artist , one of which , an En thronedMadonna ,
” has a hi gh re putation .
B o rras , N i ch o las , born at Coc e ntayna , 1 530; di ed at Gand ia , 1 6 10.
A priest,monk
,and painter . He studied with Joanes at Valencia .
and was hi s mos t emi nent disciple . He to ok orders and li ved as apries t in hi s nati ve town , continuing to pain t meanwh ile . At lengthhe went to the convent of the Jeronymite s at Gandia , to paint somepicture s for their high-al tar . When hi s work was ended he refu sedall payment , and desired that the habi t of the ir order should be givenhim T h i s was done and he remained i n the convent three yea rs .but hoping to find a s tricter di sc ipl ine , he wen t to a Franciscanmonastery near Valencia . He did not re main long , and returning toGandia , passed th e re st of his li fe there . Hi s indy stry was wonderful
,and the number of his works immense . He not only gave his
time and skil l to hi s conv ent , but al so devoted goodly sums of moneyfo r the comfort and elegance of i ts appointments . He hired sculptorsand decorato rs at his own expense , and came to be considered abenefac tor to his community . \Vhi le he l ived fifty masse s were saidyearly for hi s soul . The Mus . of Valencia has more of the picture sof Borras than of any oth er art i st . There are about fifty of them .
mostly on panel . His style i s similar to that of his master : his headsare ofte n strik ing , and hi s acce s sori e s finished with great c are andminutenes s . His coloring i s colder than that of Joane s .B o rreke n s , Jo h n P e te r F ran c is , born at Antwerp (1 74 7
A painter of landscape s , which were ofte n ornamented wi th figu re sand cattle by other masters .B o rreke ns , M a tth e w , born at Antwerp , 16 1 5 . An engraver .
who was chiefly employed in copying th e plate s of eminent engraversfor print-sel lers . He worked entirely with the graver
,and imi tated
Pontiu s without. equall ing him .
B o rsum , A b ra h am v an . A painter of landscape s , b irds ,an imal s , etc . His picture s resemble Re mbrandt’s in color . Hisdrawings are highly e steemed in Holland , and sell for large sum s .B o rsum , A dam v an . Flouri shed 1 666 . A pain ter of animals
who imitated A . Vandermeer and Paul Potte r. His color i s good ,
and his drawing free and spiri ted .
B o rz o n e , L u ci a n o , born at Genoa (1590 Pupil of hisuncle , F il ippo Berto lotti . Painted histo ry , bu t excell ed most i n po h
126 B OSCH B OSIO.
pic ture . He was repre sented on horseback , and the horse was doneby Peter van Bloe men . Hi s pic ture s were well arranged , his headshad l ife and expression , and his color was warm . Antwerp M u s. ,
No . 448 , Re ception of a Burgomaster of A ntwerp in the youngerGuild of Cross-bow Shooters .
”
B o sch a e rt , N i ch o las, born at Antwerp , 1 696 . A fi ne pai nter offlowers and fruits .B o sc hi , F ab ri z i o , born at Florence (1 5 70 A pupil of
Domenico Pa ssigna n i . At ni netee n b e surprised th e arti sts of hi sday by his excel lence . The Martyrdom of SS . Peter and Paul, ”
painted for the Certosa at Flore nce , and an “ Assumption of th eVirgin i n the ch . of the Convent of S . Lucia , are am ong his be stwork s .B o sch i , Fran c e sc o , born at Florence (16 19 An excellen t
portrai t pain ter.B o sch i n i , M arc o , born at Florence , 1 6 13 . Pupil of Palma , and
an imita tor of IITintoretto . His Last Supper ,” i n the Sacristy of
S . Girolam o , at Venice , i s one of his be st works . He was a dist ingu ish ed engr aver, and wrote a book called La Carta del N avegarPittoresco .
” He signed his plate s M a rcus a clu'
n i u s.
B o sc o li , A ndre a , born i n F lorence (1550‘
3 Scholar ofSanto de Titi . Painted hi story wi th some merit
,al so portrait s with
good succe ss ; that of himself i s i n th e Florentine Gall .B o se lli , A n t o n i o , flou ri shed about 1 500. Little i s known of hi s
li fe . He was a sculptor and painte r . At Bergamo , bel ieved to havebeen his native plac e , i n the ch . of S . Cris toforo , there i s a pictureof SS . Peter
,Paul , and Luke ,
” i n sc ribed , Ho e opus An to n ium sc ito
p inata-re B osellum, die 23 F ebrua ri i , 1 509 . In the ch . of th e Augus
t ine s there are other work s of his .B o se lli , F e li c e , born at Piacenz a (1 650 He copied th e
old maste rs to perfect ion , and hi s copie s are numerous,but are
se ldom attributed to him , as they pass for originals . He attemptedhistorical painting , but afterwards pai nted birds , animal s , etc .
The se pic ture s are much esteemed in Piacenz a, and are in the be stcol lec tion s .B o si o , Fran c is Jo seph , born at Monaco (1 769 Pupil of
Paj ou , but he formed his style by th e study of the antique . He waschief sculptor of the King of France
,and his most beautiful work s
are in Pari s . He executed many bust s of the royal family and menof n ote . The has-reli efs of the column i n the Place Vendome werefrom his de sign s . 1 Hercule s s truggl ing with Achelous transformedi nto a serpent , i n the Garden of the Tuilerie s (bronz e) ; the equestrian statue i n th e Plac e de s Vic toire s ; the s tatues of France andTru th , at the grave of Malesherbe s ; the figure of the King of Ro me ;and th e tr i umphal chari ot o f the arch in the Place du Carrousel ; th enymph Salmac i s , and a Hyac inth , i n the Gal]. of the Luxembourg ,
1 A po rti on by B asie ; o the rs by B e rge re t.
B OSIO B OTTICELL I . 127
are some of his be st works. In 1 830 Bosio completed the monumentof the Countes s Demidoff. He was al so engaged on the monument ofLoui s XVI. Bosio was a Knight of the Legion of Honor , and theOrder of S . M ichael ; and a member of the French Institute andRoyal Acad . of F ine Arts at Berlin .
B o ssch a e rt, Th o m as W i lle b o rts , born at Bergen-op-Zoom ,
1 6 1 3 ; died at Antwerp, 1 656 . Pupil of Gerard Segers . He went toI ta ly and remained four years . His picture s were fine and bearcomparison with those of the first masters of his country .
’
Hispic ture of the Martyrdom of S . Basil i s i n the ch . of th e Capuchins at Brussel s ; the Martyrdom of S . James i n the ch . of thatsaint at Bruge s ; and in the House i n the Wood at the Hague is hi semblematical picture of Peace and War.
” He was a membe r ofthe Antwerp Acad .
B o ss e , A b ra ham , born at Tou rs , 1 6 10. He wrote a treati secallen La Maniere de Graver a l ’eau forte, e t au Burin .
” Heleft a good number of plate s , principally from his own design s .They are bold and masterly , etched wi th unusual spirit and fre edom .
B o th , Jan and A n dri e s . These brothers were so united i n li fethat no separate story can be told of them . They were born atU trecht about 1 609—1 6 10. Their father painted glass ; they werepupils of Abraham B lo em aert , and went to Italy , where Jan ,
charmed by the scenery , gave himself to landscape painting, whileAndrie s ornamented his picture s by figures
,and painted some other
subjects by himself. Of these last, N o . 121 4 , Dresden Gall . , i s a
goo d example . He also left e tchi ngs (ten) , which are e spec iallygood . Jan succeeded in both large and small pictures ; the mostapparent faul t in them is their sameness . So much in harmony didthe brothers paint , that one would not imagine their work s not doneby one hand . The N ational Gal l . , N o . 7 1 ; the Louvre , No . 43 ;
Amsterdam Mu s. , N o s. 3 7 and 38 ; and N o s. 1 7 an d 1 8 at the Hague ,are all good example s of their style . The ten landscape s etched byJan are equal ly as good as his pictures . He also well engraved theF ive Senses ,
” designed by Andrie s . Andrie s was drowned in ac anal i n Venice i n 1 645 ; and Jan returned to Utrecht , but did notsurv ive his brother more than five years .B o tta la, G i o . M ari a , born at Savona , 1 6 1 3 ; died at M i lan , 1 644 .
Went to Rome and studied under Pietro da Cortona , whom healways imitated , although he was called Rafi
'
ae lli no , from his lovefor the works of the great master . His work s are principally i n thechurche s of N aples and Genoa . One of his best pictures , theMeeting of Jac ob and Esau ,
” was placed i n the capitol by Benedict XIV. Card . Sachetti was the friend and patron of Bottala .
B o tti c e lli , S an dro . Real name Alessandro F ilipepi , calledBotticell i from his first master
,a gold smi th . Born in F lorence
(1 44 7 Scholar of Fra F ilippo Lippi , and twenty-two years
128 B OTTICELL I B OUCHER .
old at the death of that master. Vasari says that at that timeBotticel l i was the be st arti s t i n Florence . His rel igious pic tures arewanting in deep feeling
,but have a certai n sweetness and warmth
which appeal to the heart more than th e colder work s of otherarti st s
,and even those of Ghirla ndaio may be included in the l ist .
In hi storical work s he displayed hi s fanc iful conception of his subj cet , united with the impetuous energy of Fi l ippo . He endeavoredto ra i se his subjects above the ordinary mode , and also repre sentedmyths and allegorie s . About 1 4 74 he was employed in the Si stineChapel , and pain ted three large pictures, bes ides twenty-eight figuresof Pope s be tween th e windows . The large work s are full of ac tion
,
the figures are expressive , and the landscapes beautiful . Of hi sallegorie s , that of Calumny , at the Ufii z i , i s most remarkable .
The “ B irth of Venus,
” i n same Gal l . , i s na i vely sweet . Thesework s prove him to have been a student of anc ient archi tec ture , andantique , classical statuary . His later work s were finer than hisearlier ones , and he received many honorable commission s . L orenz ode’ Medic i was his employer ; h e was of the number consulte d re
garding the placing of M ichael Angelo’s David ,
” and his name isfrequently met i n F lorentine papers of hi s time . During the verylas t of h is l ife he degenera ted
,and hi s picture s of that period a re
poor and weak . He died i n comparative poverty . His work s arevery numerous . There are many in Florence , some in Rome andother Ital ian c itie s , and they are to be seen i n the Louvre , theN ational Gall . , the gal leries of Berlin , Dresden , Vienna , Munich ,
etc ., and in private col lect ions . Botticelli also engraved a number
of plates .B o u eh a rdo n , Edm e , born at Chaumont , 1 698 ; died at Pari s ,
1 762. Studied first with his father,and then at Paris
,under Cous
ton . He obtained the first priz e of the Acad . and went to Rome ,where he di ligently copied from th e antique and executed a bust ofPope Clement XII . He made a copy of the Barberin i Faun
,
” nowin the Gal l . atMunich . His most celebrated work s were th e Fountain of Grenelle ,
” and the equestrian statue of Louis XV. i n theGa rden of the Tuileries , upon which Bouchardon labored for twe lveyears , and whi ch was de stroyed i n 1 792. Some of hi s works maybe seen i n the gardens of Versail les and Choisy
,and i n the choir of
the ch . of S . Sulpice . we have also a few etchings by this arti s t.B o uch e r, F ranco i s, born at Paris (1 701 One of the
most mannered of Fre nch painters . \Ve rnum says he appeared“ to ha ve di scovered a new race of human beings .” He went toItal y , was a member and d irector of the French appointed princ ipal painter to Loui s XV. i n 1 765 . He was al so superi nte nde nt of the tapestry manufactory a t
'
B e auvai s. His pic tures areof a decorative type . He painte d al l subjects i n one manner. Inhis own style he could scarcely be equalled
,not to say surpassed
,and
130 B OURDON B OYDELL .
he was assis ted by Rigaud . The N ational Gal l . has a fine pictureby Bourdon . li e was sk ilful i n handling the point , and his plate sare valued b y collectors .B o u rge o i s , S i r F ra n c i s , born in London (1 756 His
family were Swiss . Pupil of De L o u th e rbo urg , whom he did not.perfec tly imitate . He was a close studen t of nature , and paintedvery exactly from his subj ect s . This i s e specially seen i n hi s halfdead trees and gnarled roots . His cottages are very good , similar tothose of Barker
,and his pastoral scenes wel l arranged . His gypsie s.
cattle,e tc .
,are grouped in th e manner of Gainsborough . He was
inv i te d to Poland , and although he di d not accept the inv itation ,
was appointed painter to the king , and made a knight of the Orderof Merit . He was a friend of Mr. De se nfans, who bequeathed h imvaluable paintings
,which he gave at his death to Dulwich Col lege .
B o u sse a u , Ja c qu e s , born at Chavaigne s-e n-Poitou, 1 6 71 ; died atMadrid , 1 740. Pupil of N icolas Constou . He rapidly rose to th e
rank of professor of sculpture i n the Royal Acad . There are severalstatues by him i n the Cath . o f Notre Dame ; and he executed the
grand al tar of the Cath . at Rouen and the Tomb of Card inalDubois i n S . Honoré . He was inv i ted to Spain and appointedprincipal sculptor to the k ing . He lived many years at Madrid , andexecuted severa l fine work s .B o ut, Pi e t e r and N i ch o las , or A n t o n Fran s B o u dew y ns .
N atives of Brussel s who flourished abou t 1 700. They executed together a great number of pic tures which are midway between landscapes and genre subjec t s . Boudewyns paint ed the landscape s, andBout the figure s, whi ch were generally about an inch and a halfhigh , dressed i n gay colors , and full of character . Their composi ti o ns were smal l , the sk ie s bright , and the colors , which were doubtle s s brillian t a t first , are now dark and brown , espec ially in the
landscape s . Bout also painted alone,and chose fairs , Flemish wakes,
merry-makings on the ice, etc .,for his subj ects . In th e Dresden
Gall . there are six pictures by these arti sts , and at Vienna , two .
B o y dell, Jo hn , called Alderman Boydel l , born at Darrington
(1 7 10 An engraver,and pupil of Toms . He deserves
especial praise for what he did for art . He not o n iy so rai sed thework s of Bri ti sh engravers that they were sought by al l Europe , buthe undertook the ill ustrat ion of Shakespeare , by plate s from pictpainted by Engli sh artis ts . In h is efforts he spent andin 1 78 9 hi s Shakespeare Gall . was opened to the publ ic . Therewere 1 70 pictures, al l by Engl i sh pai n ters . In 1 805 i t was necessaryto di spose of these , on accoun t of the pecuniary embarrassmentwhich h ad resulted from hi s endeavors to rel ieve the artists of h isown coun try , from the rivalry of others . They were sold by lottery .
By the plate s which he publ ished , he al so gave much employment toengravers. Boydel l was, i n addition to all thi s , a designer and painter
B OYDELL B RAMANTE. 13 1
i n water-colors , and made a good sketch of the interior of hi s Gall . ,which i s now known as the Bri ti sh Institution . In 1 7 74 he waselected alderman
,and in 1 79 1 held th e high offi ce of lord mayor.
In 1 789 at the dinner of the Royal Acad .
,Sir Joshua Reynolds pro
posed his health as The commerc ial Mazcenas of England .
” Thecompany
,including the Prince of \Vale s , j oined hearti ly in the
toast .B ra cc i o li , Gi o . Fran c e sc o , born at Ferrara (1 698 His
works were done for the churches and convents of his native c ity.
B rake n b urg, R egn i e r, born at Hae rlem (1 650 Pupi l ofHendrik Momm e rs. He repre sented scenes from low life , usually inthe open air. He resembles Adrian van Ostade i n color . Hi s
greatest faul t i s his incorrect drawing of the figure . He had greatfac i l ity i n execution
,and understood Chiaro s curo ; his picture s
appear to be highly finished . At Windsor Castle there are twopicture s o f th e Studie s of Arti sts , by Brakenburg . His work s arein the gallerie s of Berlin and Vienna .
B ram an te d’
U rb i n o . The real name of th i s gre at archi tect wasDonato Lomaz z o . The place and t ime of hi s birth are disputed , buthi s family were of Caste l Durante i n the Duchy of Urbino, and hedied i n 1 5 1 4 , about seventy y ears old . He first studied painting,and executed portraits and other subj ects i n a style resembli ng thatof Andrea Mantegna . A few of hi s fre scoe s remain in M ilan andPavia . But it i s as an archi tect that he was important . He wasemployed on the following work s in Rome : the cloister of the monksdel la Pace ; the fountai n of Trastevere ; a large po rtion of thePalaz z o della Cance llaria ; the arrangement of the spac e betweenthe Vatican and the Belvedere ; and the Basilica of S . Peter . Hewas appointed po ntifie al archi tec t by Alexander VI . and Jul iu s II .After his death the plan of S . Peter’s was changed and the onlyremnant s of hi s workmanship are the four great arches
,support ing
the tower of th e dome . At firs t hi s style was cold and stiff, but i tbecame majesti c and elegant . He had great fertili ty of inventionand undoubted genius . The work on S . Peter’s advanced withwonderful rapidity under his superintendence . He h ad l i ttle regardfor the work s of antiqui ty , and his destruct ion of some such at Romewas notorious . He was a bi tter opponen t of Michael Angelo , bo thfor himself and on account of Raphael , who was his nephew , and forwhom he was jealous of B uo naro tti as a pai nter
,as he was for him
sel f as an architec t . The disli ke of Mi chael Angelo for Bramantewas al so most cordial , and at one time they had a v iolent scene inthe pre sence of the Pope . Jul ius apprec iated them all
,and re tained
al l i n h is servi ce . In a le tter wr itten lo ng after Braman te’s death ,
Michae l Angelo used th e following words, whi ch are valuable whenwe know the feeling which ex i s ted b etween them : Bramante was , ifany one deserve s the name , one of the most able archi tects since the
132 B RAMANTE B RAUWER .
days of the anc ients . And , as i t i s ev ident now, whatever the s ta ndard of beauty , whoever departs from his idea, as San Gallo did , departs from the very rule s of art . ” Bramante was i nterred in S .
Peter’s with great honors . In 1 756 hi s wri tings in prose and versewere discovered
,and publi shed in the ce ll . of Opusculi , at M i lan .
B ram an ti n o . Se e Suardi .B ram b i lla , G i o . B a ti sta . A Piedmontese painter who flourished
about 1 7 70. He acqu ired a good reputation . Some of hi s bestwork s are i n the churches of Turin .
B ram er. L e o nh a rd, born at Delft , i t i s sai d , in 1 596 . Kuglersays he has reason to be lieve that he was born much later. Hi sworks are poor imitation s o f those of Rembrandt, although ,
as theyare very unequal i n their exce l lence , some are well e steemed . N o s.
106 7 , 1068 , and 1069, Dresden Gall . , are by Bramer. Bryan prai sesthi s artist , and says that hi s work s were much esteemed at Florenceand Venice .
B ra u w e r or B ro w e r, A dri an , born at Hae rlem , 1 608 ; died atAntwerp , 1 640. Pup i l of Frank Hals , of whom we are reminded i nhis laughing or gri nning picture s, such as those of Avari tia and“ Inv idia .
” Most of his picture s were smal l in teriors . al thou gh hepai n ted some landscape s . It i s said that Ruben s prai sed Brower
,
and hi s work s are excellent enough to warrant the fac t . He espec ially excel led in pai nting hideous face s . Like Ha l s he was dissipated , and in con sequence d ied young . His picture s are sc arce andvaluable . The Munich Gall . has n ine , s ix of which are among hisbest. N o . 1 14 7 , Dresden Gal l . , i s by him . He also left a few etchings , ful l of spiri t and character. There are various anecdotes conne c ted wi th this art i st . He was the son of a woman who soldbonnets and handkerchiefs to the peasan t s , and i t was the designshe drew for these , which brought h im to the notice of Hals
,who
ofl'
e red to employ h im . When the master knew the full power ofthe pupil, b e locked h im up by himself , made h im work hard , andso ld hi s pai ntings for good prices . Adr ian van Ostade , anotherpupil of Hal s , advised Bre wer to run away. He did so , but thelarge price he received in Amsterdam for his first picture was a misfortune , for he immedi ately plunged into d issipation and only workedwhen necessity required it . When the S tate s-General were at warwith Spain he attempted to go to Antwerp without a passport . Hewas se iz ed and imprisoned in the citadel where the Duke of Aremberg was a captive . Through his in te rference Brower was furnishedwith colors , e tc . , and made a picture whi ch was shown to Rubens .He recogn iz ed i t as the work of Brower , whose fame had precededhim , and succeeded in getting him liberated . Rubens t ook him tohi s own house , but it s order did not pl ea se Brower. He went away
,
fell i n to his di sorderly habits , and died i n a hospital and was o b
scure ly buried . Rubens had him removed to th e ch . of th e Carmel ites ,and interred with re spec t an dsolemnity.
134 B REENB ERG B REYDEL .
Muni ch Gall . Cabinet s , No . 508 , and i n the Vienna Gall . Hisetchi ngs were even better than his pain ti ngs , and he left thi rty-one ,most of which repre se nt Ro man rui n s in landscape s . These platesare much esteemed
, and good impress ions of them are sca rce .
B reke le nkam p or B re cke le n cam p, Q u in‘
n Va n . Flo ur i shed
about 1 650. A good painter of home scenes . His be st work s arefinished with great delicacy . He was a pupi l of Gerard Douw
,but
his style i s a mixture of Rembrandt ’s with that of hi s master . Hi s
work s are much esteemed in Holland, where they are found in thebest collections .B re san g , Han s . A German engraver who flourished about 1 504
15 1 9 . A contemporary of Hans B aldu ng, and believed by Zani tobe the same artist . His work s are mostly wood—cuts ; he left but fewcopper-plates . The fol low ing are attributed to B re sa ngChrist bound to the Pillar , with th e c ipher , 1 504 .
The Dead Christ , with the Marie s .The Dead Christ
,stre tched on a lin e n , supported by Angels.
Christ and the Apostle s , 1 5 1 9 .
The Three Fate s ; 1 5 1 3 ; very scarce .
B re u gh e l, Pi e te r, the Elder , called Peasant Breughel , born atBreughel
,1 520 Visited Rome , 1 553 ; and died at Antwerp ,
1 569 He represented scene s from peasant l ife , andwas the firs tto apply himself e specially to those subjects . His mode was coarse
,
and sometime s vulgar . He also painted Sc riptural scenes , and sometimes incantations and ghosts , l ike Jerome Bosch . He made sk ilfulsketche s when travelli ng . He al so e tched, and there are somewood-cuts from hi s des igns . The Gall. at Vienna has a fine Coll .of hi s picture s .B re u gh e l, P i e te r, the Younger , called Hel l Bre ughel , from the
nature of hi s subj ects . Very inferior to h is father . Antwerp Mus .,
N o . 255 . Berlin Mus ., N o . 721 .
B re u gh e l, Jan , called Velvet Breughel , born at Antwerp (1 568The most gifted of his family . He had versati li ty of ta lent .
and painted landscape s . peasan ts , Scriptural scenes , and hell ish ordemoniacal subj ects . His coloring was clea r and s trong , his fini shnod, and hi s efl
'
e c ts of l igh t well arranged . There are numbe rs ofhis work s i n the gal lerie s of Dresden , Munich , and Berl in . We
have four smal l etchings of his , marked , J. Sudele r, exc .
B re uke la ar , H e n ri , Junior , born at Amsterdam (1809His works are few , but were of great excel lence for hi s age . Hispic ture of Van Spyck at the Tomb of De Ru i ter ” i s much adm iredby his countrymen .
B re y de l, K a re l, born at Antwerp 1 6 7 7 di ed at Ghent .1 744 Pupil of Peter Rysbrack. Painted v iews on the Rhine ,and mil i ta ry subj ects . One of his pic ture s i s in the Ga ll . of th eDuke of Aremberg at Brusse l s .
B R IDELL B ROXKHORST. 135
B ri de ll, Fre de ri ck L e e , born at Southampton (1 83 1 Apainter of landscapes of great excellence . He painted much in thes tyle of Turner’s second period . He fai led most in his skie s . Fourof his pictures were sold at Chri stie’s at prices rangi ng from 200 to6 70 guineas .B r i ggs , H e nry Pe rro n e t , R . A , born at Norfolk , 1 792; died at
London , 1 84 4 . He painted historical subj ects , but at length devotedhimself to portrait painting , i n which he had great success. Hisch ief excellence was i n color .B ri l, M a t th ew , born at Antwerp , 1 554 ; died at Rome , 1 580. He
was employed i n the Vatican in the t ime of Gregory XIII . , and h ada pension . His early death prevented the perfect ion of hi s talent s .
B ri l, Pa u l, born at Antwerp , 1 556 di ed at Rome , 1 626 . Brotherof Matth ew, whom h e j oined i n Rome , and with whom he studied .
A new era i n his branch of art may be dated from the time of th i sarti st
,and b e i nfluenced benefic ially Rube ns , Annibale Caracci, and
Claude Lorrai ne . He left many work s in o i l and fresco . After thedeath of Matthew , Paul was continued i n the Vatican with hisbrother’s pen sion . He was much patroniz ed by Clement VIU .
,and
painted i n several Roman churche s . Fo r Sixtus V. , too, he had donemany works
,i n the Si st ine Chapel , i n the Scala San ta , and S. Maria
Maggiore . His “ Building of the Tower of Babel ,” Berlin Mus . ,
No . 731 , displays hi s power to repre se nt the fantastic . N o . 744 ,
same Mu s.,i s a fine landscape of his later style . The Louvre has
some of hi s be s t work s, e specially N o s. 6 7 , 7 1 , and 73 .
B ri n ckm a n, Ph i li p Je ro m e , 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 portrai ts i n some of the latterhe imitated R embrandt . He also left some plates etched in a pleasing style , with spirit .B ri o sc o . Se e R ie ci o .
B ro e de rla i n , M e lch i o r. An old F lemish painter who flourishedabout 1400. There are some very curious work s of his in the Mu s.
of Dijon . The pictures were on the wings of an altar-chest, andpain ted at th e command of Phil ip the Bold . This work combinedpain ting
,sculpture
,and architec ture . The carv ing was done by
Jacques de la B e erse . A description o f i t would require too muchspace
,but i t i s ve rv i nteresting in its relation to the art of i ts time ,
of which we have comparatively few such examples .B ro m p to n , R i ch a rd, died 1 790. Pupil of Raphael Mengs and
Benjamin Wil son . The Earl of Northampton was his patron , andtook him to Venice when ambassador to that republic . After h isre turn to England , Brompton did not receive the encouragementwhich he desired
,and went to St . Petersburgh ,
where he was wellreceived and fully employ ed as long as he l ived .
B ro nkh o rst , Jo hn Van , bo rn at Utrech t (1 603—1680 He was
136 B RONKHORST B RUN .
first a pai n ter on glass , and studied under John Verburg . He execu ted the fine windows i n the new ch . at Amsterdam . When thirtysix years old he became acquainted with Cornelius Po e lemb e rg, andabandoned glas s painting . He did some pictures i n imitation ofl’o e lem b e ro which were much admired
,and also etched la ndscape s
o ,
from his own de sign s and those of Po e lembe rg
.
B ro nkh o rst , Pe te r Van , born at Delft (1588 Excelled inpainting i nteriors , into which he was accustomed to i ntroduce gr oupsof smal l fi gure s illustrat ing his torical subj ec ts . In the town—houseat Delft there are two of these work s , large , and representing th eJudgment of Solomon ,
” and Chri st driv ing th e Money-changersfrom the Temple .
”
B ro n z in o , A ngi o lo , born at Monticelli , 1 502; died at F lorence ,15 72. Pupil of Pontormo
,friend of Vasari , and the devoted ad
mirer of M ichael Angelo . His work s were very unequal , and sometimes almost d isgusting from the ir bad taste, but he had remarkableabili ty in drawing and pai nting . He was employed in many important works
,and after the death of Pontormo, fini shed the Chape l of
S . Lorenz o at F lorence . His frescoe s which remai n are much inj ur ed , but he was most importan t as a portrai t pai nter , and paintedmany i llustrious person s of hi s time . His portrai ts have green backgrounds , and i n style might be called Italia n Holbe in s . He wasfond of rich garments
,furs
,e tc .
,but managed them so as not to
i nterfere with the digni ty of the portrai t. He was much in thehabi t of throwing a strong ligh t and a golden tone on the face , whilehe kept th e res t dark . In the Berli n Mus . i s hi s portrait of BiancaCapella, and others . In the National Gall . are Sensual Love ,
”
and a Knight of S . Stephen . Hi s most celebrated o il pic ture i sthe “ Limbo ,
” i n the Ufii z i . The larger part of h is work s are inFlorence and Pi sa , although there are a few of hi s pictur e s in mostlarge collections in Europe .
B ro w n , M a th e r, died 1 8 10. A portrai t pa i nter who was wellpatroniz ed by Engli sh families of distinc tion . Hi s work s are notabove mediocri ty . He sometimes pa in ted hi storical subjec ts ; oneof the se , the “ Marriage of Henry VIL ,
” was sold i n 1 828 for£21 .
B ro w n e , Jo hn , born at Oxford , 1 7 1 9 . An eminent engraverof landscapes . He copied th e work s of great masters , and his plateswere executed i n a maste rly manner .B ru ge s , Jo hn o f. An old painter of 1 3 7 1 . He was patroniz ed
by Charle s V . of France , for whom he decorated a translation ofthe Vulgate
,now in th e We stre ncn Mus . at the Hague . He is
designate d as“ Pie te r,
” which wou ld indicate that he executedlarger work s
,as Illuminator was the ti tle used for the min iature
pain ters .B ru n , Ch a rles L e , born at Paris (1 6 1 9 So n of a sculptor
138 B RUNELLESCHI B RUYN .
master who,by his great power , stamped its superiority as a fac t .
Brunelleschi was al so a sculptor and a worker i n bronz e . It i s saidthat at o ne time Donatello had made a crucifix for the ch . of San taCroce with great care , and yet , when he showed i t to Brunelleschi ,the latter did not express hi s admiration . Donatello begged him totell him his real thought of i t . Brunelle schi repli ed that the figure onthe cross was l ike a day-laborer , whereas Chri st was of the greates tpossible beauty. Donatello answered : It i s easier to critici se thanto execute ; do you take a piece of wood and make a better crucifix .
”
Brune l leschi proceeded to the work , and when i t was done i nvitedDonatello to dine w ith him . He had placed the crucifix in a conspicu o u s place i n his house , and after buying various eatables hegave them to Donatello , and asked h im to go on to his house, wherehe would soon joi n h im . When Donate llo en tered he saw th e
carvi ng,and was so overcome with adm iration that he allowed th e
parcel s of eggs , cheese , e tc .
, to fall on the floor. When Brunelleschicame and found him still s tanding before i t he said : You havespoiled everything ; on what are we now to dine ? I
,
” answeredDonatello
,
“ have had quite dinner enough for this day. You,per
haps,may dine with better appetite . To you , I confess , belongs
the power of carv ing the figure of Christ ; to me , that o f representingday-laborers .” Thi s crucifix is now on the altar in the Chapel ofthe Gondi .B ru ss e l, Paul Th e o do re Van , born at Zuid , Polsbroe k ; died
early i n the presen t century . One of the be st fruit and flowerpainters of hi s t ime . He studied under Jean Augustine and H .
Meyer , and was firs t employed in a tape stry manufactory . Hislatest works are much the best , and are found i n th e fines t col leetion s .
B ru y n or B ru i n .A b rah am ,born
at Antwerp , 1540. An engraver,and one of the li ttle masters . His
port raits and small friez es o f hunting and hawk ing are his be s t work s,and are esteemed for their neatnes s . He worked with the graveronly .
B ru y n or B ru in , N i cho las , born at Antw e rp, 15 70. So n of the preceding, underwhom he stud ied . He i s an imitator ofLucas von Leyden . His plate s possess con
side rable meri t for the times i n which he worked .
B ru y n , B arth o lo m e w de , flourished at Cologne fro m 1 520 to1 560. He executed the wi ngs of the large shrine on the high-al tarof the ch . at Xanten in 1 534. His portraits
, N o . 588 , Berlin M u s. ,
and one in the Cologne Mus.,painted 1 535
,so much resemble those
of llo lbe in as to be generally attributed to him . N o s. 1 1 2, 1 1 3 , and1 1 4 , Muni ch Gal l . , representi ng the Descent from the Cross
,
”
B RUYN B UGIARDIN I . 139
with wings , i s a good work . Berli n Mus.
,N o . 639
, i s a work o f hislater time
,i n whi ch he deteriorated ; i t i s a Madonna and Child
,
”
adored by the Duke of Cleves . He attempted i n hi s last worksto adopt an Italian style , greatly to his di sadvantage . Some of thesepicture s are i n the Cologne and Muni ch gallerie s , and are oftenattributed to Marti n Van Hem ske rk.
B ry or B ri e , Th e o do re de , born at Liege , 1 528 di ed at Frankfort
,1 598 . An emi nent engraver . He imi tated Sebald Beham .
He worked almost enti rely with the graver . His style was neat andfree
,and espec ially suited to subj ects i n which there are many
figures,such as he frequently chose . He gave great spiri t and ex
pression to his heads . He engraved the plate s for the fir st fourvol umes of B o issard’
s Roman Antiquitie s ; th e two others werefinished by his son s
, John Theodore and John Israel . In FrankfortBry was a print and book seller .
B u ckla e r.Jo a ch im , flouri shed 1550—1 5 70. Pu pil of Pieter Aertsz e n ,
whom he imita ted c lose ly . His k i tchen and market scenes werevery popul ar . Chri s t before Pilate ,
” No . 78 , Muni ch Ga ll. , i s byB uckla e r.
B ufl'
a lm a c c o , real name B u o nam ico Christofani . Vasar i says hewas bo rn in 1 262 and di ed i n 1 340 ; that he was a pupil of AndreaTafi and Ghiberti bears out hi s statement that he was an excellentpainter and able to outdo al l others when he set hi s mi nd to it .Vasari’s account of him is very i ntere sting . He seems to have be enthe wit and prac tical joker among the arti s ts of hi s day . His famehas outlasted his works , for i t i s a matter of great doubt if any ofthese remai n . Kugler says his exi stence i s doubtful , and his li fe byVasari a mere tissue of whimsical stories . Lord Lindsay
,i n hi s
Sketches of the Histo ry of Christian Art ,” says : A merry wag
,
a carele ss spe ndthrift, li ving for the day wi thout a thought of themorrow , and (as the phrase i s ) nobody’s enemy bu t his own
,
’ b e
drained the cup of pleasure to th e lee s and found misery at th e botto m , dying , at the age of seventy-eight , a beggar , i n the Mi sericordia,without a paul i n hi s pocket to buy a coffi n for hi s corpse or amass for his soul , the type and m irror of a whole class of artis ts ,whose folli es and vagarie s throw di sc redi t on genius , while a certai nkindliness of heart renders i t impossible not to pi ty while we blamethem .
”
B ugi ardi n i , G i u li an o , born near F lorence (14 7 1 Pupilof Mariotto Albe rtin e lli . M ichael Angelo formed a friendship forhim in the gardens of S . Marco , and he i s one of those whom thegreat master attempted to employ as assi stants i n the Si stine Chape l .Bugiardin i worked so long i n an humble capac ity , copying th e
drawings of others on panels , that when he came to work i ndepe nde n tly his powers of composi tion were dwarfed , and he could onlymaste r the simplest subjects . He sometimes seemed to imitate
1 40 B UGIARDINI B UONAROTTI.
Leonardo . His portraits were as good as any of his work s,and it i s
said Michae l Angelo once sat to him . The Portrai t i s supposedto be i n the Louvre , N o . 526 . Many of his work s rema i n . The fo llowing are some of them : Uffi z i , N o . 220 ; Leipz ig Mus . , N o . 1 43 ;
Bologna Pinac oteca , N o . 26 ; Berli n Mus . , N o s. 248 and 285,etc .
There are m anv of his panel s i n Bologna ; i n the Colonna Pal . ,Rome , there are some , and a few in England , besides many in I ta lyno t mentioned .
B u i ste r, Phi lip, born at Brussel s (1 595 After studyingi n hi s native city he went to Pari s, where he was somewhat disti n
gu ish ed. He executed several sculptu re s for the park at Versai lle s ,and th e tomb of Cardinal De Rochefoucauld . This last was hi sprinc ipal work , and has been placed i n the Musée des MonumentsFrancais .B u llin ge r, Jo hn B alth az ar , born at Zurich (1 7 13 Pupil
of John S imler , and later at Venice he studied with Tiepolo . Hebecame an eminen t landscape painter . He spent some time in Amste rdam , and studied the best work s there . He also executed severalplates of considerable meri t .B un e l, Ja cqu e s , born at Blois , 1 558 . S tud ied under Fede rigo
Zucchero at Rome . One of the be st French painters of hi s time .
Some of his best work s were for the churches of Pari s .B u o n a c o rsi . Se e Vaga .
B u o n am i c i Se e Tassi .B u o n aro tti , M i ch a e l A nge lo , bo rn i n the cas tle of Capre se ,
March 6 , 1 4 75. His father was Ludovico B uo naro tti , and hi s homewas in Florence , but at the time of the birth of this son he held theo fii cc of podesta or governor of the towns of Caprese and Chiusi .His mother , al so of good family , was cal led Francesca ; and hisgrandmother
,so well known as Madonna Alessandra , was s til l l iving
at the t ime of his birth . When Ludovico B uo naro tti returned toFlorence, the child , M ichae l Angelo , was l eft at Se ttignano , uponan es tate belongi ng to his family. His nurse was the wife of a stonemason
,and , for many years , pictures were shown on th e wall s of
the house i n whi ch he h ad grown up which he had drawn as so on ashe could u se h is hands . At the pre per age he was placed i n agrammar-school at F lorence
,where he became acquai nted with
France sc o Granac c i , a noble youth , five years older than himself ,and a pupil of Ghi rlandajo . Gra nacc i became his most i ntimatefriend . Ludovico had desired thi s son to be a scholar , and , together with hi s uncle s , harshly opposed hi s inc li nation to be come anarti st. But M ichael Angelo was so dete rmined that h e carried hispoint
,and
,i n 1488 , was engaged to th e Gh irla ndaj i for three year s .
At thi s time Domenico Ghirlandajo , who was one of the be st masters of Florence
,was engaged in the res toration of the Choir of S .
Maria N ovel la. Michae l Angelo came , therefore , at the first , i n to
1 42 B UONAROTTI.
properly clothed , and had an al lowance of five duca ts a month forpocket-money . It was the custom of the Duke to give each day anen terta inment . He himself took th e head of the table . Whoevercame first sat next him
,and it often happened that Michael Angelo
h ad this place . He was beloved by al l the household , and Lorenz oofte n se n t for h im to show h im sto ne s, coins , and other valuablethi ngs , and to talk with him of hi s own studie s . Pol iz iano al soadv ised hi m ,
and gave him the marble for hi s ha s-rel ief of the“ Battle of Hercule s with the Centaurs . ” Thi s work surprisedevery one
,and i s stil l to be seen in the palace of the B u o naro tti
famil y . Bertoldo,for his part , in struc ted him in casting i n bronz e .
He executed a Madonna i n the style of Donatello , and madedrawings in th e B rancacc i chapel afte r the work s of Filippo Lippi .Life i n F lorence , at this t ime , was almost the perfection of life .
Whatever great things happened i n the world were known , di scussed
,and e stimated there . What was i ndifferent was crushed
under the abundance of what was excel lent . Excellence itse lf wasnot bl indly accepted accordi ng to outward sign s , but i t was te s tedby unders tanding before it was admired . S tirring soc ial l i fe mingleduninterruptedly with the most serious task s , and , as a wholesomecontrast to the sweetnes s of thi s ex i stence , came the keen , criticalj udg ment of the F lorentine publ ic , who allowed themse lve s ne itherto be deceived nor bribed in matters of cul ture . This state of societywas only to be met with i n F lorence
,and chained the Flo re n tine s
to their native c ity , where alone they found the true , healthful recogn i t io n of their own refined minds . ” Lorenz o was the head ofF lorence , and F lorence the head of art , poetry , philosophy , andrel igious movements . Thus , in the house of the Medic i , MichaelAngelo , when hi s mind was pliant , and his charac ter s ti l l to beformed , received an educat ion than which , for an arti st , none couldhave been better ; and , a t that t ime , among the Romanic nations .young people were free from the embarrassment wh ich ofte n attendsthat age , and were accustomed to conduct themselve s wi th easeunder all c ircumstances , knowing nothi ng of the awkward , silen tmanner of the youth of more northern nations . The moral s ofF lorentine soc iety were as low as i ts cul tivation was h igh , and i n thesame year i n which M ichael Angelo was admitted to the palace,Savonarola came to preach h is cru sade against the crimes of thiswonderful city , and in the Len t of 1 492 Lorenz o became suddenlyil l . It was at thi s time that th e effec t of th e preachi ng of Savonarolahad reached i ts height , and even the great Duke fel t that he couldnot die until he had seen this mighty preacher . It i s probable thatM ichae l Angelo was one of those who surrounded the bed of Lorenzoi n h is las t hours . He was asto unded by the death of hi s patron .
He left the palace and arranged an atel ier for himself i n h is father’shouse . At thi s tim e he executed a Hercules wh ich i s now los t .
B UONAROTTI. 1 13
After a time he w as taken again by Piero Medic i into the palace.hi s old rooms were assigned to him , and he was received at hi s table .
But F lorence was no longer what i t h ad be en , and before longMichael Angelo
,in the midst of poli t ical troubles , made his escape
to Venice . There he met Gianfrancesco Aldo vrandi , the head of anoble house of Bologna
,who , when he heard that M ichae l Angelo
was a sculptor,invited him to that cit y . He remained there nearly
a year,during which time he executed the figure s o n a sarcophagu s
which contains the bone s of S . Domenico i n the ch . of S . Petronio .
T h i s commission,given to a foreign art is t , but twenty years of age ,
so aroused the hatred of the Bolognese artis ts , that they threatenedvengeance on him . Michael Angelo returned to F lorence . During h i s absence everything had been changed . The name of theMedic i was only heard coupled with curses . The pictures andstatues of the garden of S . Marco had been scattered over the world .
Many art ists had left , and those who remained were struggli ng todec ide whether the i r exquisite work s were the results of a God-givengen ius or of the power of the Devil . M ichael Angelo was depressedby all thi s
,but F lorence was hi s home . He prepared to remain
there , and agai n found a Medic i , c al led Lorenz o al so, who becamehi s patron . He was one who , having been persecuted by Piero , hadfled to France, and returned in the trai n of Charles VIII. Condivisays that at thi s t ime M ichael Angelo worked upon some statue sfor Lorenz o , and al so executed for him self a Cupid i n m arble .
Thi s statue led him in an u nexpected manner to Ro me , for, when itwas finished , Lorenzo advised him to give i t the appearance of anantique
,and said he would himself send i t to Rome , and obtain a
large price for i t . Mi chael Angelo did this and received thirtyducats . The secret of its origin , however , was not kept . Th e
Cardinal who had purchased i t se nt a nobleman of his householdto F lorence , to i nvestigate the matter . This man pre tended to bein n e ed of a sculptor , and inv ited M ichael Angelo, among others, tov i si t him . He came
,and when asked what work he h ad done ,
enumerated among others a Sleeping Cupid .
” It was now explained to hi m that ' i n plac e of the thirty ducats whi ch he h adreceived , the Cardinal had paid two hundred for the work .
F inding himself deceived, as well as a dece iver , he went with thenobleman to Rome . The latter promised to receive him into hi sown house , and assured him that he would find a large field for hislabor , and one i n which much money could be obtained . The oldestwriting in the hand of Michael Angelo i s the le tter wh ich he wroteto inform Lorenz o de i Medic i of hi s arrival in Rome . At thi s t imehe w a s twenty-one years old . In thi s letter he speaks of the beantiful 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 . Thefirst impor tan t work whi ch he executed in Rome was the statue of
1 44 B UONAROTTI.
the Dru nken Bacchus , now in the Ufliz i Gall . It was executedfor Jacopo Galli , for whom he al so made the Cupid now in theKensington Mus . But the work by whi ch he passed from th e
standi ng of a good artist , to that of the most famous sculptor i nItaly , was “ La Picta.
” It i s almost impossible to j udge of thi swhere i t now stands
,i n a chape l of S . Peter’s . It i s placed so high
,
and the light i s so bad , that no satisfac tory j udgment of i t can beformed . But Condiv i says that from the t ime it was fini shed hewas the firs t master in the world . Thi s was done when he wastwenty-four years old . In the same year , or th e fol lowing one , hereturned to Florence . During his absence other great changes h adtake n place . Florence had joined with Venice , and matters seemedto be prosperous . M ichael Angelo’s first work after hi s return wasa Madonna ,
” now in the ch . of N otre Dame at Bruges . It is l ifesiz e , and one of hi s finest works . Another work of thi s period is a.painting now in the Tribune at Florence , repre senting th e HolyFamily .
” There was i n Florence , at this t im e, an immense blockof marble , which had been i n tended for a statue of a Prophet , tobe placed outside the dome of S . Mari a de l F iore . It had lai nmany years in the court-yard of the work- shops of th e Cathedral .I t had been offered to Donatello, but neither b e nor any othersculptor had wished to undertake to make anything of i t . N ow
Sansov ino, lately returned fro m Portugal to F lore nce , des ired tohave this marble , and intended to joi n other pieces to i t . Theconsul s would not consen t unti l they had asked M ichae l Angelo i fhe would not make something good out of the block . He had j ustundertaken to execute fifteen marble s tatue s for the funeral vaul tof the Piccolomini family i n S iena . But when he saw th e m agn ifi
cent block at Florence he left the work for Siena, and declared h imse lf ready to undertake i t without any addition . Accordingly the .
order was is sued on the 1 6 th of August , 1 501 . He was al lowe d twoy ears for his work , and was to rece ive s ix gold flo rins a month ,while the additional sum to be pai d was left to the dec ision of thosewho had ordered the statue when i t should be finished . On Monday the 1 3th o f Septembe r, furn ished with a l i ttle wax model wh ichhe had moulded, now in the Ufliz i , very early in the morning , hecommenced hi s work . From first to last he executed the entirework , and in Febru ary , 1 503 , i t was half completed. In themean time another important pol itical movement had taken place
,
whi ch had thrown another work in the hands of Michael Angelo ,for the Re publi c had received additional favors from France, onaccount of which they fel t obl iged to comply with the request ofthe Duke de N emours, to have a bronz e copy of the “ David ,
” byDonate llo, which stood i n the court of the Palace of the Go vernment,and in th e summer of 1 502, Michae l Angelo undertook the work .
One hi ndran ce after another prevented i ts completion for years , and
146 B UONAROTTI.
Although unwil l ing to inj ure the feel ings of others , and even gentlei n some aspects of his charac ter, he w as determined to be acknowl
edged as the first where he fel t i t to be due to hi m , and in matte rs ofart would allow none to in te rfere wi th hi s rights . Leonardo lovedadmi rat ion , and kept a ret i nue of flatte rers about him . He was notle ss se lf-willed , but seemed to play wi th his talents , and to seek forsomething whi ch would enti ce him to exert hi s powers . In personalappearance Leonardo was very handsome . His fine and express iveeyes and magnificent be ard gave him an imposing pre sence . Thehead of Mi chae l Angelo was broad , with proj ec ti ng forehead , whi lethe lower part of hi s fac e se emed too smal l for th e Upper portion .
His eyes were small and l ight, and hi s no se , whi ch had been crushedby Torrigiano in the garden s of the Medi ci , seriously disfigu red him .
It h as been said concern ing thi s occurre nce that Michae l Angeloprovoked him , but others regarded i t as the resul t of mere envy .
Torrigiano fled from F lorence , for Mi chae l Angelo was carried homefor dea d . In February , 1504 , Leonardo had received the order topain t one wal l of the hal l of the Consiglio Grandc . In spite of thefac t th at he had pain te d almost nothi ng , Michael Angelo determined to co mpete with Leo nardo, and secure the commission for thesecond wall . It was in thi s year that Raphael , attracted , i t i s said,by what he had heard of Leo nardo and M ichael Angelo , came toFlorence . Thus the three greate st arti sts of modern times werem e t to gether . Ro oms were assigned to Michae l Angelo and L eonardo i n which to pre pare their cartoons , but i n the m idst of hi swork , the former w as summoned by Jul ius H . to Rome . Thi s wasprobably at the be ginni ng of 1 505 . The Pope ’s attention had beencalled to Michael Angelo by Giuli ano d i Sangallo . But although heh ad commanded him with haste , i t was some t ime before Julius gavehim his first commis sion . This was for a colossal mausole um to bebuil t for himself. Michae l Angelo sketched a de sign . Juliu s approved i t , and the Pope commanded h im to selec t a place for i tserection in th e Basi lica of S . Peter . A new Tribune had been comm e nced, and he advised that i t should be fini shed and the monumentplaced within it . The order w as given to Sangal lo , and Michae lAngelo sent to Carrara to sec ure the marble for hi s great work .
After many diffi cultie s the marble was brought to the square andth e whole c ity was amaz ed at th e blocks . The Pope was del igh ted,a nd had a pas sage made by which he could pass from the palace t oth e atelier of the sc ulptor without be ing seen . Just at thi s time , in1 506 , th e
“ Laocoo'
n was found and occupied th e minds of all Rome .Michae l Angelo was now considered the first sculptor in Rome , andother artis ts began to be jealous of him . During his second absencei n Carrara , Bramante influenced the Pope against him ,
and declaredi t to be an ev il omen for him to build hi s tomb while l iving . I t hadbeen th e c us to m for Mi chael Angelo to be admitted , unannounced,
B UONAROTTI. 1 47
to the Pope at any time . He now found a change . His new marblehad arrived , also the workmen whom he had hired i n F lorence . ThePepe urged him no longer, neither would he give him money whichb e greatly needed . The master determined to understand matters
,
and to enter the palace . He was refused admission , an d told by theservant 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 thi s morning dr iven from the palace by the order of your I~loli~
ness. If you require me in future , you can seek me el sewhere thani n Rome .
” He gave thi s letter to the cup-bearer o f the Pope . Ile
commanded one of hi s workmen to find a Jew to sell al l he possessed,
and to follow him with the money to Florence , while he mounted hishorse
,and rode without stopping until he was on F lorentine ground .
The Pope sent quickly for him , and commanded that he should bebrought back by fo rce . But he was a Florentine c itiz en , and hethreatened to have the messengers slaughtered if they touched him .
They used every means to i nduce him to return , but he replied thathe would nei ther return then , nor ever ; that he had not deserved tobe treated as a criminal ; that he considered himself released fromhis former engagements with his Holiness , and that he wou ld makeno others . When he re ached F lorence he returned to hi s work uponthe cartoon . T h e Pope immedi ately wrote t o the Signiory, urgingthe re turn of M ichael Angelo , and promi sing that he should berece ived into ful l favor . But the master doubted the truth of thePope
,and waited u ntil another letter came . T hen the gonfalon ier
sent for him and insisted that he should return to Rome, saying ,You h ave treated the Pope in a manner such as th e King of France
would not have done,
” and dec laring that they would not risk a war,and the safety of the state, on his account . M ichael Angelo , meantime
,had received offers from the Sultan to go to -Co nstantinOple ,
and was incl ined to ac cept . A third letter came from Jul ius, and atlast i t was arranged that h e should go i n the capac ity of an am
bassado r , for then he would be protected by the Florentine Republic .
Just at thi s time , however , Jul ius left Rome to be gin a war , duringwhich M ichael Angelo completed h i s cartoon in F lorence . It wasthe wel l-known representation of the Bathing Soldiers ,
” and furn ish ed studie s for a generation of arti s ts , although it was neverpainted.
There i s,at the present day , but a small copy ; and an
engraving,by Marc Anton , giv ing a group of the figures ; and another,
by Agostino Venez iano , representing a st il l larger part of the whole .
As for Leonardo’s pa inting , i t h ad pe rished before i t was finished ,for he had use d oils , instead of painting a lfresco . He had disagreedregarding th e price that should be paid hi m , and had entered theserv ice of the King of France . Michael Angelo remained v ictor i nthi s conflic t . In N ovember , 1 506 , upo n the taking of Bologna , therecame a le tter reque sting that M ichael Angelo should be sent at once
148 B UONAROTTI.
to the Pope . Arriv ing at Bologn a , he went first to the ch . of S .
Petron io , to hear mass . A servant of the Pope recogniz ed him andtook him immediately to his Holiness . Julius was at table , butordered that he should be admitted . \Vhen he saw him he could notentire ly control hi s anger
,and said , harshly , You have waited thus
long, i t seems , t i l l we should ourselves come to seek you .
” Michae lAngelo k neeled down and begged his pardon , but added that he hadremained away from no ev il i ntention
,but because he h ad be en
offended . Juliu s looked doubtful , and one of the e cclesiastic s , fearing the resul t, i nterposed . He said th e Pope must not j udge th eartist too severely , for that he was , l ike all of his profession , a manof no education, and ignorant of everything excepting art . Th e Popenow turned furiously upon him , e xc la i i n ing, Do you venture to saythi ngs to thi s man which I would not have said to h im myself ?You are yourself a man of no education , a miserable fellow , and th i she i s not ; out of my sight w ith your awkwardness .
” The poor m anwas so stunned that the servants were obl iged to carry him from th e
hall , and the anger of th e Pope being sati sfied , he beckoned grac io u sly to M ichael Angelo , and commanded him not to leave Bolognawithout hi s instruct ions . He soon gave him an order for a colossalstatue i n bronz e to be erected in Bologna . Some of the le tters whichhe wrote at thi s time, now i n the British Mus.
, give much information regarding his l ife . He seems to be the centre of his fam ilv, tobe depended upon for advice
,and the upholder of all the others .
He said hi s dw e llim r was mean , and had but. a s ingle bed in i t , i nwhich four people slept . In February , 1 507 , the Pope saw them odel and approved it . It was at this time that he left Bologna forRo me . The first cas t o f the statue failed, and it was not ready tobe placed i n its posit ion , before the portal of S . Petronio, until the21 5t of February , 1 508 . The Pe pe was represented in a sittingatti tude three times as l arge as l ife ; th e right hand was raised, andin the left were the keys of S. Peter . The work be ing finished ,M ichael Angelo return ed to Florence . ln con sidering his moreprivate li fe , he seems to have been espec ially alone . Other artistsshunned him , not only from j ealousy
,but be cause they disliked h is
reproofs . He asked the son of Francia . a beautiful boy , to tell hi sfather that hi s l iving figures succeeded better than those he put i nhis picture s . One reason for thi s severity was , that h e so exal ted themission of an artis t , and so faithfully adhered to his idea of duty ,that he despised those who accepted an order for what they couldnot worthily fulfil . He assi sted most cordially those who claimed hishelp, and it i s possible that he wounde d, without i ntending i t , thosewhom he considered u nfaithful i n their art . At Florence he hadmuch to do the cartoon should be painted , the bronz e Dav id ,
” andthe Apo st le s fini shed , and i t was desired that he should make acolossal s ta tue for th e square before th e Palace of th e Government.
150 B UONARO’
I‘TI.
are but a part of th e subjects repre sented . At th is time MichaelAngelo stood alone inRome . Raphael was alsopai nt i ng i n the Vatican
,
and they appeared asthe heads of part ies .The Pope was on the sideof Mi chael Angelo ; theart i s ts flocked aroundRapha e l . The di fference between the se twomaste rs was as great asthat be twee n L e o nardoand Michael Angelo.
\Ve can only think ofRapha el as y o ung, beautiful, and happy , withan inexh austible powerenabling him to workalways ; a power ap
pare ntly unaffec ted bycha nge of time or c ir
cum sta nce . M ichae l Angelo , on the other hand ,was animated or re
tarded by the course ofevents . He could not
THE PROPH ET i sam u . BY M . a u c nw . forget the in te re sts ofhi s family or those ofhi s country ; and if hi s
l ife is con sidered in it s whole, he se ems involved in everything ofimporta nce that occurred about him ; while the life of Raphael canbe told as a separate tale , scarcely including any but himsel f, andthe mi stre ss whom he loved . Yet we know that th e work s whichRaphael produced in Ro m e are wonderfully abo ve h i s former o ne s.
May not the fac t that here he w as opposed to Michael Ange lo ha vedeveloped his s tre ngth to the utmost Bramante , to o , now appe are das an opponen t of M ichael Ange lo
,and there were many attempts
made to dislodge the great maste r from hi s favor with the Pope , andhi s employment in the S i s ti ne Chape l . He now began the paintingsof the second hal f, which were the most magnificent of his work s.“7hen the Pope had i nsi sted upon removing the scaffolding, the pictures lacked re touchi ng and go ld. Jul ius ne w wished these wants tobe suppli ed
,but Michael Angelo dis suaded him from this , from hi s
anxie ty to commence hi s new work s at o nce . But i t looks so poor,”
obje cted Juli us. They are only po or people ,” repl ied Michae l
From the Sist ine Chapel .
B UONAROTTI. 1 51
Angelo , whom I have painted there , and did not wear gold on theirgarment s .” Thi s sat isfied the Pope, who urged him on as of old, andwould not allow him to go to F lorence, although his presence wasnecessary there . Hi s bronz e David was fin i shed by another scu lptor
,and many other affairs required his attention . At midsummer
,
1 5 10, he insisted upon leave of absence . The Pope demanded whenhe could be ready, i n that case , with his chape l . “ When I can
,
”
replied he . t e n I can I When I can 1 repeated the Popeangrily
,and struck the artist with his s ti ck . M ichael Angelo went
home,and the Pope sent hi s favorite page after him with money .
His stay i n F lorence was short , and after hi s return the paintingwent rapidly on ; and the second half of the chapel was fini shed inthe same time that the first had requ ired , only twenty monthsbeing given to the whole w o rk. Grimm says , I t nee ded the meeti ng of these two men i n the one such perseverance in requiring
,and
in the other such power of fulfi l l i ng, to produce this monument ofhuman art .” In 1 51 2
,another revolution to ok place by which F lor
ence came again under the dominion of the Medici . M ichael Angelo .
was in Rome,but hi s letters show how much he and his family suf
fered ; and hi s father writes h im that he is thought to be opposed tothe Medici . His position in Rome was n o t a happy one . He couldnot obtain the money which the Pope owed him , and Raphael ’s i nfluence was increased
,whi le his own was lessened . A separation
seemed to have come between himself and the Pope , and he went fora time to Florence . On the 21 8t of February, 1 5 13, Juli us died .
Almost immediately Michael Angelo resumed hi s work upon the mauso le um . The Pope had mentioned this in hi s will , and his heir s werea nxiou s that it should be completed . A new plan and contract weremade . It was at thi s time that he worked upon the Mo se s,
” andprobably, al so , upon the two chained youths n ew i n th e Mus . of theLouvre . For three years he worked continually at the mausoleum .
He resided a part o f this time in F lorence , but he had been releasedfrom al l his engagements there . The twelve Apostle s had been dis
”
tributed among younger sculpto rs, and his carto on had been malic io u sly destroyed in 15 12. L e e X . h ad succeeded Julius , and thefirst matter i n which he employed Michael Angelo was i n the erectionof a facade to the ch . o f S . Lorenz o in F lorence . This was a greatwork , and he raised many obj ections against undertaking i t ; theprincipal on e being that he was bound by contract to work upon themausoleum , and had already received money for it . But the Popeovercame all difficultie s
,promised to sati sfy hi s employers, and al so
to allow him to go on with the m au soleum ; and, for thi s purpose,promised that the marble should be conveyed to Florence at his ownexpense , whi ch promise was not fulfilled . During the winter o f 1 5 1 71 8, while Micha el Angelo was breaking up hi s home in Rome , i n orderto remove to Florence, he executed a pai nting . I t is not positively
152 B UONAROTTI.
known what thi s work was, but there i s good reason for bel ievingi t to have bee n one from which Sebastian del Piombe painted theScourging of Christ ,
” i n a chapel of S . Pietro, in Monte rio. On the25th of February , 1 5 1 8 , M ichael Ange lo was agai n i n Carrara forthe purpose of obtai ni ng marble, which he needed in Florence .
Upo n his arrival he found that the contracts whi ch he had made hadnot been carried out . He had much trouble
,and at length, i n order
to show the people of Carrara that he could do without them,he
opened quarrie s at Seravez z a and Pietrasanta, situated on the F lorcutine territory. But these things involved him in great difiicu lty ,
and several months after, he wri te s that he i s tempted to leave everything and return to Carrara, for they had cal led h im back with as
many entreaties as if he were Chris t himself . At length he wentand ordered his block s sent to Florence
,and afterward di vided hi s
time be tween Carrara , the new quarrie s, and Florence , where theywere laying the foundation for the facade . In August he bought thel and on which to build a house . All thi s y ear he had noth ing buttrouble . In the new quarri es there was much sickness
,and the men
were idle and unfaithful i n every way . In Oc tober he was himsel fi ll ; but at last, during the wi nte r, he succeeded in conveying a number of pil lars and block s to the sea-shore , to be shipped to Florence ,when , i n the spring, a command came from Rome to l eave everything. The buildi ng was postponed , and no payment ! AlthoughMichae l Angelo complai ned to the Medic i i n thi s matte r , the c ircumstance s by which they were surrounded compel led them to thiscourse of ac tion . For a time Michae l Angelo was much di sheartened .
At last he commenced again upon th e mausoleum . Card . Medicine w wished to erec t a monument to his fam ily in the fo rm of achapel , i n the ch . of S. Lore nz o . Thi s was commenced i n 1 520.
I n 1 520 also , Raphael died Leonardo had died i n France a yearbefore ; and soo n after came the sudden death of the Pope . TheMedic i had l it tle money , and the ir w o rk progre ssed slowly ; andMichae l Angelo was left free for the mausoleum and some inc identa llabors . Adrian , who h ad succeeded Leo, did not l ive a year inth e Vatican . His simplic ity
,and hi s mode of li fe , had n o t suited
th e people , and he died unlamented . Card . Medic i ne w becamePope , and the bui ldi ng o f the Sacri sty was re sumed , besides whichit w as re solved to erec t a l ibrary of S . Lorenz o . Michae l Angeloreceived fifty ducats monthly , and commenced hi s work upon thestatue s of the Dukes of N emours and Urbino, two of the noblestmonuments that sc ulptu re has produced . In the spring of 1 524 , theCard . of Cortona made hi s en trance i n to Florence as regent , andtwo month s late r Ippol ito and Alessandro , i n whose name he re igned,followed him . In 1 525
,Clement VII . summoned M ichae l Angelo
to Rome . The heirs o f Jul iu s II. complai ned of the delay in th e
completion of th e mausoleum , but i t was agreed that the matter
154 B UONAROTTL
Arez z o . He soon after this became suspic ious of Malatesta , to
whom the he igh t of S . Miniato had been assigned . He went tothe palac e to express hi s apprehen sion s . He was sure that Malate stawas a traitor. At th e palace they lis tened with seem , and wereoffended . Leav ing i t i n great agi ta tion he met a fr ie nd , RinaldoCorsi ni who assured him that the follow i ng day the Medic i would bei n the c i ty . They decided to fly . They tried one gate afte r anotherwhich they found closed . At length they came to the Porta diPrato . M ichael Angelo gave hi s n ame as superintendent of fo rtification s
, a nd they were allowed to pass . Nothing can free him fromrepro ach i n thi s matter ; but j ustice requ ires that the mot ive s bywhich he was influenced should be considered . He saw plainly whatmust occur . He was unable to arou se those i n authority to thetruth . He would not witness the destruc tion of Florence . His agedfather and his fam ily depended upon him , and he must prese rv e hi sl ife . After many adventures he arri ved in Ven ice , Corsin i hav ingbeen separated from him . It was thi rty years since he had seenthat c ity , and duri ng that time its art had been perfected . Thenoble s wished to take advantage of thi s opportunity to reta i n MichaelAngelo in Ven ice , but he decli ned . He contemplated going toFrance . Wh ile he rema i ned , he l ived quietly i n a h i red house . The
3oth of September , 1 529 , a proc lamation o f pre scriptio n was publi sh ed i n Florence against thi r te en citiz en s , who were declared to berebel s unle ss they returned before the 6th of October . The name ofMi chael Angelo was the eighth upon the li st . The great master hadalways admired Dante , and i t was natu ral that at thi s t ime he shouldthink of him . For he , to o , h a dgone into exile. on ac count of po litical v iews . Grimm think s that his sonnets o n Dante must have beenwri tte n at this t ime . I give a single quota tion
I speak o f Dante , h im who se mighty mind“(as i l l-conce ived by that ungrate fu l raceWith whom the great no reco gn i tio n find.
0h ! were I h e , then the same fate were mine,His ex i le and h is power al ike to share ;Happiest o f al l thatearth co u ldme assign .
Soo n l etters began to come whi ch showed him how much theywanted him in F lorence .
'
At length he was summoned to Ferrara, tomeet the Florentine ambassador there, and after much negotiation , i nthe middle of November he returned once more to h is native city.
I t was on this j ourney that, i n Modena , he met B e gare lli . Thi sa rti st k new no t how to u se marble ; but his statues in clay were wonde rful, and M ichael Angelo i s sai d to have exclaimed , Alas forthe statues of the anc ients, i f this clay were changed into marble lThe winter which fol lowed his return was o ne o f fearful sufferi ng i nF lorence . In January the supreme command was given to Mala te staBaglioni . The impe rialis ts kept up a c lose siege , and between the
B UONAROTTI. 1 55
1 5th of March and the 1 5th o f April , persons peri shed . Greatscarci ty prevailed . Meat almost di sappeared , and sickness was i acreasing . Hope and fear al ternately swayed the c ity. The historyof the c ity must be the history of Michael Angelo . He was muchoccupied upon the fortifications , e special ly those o f S. M iniato .
There'were,however
,days when the danger seemed less , which he
spent in quiet among his marbles . He took up his brush , neglec tedfor nearly twenty years , and commenced the Leda with the Swan ,for the Duke of Ferrara . This picture has disappeared , but e ngravi ngs and copies remain . That i n the Dre sden Gall . gives a goodidea of the des ign and paint ing . At length a gleam of he pe passedover the c ity . Francesco Ferrucc i appeared without the wall s . 110
demanded re inforcements from F lorence . They went to him, andfrom the 24th of March until the 3d of August he was engaged inbrave attempts to del iver the ci ty . On that day he was k illed .
Hope and courage,seemed dead , and on the 8 th of August, 1 530, the
freedom of F lorence was ended , and the followers of the Medic iruled . Many of th e c itiz en s fled , others were concealed . MichaelAngelo was among the latter . But his name was too great for anyharm to come to him ; and at length , freedom , and the continuanceof his old commission s were offered him , if he would come forward .
He did so ,and resumed hi s labors i n the Sacristy . He seemed to
endeavor to k il l himself with work , and withi n a few months, thefour colossal figures ; which l ie on the e ofl‘ins at the foot of the s tatue s of Lorenz o and Giul iano, were placed i n n iches . They represent Morn ing, Even ing, Day, and N i ght ; and , al though none are fini sh ed, they have exci ted wonder and admiration , and are consideredby many as the greatest work s of thi s great man . These statuesand those of the two Dukes seem to have been carried on equally .
The artis t was treated with consideration , and m o ney was paid whenever it was required . This expressed to him that hi s poli tical pastwas to be forgotten . But he never denied hi s v iews . t e n thestatue of N ight was first exhibited , verses were affixed to i t a ocording to the custom of the t ime . Among these was the followingN ight , whom yo u see slumbering h ere so charmingly , has been
carved by an angel,i n marble . Sh e sleeps , she l ives ; waken her ,
if you will not bel ieve i t, and she wil l speak .
” Th e word angel , here ,referred to the Angelo of the sculptor
’s name . He made the statuereply thus : S leep i s dear to me , and stil l more that I am stone ,so long as dishonor and shame last among us the happiest fate i s tosee, to hear nothing ; for thi s reason waken me not — I pray youspeak gently .
” The anger expressed in these l ines is as great asthe courage , which dared thus publ icly to utter them . This wasprobably written i n the spri ng of 1531 . In September , 1 531 , thefirst notice of M ichael Angelo after the conquest of the city occurs .It i s a letter addressed to Baccio Valori , i n Rome , written by an uncle
156 B UONAROTTI.
of Anto nie Mini , who was i n M ichael Angelo’s serv ice . His friends
had become alarmed , and they desired that the Pe pe should knowof hi s si tuation . He was now almost sixty, and the letter picture shim sick and sorrowful , unable to sleep , having no appetite , andwilfully work ing in a cold , damp place . And in the midst of al lthi s wre tchedne ss he had produced hi s wonderful Aurora . Hism ind w as to rmented, too , about the mausoleum of Julius . He hadreceived money , but had not completed the w o rk. He feared thathe should die , and that his he irs would be entangled i n a lawsuita ndhe begged th e Pope , as well as the Duke of Urbino , that a settlem e nt should be made . His fr iends and the Pope u ndertoo k toassis t him, and he wen t to Rome where the matter was satisfac torilyarranged . On the 30th of April , 1 532, he returned to Florence tocont inue hi s work at th e Sacristy ; and ne w , for the firs t time
,he
employ ed assi stant s . He worked steadily until September,when he
wen t agai n to Rome , and made the drawing, according to which themausoleum was at length fini shed . We have no information of himfrom thi s time until September , 1 534
, when Clement VII. died .
Michael Angelo then left hi s work at S. Lorenz o, never to resumeit . He had incurred the displeasure of Alessandro
,who reigned in
Florence but the protect ion of the Pope had sufficed to pre serve himfrom insul t . New Clement was dead he would re turn to F lorence upo nno condition . Other th i ngs in F lorence had pained him . A citadelh ad been buil t by Antonio di San Gallo , and Bandi nell i
’s group hadbeen placed opposi te the David .
” Just th irty years elapsed betwee n the erection o f the two statue s , and those years may be said tohave witne ssed the rise , progress , and early dec line of I talian art .The world had almost ceased to re cko n M ichael Angelo am o ng i tspainters
,when he again entered the Si s tine Chapel , and commenced
his Last Judgment .” When first thi s task was proposed to him hedec lined i t . After thi s a di scussion arose between himself and Sebastian del Piombe as to whether oil or fresco painting should beu sed . Michae l Angelo declared oil pa i nting was for women , andmen should pain t i n fresco . Paul III the new Pope , thoroughlyappreciated M ichael Ange lo , and in his intercourse with that masterhis character appears i n its be s t l ight. In 1 5 13 , when Car d. Far
ne se , the master had made fo r him the design s for two candelabrawhich stil l remai n i n the Sacris ty of S. Peter ’s . When he first sentfor the sc ulptor , and reques ted him to enter his serv ice
,he was
told that i t was impossible , on account of his e ngagement with theDuke of Urbino . The Pope an swered angrily , I t is ne w th irtyy ears that I have h ad this de sire and, now that I am Pope , shall Inot be able to efl
'
e ct i t ? Where i s the con trac t, that I may tear i t !But M ichael Angelo remained firm, and even con templated removinginto the territory of Genoa, i n order to e sc ape the Pope . One day ,Paul appeared i n his atelier with e ight card inals, and desired to see
158 B UONARO’
I‘
TI.
for a monument to Pope Juli us. The end of al l was, that the Popesatisfied the Duke of Urbino , and M ichae l Angelo began to pai nt th echape l . He worked at thi s s ix years without assi stance . Of all thefrescoe s of the sixte enth century , perhaps none has suffered morefrom the ravage s of t ime , and at the hands of men , than th i s pai nting. Copies and engrav i ngs make it pos s ible to imagi ne what wasonce there . But the overpoweri ng effec t which it s firs t s ightshould produce i s lost . Th e se ntiments of the world
,too
,are so
changed that such a repre se ntat ion can not appeal to u s as i t musthave done to those to whom Michael Angelo preached with hi sbru sh . In thi s work he gave form , and pre se nted to the s ight. whatDante had pictured to the imagi nati on . Like everything else whichi s symboli c , i t i s meaningle ss i f we cannot supply i ts meaning fromour own soul s . As we look , however , at the Last Judgment ,
’ onthe wal l o f th e Si s ti ne Chape l , i t i s no longer a s imi l i tude to us , buta monument to the imagi nati ve spirit of a past age , and a strangepeople
,whose ideas are no longer our s ” Much of im portance to
the world occurred during the painti ng of th is picture . The Florentines in Rome endeavored to regain the ir old l iberty . The Re fo rmation was at work in Germany, and a
'
c irc le of di sting ui shed mensurrounded the Pope , and conferred unusual l u stre u pon the soc ietyof the Vatican . Among these men was Michae l Angelo ; not thathe mingled con stantly with them , for he gave hi mself no re st , but heknew their thoughts and hopes, and sympathi z ed with those whowould have brought about a reco nc i l ia tion be twee n the Lutheran sand the Church. In 153 7 or 1538 , the old Ludovi c died , and Michael Angelo was shaken in his very soul by this sorrow . It wason thi s o ccasion that he wrote hi s beaut iful sonnet commencing,
“ Already had I wept ands ighed so muchI tho ught al l grie f fo rever at an e nd,Exhaled in sighs , shed forth in b itter tears.”
This poem give s u s an in sight into th e re ligious bel ief of MichaelAngelo . He makes no reference to purgatory , bu t urges the grac eof God(la gra z ia Divina ) , and speaks of the certai nty o f the perfec thappines s of hi s father . This i nvolved th e quest ion whi ch wasagi tating the Chri st ian world , ye t in hi s thought he seems not torecogni z e th e possibil ity of a doubt . Before this , when hi s brotherh ad di ed , he wrote, Although al l those sac ramen ts which the Churchenjoi ns were not admini stered to h im , yet if he showed true repen tance and res ignation to th e wi l l of God, that i s suffi c ient for hi se ternal bles sedness . ” At another t ime he wrote to hi s brother toinqu ire out some case where he could do good se c retly ; for he wishedto do something for the welfare of his own so n], but des ired th at i tshould be known to no one . From all this the healthine ss of hisnature appears . There was no sentimen tal i ty or overstrai ni ng , buta trustful and obedient depe ndence upon God. The Si st ine Chape l
B UONAROTTI. 159
was ope ned and the Last Judgment exposed to the v iew of thepeople at the Chr i stmas fest ival of 1 54 1 . During the summer beforeth e Inquisition had been established i n Rome , and a
'
pan ic had spreadthroughout Italy . M ichael Angelo had given the face of the mastero f-ceremonie s to the i nfernal j udge , M inos . The Pope jestingly saidtha t he could do nothi ng
"
, as even Popes could not re lease others frometernal suffering . I t had been proposed to represent the Fall of theAngel s upon the opposite wall . Thi s was now spoken of no more , andsoon the L ast Judgment was abused from the pulpits . Duringthe time betwee n 1 536 and 1 54 1 , M ichael Angelo had been especiallyhappy in the friendship of Vittoria Colonna . All his l ife he had lovedchi ldren , and hi s poems show that he had loved women . But hehad kept himself so much alone that he had seemed
-
as if he hadwi shed fo r no friends . He was more than sixty years old when h emet Vittoria . Descended from Fabriz io Colonna
,and the wi dow of
Pescara , she was equal to the firs t nobles i n Europe . She wasreceived by the Pope with great honors , and the Emperor v i si tedher . Her most intimate friends were the Cardinal s Pole a nd
Contarina . It is not known how M ichael Angelo made her a cquaintance . Francesco d’Ollanda, a miniature painter , sent by the Kingof Portugal to Italy, descri bes two Sundays which he passedwith Vittoria and Mi chae l Angelo . The meeting was in the l ittlechurch of S . Si lvestro , opposi te the Qu iri nal , on Monte Cavallo .
The description of these meetings i s of extreme interest,and pre se nts
the friendship of the sculptor0
and the lady i n a charming light .Vittori a
,though no longer young , was beautiful , cheerful, and e u
dowed with th e highest intelligence . Sh e exercised over M ichaelAngelo a gentle authority . For the firs t time he experienced thehappines s of yielding to love and re spect for a woman , and there i sl itt le doubt that the se years were the happiest of his life . But evenshe fell under the suspicion of the Inquisi tion , and left Rome i n 154 1 .
To the two followi ng years belong the lette rs and poems which passedbe tween herself and Michael Angelo . It i s said that he wrote her soo ften that she asked him to restrict himself a l ittle . She feared thathe could not go to his work at a proper time in the morning if hewrote so much at n ight , and she was prevente d by hi s letters frompassing her evenings with the nuns in whose convent she l ived . Butone let ter of hers i s known , which was wri tte n to thank h im for th edesign for a cruc ifi x . He had sent i t for her approbation
,i ntendi ng
to execute i t if i t please d her . This i t d id so perfectly that she declin ed to return i t , saying that nothing more perfe c t had ever presented itself to her , and with graceful tac t declares I would ratherthat he who did this drawing should execute something el se for me .
”
Th e poems written by Michael Angelo to Vittoria contai n mostbeautiful testimony to her influence over h im . The sonnets of Vi t~
toria we re at this time read by all Italy , and she was accu stomed to
1 60 B UONAROTTI.
send them,when written , to M ichae l Angelo . In the autumn of 1542
they agai n met . Sh e had been il l , her family was ruined , and notone remained i n Rome . Sh e w i thdrew to a convent where she spenther few remaining years . To this time her portrait by MarcelloVenust i probably belongs . Many beli eve thi s to have been sketchedby Michae l Angelo . In 1 54 7
,she di ed . He w as with her to th e
last,and years afterward declared
,that he repented nothi ng so much ,
as that he h ad only k is sed her hand , and not her forehead andcheeks i n that las t hour . The loss which he susta ined can scarcelybe conce ived . He was seventy years old , his own strength was fa i ling,and he antici pated no joy but that of death . t e n the Last Judgment was comple ted he had desi red to return to the mausoleum . ButPaul 111. would not yield him . He had added a new chape l to theVatican which was named for hi mself, and he was determined thatMichael Angelo should adorn i t w i th fre scoe s . T he Duke of Urbinohate d the Pope , and in sisted upon hi s r ights . But i t was at lengthdec ided that the pa int ing should be done . I t consisted of two largepicture s representing the Crucifixion of Peter and the Conversion of Paul . ” They were finished within eight or n ine years . Inthe cleani ng and restoration they have undergone , most of the ori ginalwork has disappeared , and thei r first appearance can be be s t im agi ned from old engrav ings . These were hi s last paintings . The affa irof the mausoleum caused him great sufferi ng , for reports were c i re nlated against him , and Are tino , a powerful writer of that time , a oc u sed him of ingratitude to Pope Julius , and represented him as athief and a fe e to Chri s tianity . Grea t as Mi chae l Angelo was, andi nsignificant as was Aretino i n compari son , thi s had cast a stain uponhim of which he could not rid himself . In the year whi ch followedthe death of Vittoria , the h0pe which he had a lway s cherished forthe freedom of Florence was crushed . Cosmo
,se cure i n hi s power ,
e ndeavore d to i nduce M ichael Angelo to return to Florence , andeven offered to make him one of the forty-eight , the highest honorfor a Flore nt ine . He decli ned thi s with courte sy, for he rememberedhi s relative s in Florence , and did no t wish to i nj ure them with theDuke . I l i s health contin ual ly fai led
,his sadness increased
,and his
poems show how the thought of Vitto ria was ever with him . I t wou ldseem that he had done enough to render his fame above rivalry ; butthere were nearly twenty years , and much work before him ,
when atthe end of 1 546 , he was made director of the build ing of S . Peter ’s ,the only condition of hi s ac ceptance be ing , that he should receive nosalary . S. Peter ’s had bee n commenced in 1506
, b y Bramante , whohad been followed by Raphae l , Fra Giocondo , Giuli ano di San Gal lo,Peruz z i, and Antonio di Sa n Gallo ; and yet when M ichae l Angeloundertook the work , he was able to con struc t i t a s b e pleased , andhi s plan s were so far carried out that he may be considered as th e realarchi tec t of the church . Sa n Gallo’s model , and Mi chae l Angelo
’s
B UONAROTTL
of the same year Michael Angelo had been very ill , and after his reco ve ry had devoted himself with eagerness to hi s offi ce . Julius UI. ,th e new Pope , projected many new works . Art ists of every k ind h adfull employment , Michael Angelo was wanted everywhere . Heundertook no commi ss ion , but he drew designs , and was consultedon every plan . A new tro uble arose i n re gard to S . Peter’s .Under the other architec ts this buildi ng h ad been a source of wealthto many . Michael Angelo dismi ssed some and reduced the wages ofothers . He could do this th e more easily be cause he received no payhimself . Paul 111. once sent him a sum of money
,whi ch was imme
dia te ly return ed . Complai nt s were made again st h im ,and at length
Juliu s III. called a council and require d the sculptor to defend himself. Many accusation s were brought , and a special one was that ina certai n part there would be too li ttle l ight . Michael Angelo dem anded that those who originate d the reproof should come forward .
Two Cardinal s pre sented them se lve s, to whom he said , I intend placi ng three other w indows above those already there .
” You nevergave a h i nt of that ,
” an swered th e Cardi nals. N o r was I boundto do so ,
” replied the sculptor , nor w i ll I bi nd mysel f to give yourlo rdsh ipsor any one el se information of my i nte ntions . Your offi ce i s tofurn ish m oney , and to take care that i t i s not stole n as regards thebuildi ng plan , that concerns me alone .
” He then said to the Pope ,Holy Father , you know what I get for m y money , and that i f my
work doe s not.
te nd to the saving o f my soul , I shal l have expendedtime and trouble in vain upon it .” Juliu s plac ed his hand on hi sshoulder and said , Your ete rnal and temporal wel fare shal l notsuffer from i t ; there i s no fear of that .
” Thus the matter w as
ended , and whi le Jul iu s l ived the sculptor wa s not again dis turbed .
From time to time Michael Angelo was urged to return to Florence ,and when Jul ius III. died , i n 1 555 , the reques t was again repeated .
One of the Cardinal s whom he had so severely repro vedmo w ascendedthe Papal chair. He at once deprived Michael Angelo of hi s pension ,and sent him each month a salary, which he each month returned .
There were plots against him , and i t was reported that he had becomechildish
,old
,and weak . At thi s time the Florenti ne offers became
more honorable and urgent , but he would not go . Paul IV . appearsmons trous in history . He cared nothi ng for art , but he wished S .
Peter’s church to be fi n ished . He therefore continued M ichaelAngelo i n offi ce . When the Spaniards approached Rome , hi s fai thful Urbino had j ust di ed . It would have seemed the time for him togo to Florence , but instead , he went to the mountains o f Spole to . I twas almost the first time that he had thoroughly enjoyed nature , and heafterwards wrote , I have left more than half my soul there , fo r trulythere i s no peace but i n the woods . ” From this time he answered theu rgent requests from Florence by saying that i t would be a s in for himto go
,that he must persevere i n the work which he had begun in
B UONAROTTI. 1 63
God ’s name . At length they ceased to urge him , and in the last yearof his life the Duke v isi ted him i n Rome and showed his reverence forhim . In 1 558 the Pope died , and Pi ns IV. , his successor , was b esieged by new attac k s upon M ichael Angelo . B u t he l i stened to nothing
,and restored his pension to hi m . He knew he should no t l ive to
se e the dome completed , and he made a model in clay , so accurate ini ts proportions
,that when th e dome was commenced many years later
i t w as only necessary to copy i t on a colossal scale . Pius IV. was afriend t o the arts and to Michae l Angelo . Paul IV . had wished todes troy the Last Judgment ,
” and had employed Daniele da Volterrato cover the figures with drapery. I t se ems thatM ichael Angelo wasasked to do the work , and h ad answered i roni cally , That i s soondone ; The P0pe has to put the world i n order ; i t i s but a smalltrouble as regards picture s , for they keep stil l .
” W’hen in his eightysixth year he wrote a lette r to Cardinal d i Carpi which proves howl i tt le hi s mind had failed . Soon afte r, the committee appoin ted toi nspec t the bui lding dismissed a young man whom he h ad employed .
Upon thi s he dec lared that he would v isit the building no more . Thatwas j ust what his enemies desired . N ann i Bigio had long wante dhis position , and i t was gi ven him . At firs tM ichae l Angelo too k thematter easily , but when they began to change his plan s , he rousedhimself . The I’Ope was on the square of the Capitol . M ichaelAngelo went to h im and made so much noise that they were“ obl igedto take hi m i nto th e palace , and the end of al l was that the Popei s sued a brief decreeing that for the future they should not departfrom the plans o i M ichae l Angelo i n the smalle st particular . Thi sdoes not seem like the ac t of a dying man . At thi s time , too , hemade plans and was consulte d respecting important work s i n Florence .
His last work in Rome was to make a church from an immense halli n the baths of Diocletian . A year before his death M ichael Angelowas appointed to the honorary directorship of the Acad . of Arts inFlorence . In the beginning of 1 564 i t was apparent that his end w a s
near, and on the 1 8 th of February he died, i n the ninetieth year ofhis age . He had desired that his body should be carried to Florence .
Opposition from the Romans was feared . Funeral serv ices wereheld i n the ch . of S . Aposto l i , and afterwards th e coffi n was conve yed as mercha ndise o u t of the gates . It arrived in Florence onthe 1 l th ofMarch , and was carried priva te lv to S . Piero Maggiore .
The followi ng day was Sunday . The Duke seems to have desiredtha t he shoul d be buried silently . Towards evening th e arti sts assembled i n the church
,the body was covered with a blackvelvet pall .
embroidered with gold , and a gold crucifi x pla ced upon i t . A pro~
cession was formed . The older artis ts carried torches , and theyounger ones took the bier upon their shoulders , and proceeded toSan ta Croce . A rumor had spread th rough F lorence of whatoccurring , and a great multi tude quie tly followed the procession . In
21 64 B UONAROTTI.
th e Sacri sty the coffi n was opened , and though h e“
had be e n deadthree wee ks he appeared as i f he had j ust died . The crowd becameso great that i t was impo ssible to close the tomb . But i t was n ightand at length they were dispersed . The Duke ev idently feared that apubl ic funeral m ight create a politic al commotion ; but i t was th irtyyears since he had left F lorence , and those who stood around himscarcely remembered hi s connec tion with their city . In July m agn ifi
cent funeral ceremonies were held . The ch . of S . Lorenz o wasSplendidly decorated
,and Varchi de livered the oration . His nephew
Leonardo had a monument erected i n Santa Croce , and the Dukegave the marble . I n the same church are the monuments of Dante
,
Alfieri , and Mac chi avel l i . In the court of the Uffiz i hi s statue s tandswith those of other great Flore ntines , with no e spec ial prominence .
His house i n the Ghibelli ne Street still remains, but hi s paintings andother works are not there they are in the possession of his family.
All Italian s feel that he occupies th e third place by the s ide ofDante and Raphael , and forms with them a tri umv irate of the greates tmen produced by their country , —a poe t , a pai nter , and one whow as great i n all arts . Wh o would place a general or a statesman bytheir side as equal to them It i s art alone whi ch mark s the primeof nation s . ”
ENGRAVINGS AFTER THE WO RKS OF‘ M ICHAE L ANGELO .
Engraver , ALBERT I , Cheru bino . The Cruc ifixion . S Jeromem edi tat i ng on the Cruc ifix ; 1 5 75 . S . Andrew bearing his Cross ;1 580. Two F igures from the Last Judgment ; 159 1 . Charon , wi thtwo other F igures ; 1 5 75 . Prometheus devoured by the Vulture ;1 580. The famous Pieta.
Engra ve r , BARTOLO ZZ I , France sc o . Prometheus devoured bythe Vul ture .
Engra ve r, BEATR ICI , N iccolo . The An nunciation , wi th thenames of Mi chael Angelo and Beatric i . The Good Samari tan ;Al icbele
j
A nge lo , inv. The Mate r Do lorosa , N . B . ; Rome ; 1 54 7 .
The Conversion of S . Paul ; M . Angelo , p1’
nx., etc . ; N . B . The
Prophet Jeremiah , with names of painter and engraver . The Las tJudgment ; 1 562 ; i n n ine sheets . Ganymede , in scribed, Ga n imedes
j u ven is, etc . The Fall of Phaethon . Titius devoured by a Vulture ;A n t. Salama ncha , ex. S ilenu s carried by Chi ldre n ; N . B ea /rice , fec .
Engra ve r , B ON ASON I , Giul io . The Creation of Eve . The Las tJudgment ; i n scri bed , Ju li us B o na so n ius B ono ne proprza M ichaelisAngeli , etc . Solomon , David , and Jes se , from Si s tine Chape l ; Ju lioB o naso ne im i ta ndo, e tc . The Fall o f Phaethon . Three FemaleFigu re s with Veil s .Engra ve r, Ca emm am , Antonio . The Creation of Eve ; from
S ist i ne Chapel . Adam and Eve driven from Paradi se .
1 66 B UON I CAB EZALERO .
with the Virgin and the Archangel Michael . A warm,beautiful
tone pervades the whole ; the figure s are dignified and not mannered ;i t seems to un ite the style of the Umbrian with the animated cheerful ness of the Venetian school .
B u rgh e rs, M i ch a e l. A Dutch engraver who settled atOxford after th e tak ing of Utrecht by Louis XIV. Al
though hi s pl ate s were not espec ial ly good,he i s e steemed
for having preserved many remains of antiquity whi ch would otherwise have been lost .B u rgkm a i r, Th o m an . Kugler says the family of this name
are next important to the Holbei ns in the hi story of art i n Augsburcr where some of B urgkm a ir
’s work s still remain in the Cath . and
O ,
Gal l . The former were pre sented in 1480. He is i nferior to the
Holbe ins .B u rgkm a ir,Ha n s , born at Augsburg (14 73
So n of the preceding , and in hi s day th e most important art i st of Augsburg . He was reali stic
,and
succeeded in actual representat ions of common l i feand portraits
,and yet w a s not w ithout feel i ng for beauty . He had
great versatil ity of talent ; he painted rel igious subject s , and knightlyor courtly representations in add ition to the subject s before ment io ned. He al so made many designs for woo d-cuts, which are full ofspirit . He imitated no one master , but rather formed a style of hi sown . Many of hi s work s remain and a re i n Augsburg , DresdenGal l . , N uremburg , Munich , Vienna , etc . He had two d istinc tperiod s ; the first extended to 1 508 , and i n i t he was German e n
t ire ly ; later , hi s tendency i s to the Ital ian order , and is characteriz edby ful ler forms
,changed draperie s, and more del icacy of treatment .
That he painted land scape s wel l may be see n in N o . 65 , Muni chGall . , a S . John at Patmos.”
B y z as of N axos , i nvented the cutting of marble ti le s about th e5o th Olympiad , or 580 B . C.
C.
Ca b a l or K a b e l, A dri an v an de r, born at Ryswick , 1 631 ; died atLyons
,1 695 . Pupil of Van Goyen , whom he left with the intent ion
of vi siting Italy . When he rea ched Lyons his work s were so muchadmired
,that i t i s said he remained there unti l hi s death . But we
a re also told that the assoc iated painters at Rome called h im
Corydo n and Geegtigl’ce il, which would prove that he studied there .
He painted landscapes w ith cattle a'
nd figures , and seaports . Someof these were fine , but h is habits were irregular , and hi s picturesconsequently very unequal .Ca b e z a le ro , Ju an M art i n de , born near Cordova (1 633
Pupil of Don Juan Carreno . He had great reputat ion as a pain terof history . His principal works a re i n the churche s of Madrid .
CACCIA CAGLIAR I. 1 67
Ca c c i a , Gu gli e lm o, born at Mo n tabo ne (1 568 Called IlMoncalvo, from hi s long residence in that place . He painted i nfre sco and oil . His coloring was gay , his style of form taken fromRaphael ; he e specially studied hi s landscape backgrounds . TheChiesa de’ Conventuali , at Moncalvo , has a full coll . of his works .They were also known and priz ed i n M ilan , Pavia , Turin , N ovara ,and other c i tie s . He h ad five daughters, two of whom were painters ,
Ursula and Francesca . The work s of the latter were mistaken forthose of her father. He or the daughter Ursu la founded a
’
co nve nt,
into which the sis ters retired . In thi s convent there are manypictures by Ursula , who died i n 1 6 78 . France sc a died when fiftyseven
,but the year i s not known
Ca c c in o li , G i o . B atista , born at Castle Budrio (1 635Pupil of Domenico Maria Canuti . A painter of history of goodreputation . Many of hi s work s were for the churches of Bologna .
Cafl’
a , M e lch i o re , born at Malta , 1631 ; died at Rome , 1 68 7.
Studied under Bernini , and is said by .some
.
to have equalled hismaster. He executed various work s for th e Roman churches . Themost e s te emed is a marble group of S. Thomas distributing Aims,”
i n the Chapel of S . Agostino .
Caffi e ri , Fi lippo , bo rn at Rome (1 634 His family werefrom N aples , and were al lied with many noble house s of Italy.
Caffi eri went to Pari s, at the request of Card . Maz ari n, i n 1 660. Hewas employed i n work s for the royal palaces , and Colbert gave himapartments at th e Gobe l ins . He was afterwards made sculptorand naval-archi tec t to the k ing , and inspec tor of the marine at Duh ;
kirk .
Cafi i e ri , Ja c qu e s (1 6 78 So n of the preceding . His be stworks were busts i n bronz e .
Ca fii e ri , Je an Ja c qu e s (1 723 So n of the preceding ,whom he much excelled. He executed m any fine work s . Amonghis larger ones m a y be mentioned a group of “ Melpomene andThal ia,
” and a S .
‘
S i lv ia at the Invalides . His busts were betterthan his statues. Those of Corneille and Piron
,at the Theatre
Francais, are by him .
Ca gli ari or Cali ari , Pa o lo , cal led Paul Verone se , born at Verona
(1 528 So n of a sculptor , and pupil o f Anto nio Badi le ,hi s unc le , and a reputable painter. He lived mostly in Ven ice
,
and imitated Titian i n color . He did not equal the latter inthe perfection of hi s flesh tones, but that whi ch particularly distingu ish ed him was the v ital ity and poetic feel ing whi ch he infusedinto his works . His gorgeou s draperies
,grand architecture
,splendid
vase s and ornaments , varied costumes , and the representation ofimposing scene s rendered his work s most effective and masterly.
Even hi s religious pic ture s have all these features,and are admirable
scenes of earthly pageantry. Some of his more serious subjec ts,
I 68 CAGL IAR I .
however , are thrilli ng in their deep feeling and expre ssion . Magnifi
cent effec t seems to have bee n his chief aim , and thi s was atta inedby repre senting crowds of figure s gorgeously at tired, apparently i nful l enjoyment '
o f happy prosperity. Hi s pict-ure s appeal to thesense s more than the spirit, and hi s cos tumes are often indecen t.Few of h is early work s are known . The ch . of S . Sebastiano, inVe n ice , .
wh e re the master i s buried , is rich in h is work s ; there arealmost in numerable pictures by him on i ts walls and altars ; of the sethree are very large and represent scene s connected with the Martyrdom of S. Sebastian . In the Louvre is the colossal Marriage atCa na .
” This is 3ox2o fee t in siz e, and am ong i ts many faces are
the portrai ts of the art i st and other prominen t persons . Anotherlarge work i n the Louvre i s the Magdalen washi ng the Feet of
1 70 CAGL IAR I .
Engra ve r , DUFL OS , Claude . Chris t and the Di scipl es at Emmaus .Engra ver, Du pu i s , N icholas Gabriel . Adoration of the Magi .Engra ve r , GO LTZ or GO L TZIU S , Heinrich . The Las t Supper
,
1 585 .
Engra ve r , GROEN SVELT, John . Adoration of the Magi ; J. (Iro e ns .
velt,fec .
Engra ve r , HANS FTAN GL , Franz . Susanna . Adoration of theMagi . Marriage at Cana . Chris t beari ng the Cross . The Co nc inaFamily before the Ma donna .
Engra ve r , HENR IQUEZ , Benoi t Louis . Finding of Moses .
Engra ver , HONECK . The Presen tat ion i n the Temple .
Engra ve r , HO U B RAKEN , Jacob . Portrait of Daniel lo Barbaro.
Engra ve r, JACKSON , John Bapti s t . The Pre sentation in the Temple . Marriage of S . Catherine .
Engra ver , JACOB, Louis . Rebecca and El iez er .Engra ver , JEAURAT , Edme . Find ing of Mose s ; fine .
Engra ver, JOU ILLON , Francois . Apollo and Marsyas . Mercuryturni ng Aglauros to stone .
Engra ve r , K I L I AN , Lucas . The Re surrection .
Engra ve r , K i L IAN ,Wol fgang. Baptism of Christ .Engra ve r , K I L I AN , Philip Andrew . Adoration of the Magi .Engra ver , LASN E , Michel . Chri st i n Glory, with SS. Peter and
Paul .Engra ver, LOR ENZ IN I , Fra An tonio . The Annunciat ion . Bap
t ism of Christ . Raising of Laz aru s .Engra ve r , BTAN N L or MA ENN L , Jacob . Judith leav ing the Tent
of Holofernes . Child holding a Do g .
Engra ve r , LIATIIAM , James . Visitation of the Virgin .
Engra ve r , MATHAM , Theodoru s . Marriage of S . Catherine , S .
John pre sent ing the Ring .
Engra ve r , M i TEL u , Giuseppe Maria . The Rich Ma n and Laz arus .
Engra ve r , MO Y R EAU , Jea n . Rebecca and El iez er .Engra ve r , Pi z z r, Luigi . The Feast at the House of Simon .
Engra ve r , Pim lS L ER , Johann Marti n . Christ bearing his Cross .Engra ve r, l
’nrzv o sr , Zacharias . Marriage a t. Cana . The Feast i n
the House of Simon .
Engra ve r , RA lN A LD l, Francesco . Th e Rape of Europa .
Engra ve r, R AVEN ET, Simon Francois . Venus and Adoni s .Engra ve r, SAEN R EDAM , Jan . The Feast at the House of S imon .
Engra ve r, SA ITER , Gottfried . Marriage at Cana .
Engraver , SCOTTO , GI RO LAMO . Feast at the Ho u se of Simon .
Engra ve r , TERWES'
I‘
EN,Augustin , the Elder . F i nding of Moses .
Eno ra rer , THOMA SS IN , lle nry Simon . Christ and the Disc iple sat Emmaus .Engra ver, VANN I , Gio . Battista . Marriage at Cana .
Engra ver, VEN DRAM IN I, Gio . Vision of S. Catherine .
CAGL IAR I CALDARA. 1 7 1
Engra ver. VIL LAM ENA , Francesco . Pre sentation in the Templethis plate was commenced by Agosti no Carracc i i t i s rare .
Engra ver, VISSCHER , Cornel ius . The Ascens ion .
Engra ve r , VO LPATO , Gio . The Feas t in the House of Simon .
Engra ve r , VO RSTERMAN , Lucas . S . Helena seei ng the Cross .Engra ve r, WAGNER , Joseph . Enthroned Madonna with infant
S. John and other saint s .Engra ve r, ZUCCHI, Andrea . S . John the Bapti s t.Ca gn a c c i , G u ido , born at Castel Durante (1 600 Pupil o f
Guido Reni . He meri ts honorable ment ion among Bologne se artists .He avoided all hardness , and so blended hi s t i n ts as to soften andround the l imbs of his figures . The Emperor Leopold I . was hi spatron
,and he spent much time at Vienna. His work s are better
known in Germany than i n Italy .
Cai ro , Ca v ali e re Fra n c e sc o 0598 Pupi l of Mora z z o ne ,
he became enamored of Venetian coloring , and studied the work s ofTitian and Paul Veronese . The resul t was an admirable style . Oneof hi s best work s i s the S . T here sa i n S. Carlo i n Venice . Hi s picture s are al so at Milan and Turi n .
Calab re se . Se e Preti .Calab re se . Se e Cardisco .
Ca la ndra , G i o . B a ti s ta . One of the firs t mosai sts who wroughti n the Vatican . On account of th e inj ury to oil paintings i n S .
Peter’s,re sulting from dampness , i t was determined during the reign
of Urban VIII. to replace them by copies i n mosaic . The firs t altarpiece was a S . Michael a fter Cesare d’
Arpino , executed by Calandra .
Calc ar, Hans V o n . Real name, Hans S tephanus (1 5 10Of the Ital ian School of pain ting . In 1 536—3 7 he res ided i n Ve n
ice,and studied under Titian , whom he so imi tated that i t i s
sometimes difficul t to di stinguish their re spective work s . No bistorical work k nown to be his remains . His portrait s are fine and rare .
Berlin M u s. N o . 1 90; a man with a le tter i n hi s hand , at Vienna ;and one in the Louvre , which has been ascribed to both Pari s Bordone and Tintoretto .
Ca ldara , Po li do ro , called Caravaggio from his birthplace (1 495This painter began l ife as a maso
Vatican , where , i n 1 5 12, he became acqFlorence , who instructed him in drawing and made him hi s ass istan tin the decorative works in which he wa s employed . Together theyexe cuted fre sco chia ro-scuri which were much prai sed, even by Ra
ph ae l. Th ese are known now only by the engrav ings from them byCherubino Alberti , Gale stru z z i , and others . In 1527, the sack ofRome interrupted the ir work , and the two painters were separated .
Pol idoro went to N aple s , and from there to Messi na , where he e s
tablished a good reputat ion as a n'
arti st . In 1 5 43 , having made aco mfortable fortune , he prepared to return to Rome , b u t was mur
1 72 CALDARA CALLET.
dered by his servant for hi s money . His body was placed on thesteps of the house of a lady he had often vi si ted . The servant wass uspected and made to confe ss by means of the to rture . His princ ipal work was done at Mes sina
,and represented Christ bearing hi s
Cross .” This with several smal l pictures of sacred subj ects i s now inthe Studj Gal l. , at N aple s . Hi s works have power , l ife , and passion ,and he may be said to have originated the s tyle whi ch in later timeformed the basi s of th e N eapol itan school .Ca le nda ri o , Fi li ppo . Flouri shed at Venice about 1 334 . His prin
c i pal work was exec u ted for the Re publ ic , and consi sts of th e Pe rt icos surrounding the Square of S . Mark . He was largely rewardedby the state , and the Doge gave him one of hi s daughters i n marriage .
He did other goo d work s i n Venice , but was at las t executed as aconspirato r .Gale u se , Ce sar e . Flouri shed about 16 90. He attained a reputa
ble rank as a painter . His knowledge of chiaro-scuro was good , andhis s tyle graceful . In the ch . of S . John Bapti s t, at Naples , i s a Descen t from the Cross by this artist, whi ch is fine .Cale tti , G i us e ppe , cal led Cremonese , born at Ferrara (1600
An imitator of Ti tian . He spo i led his picture s by i nappro
priate arrangements of design . Lanz i says, He plac ed wi ld b e a rs i nthe sea, and dolphin s i n the forests .
” Two of h is be st work s are inthe ch . of S . Benedet to at Ferrara .
Call, Jo hn Va n . born at N im eg ue n (1055 After copyingthe works of some of the be s t artists of hi s own country , he went toRome , where he made a large collection of drawings of al l th e mostpic turesque v iews of the country surrounding that ci ty. He sett ledat length at the Hague , where he died . His drawings are more priz edthan hi s pic tures , and bring large prices i n Holland , where they areplaced in the bes t collec tions.Callo o tt , S ir A ugu stus W all, born at Ke nsingtcn (1 7 79
A pupil of Hoppne r, he at first practi sed po rtrai t pai nting , bu t laterdevoted himself to landscapes . He has been called th e Engl i shClaude . In 1 83 7 he exhibited a picture of Raphae l and the Formrina ,
” which w as quite out of hi s u sual style . Milton and hisDaughte rs followed i n 1 840. The Queen conferred k nighthoodupon him in 1 83 7 , and in 1 844 h e was appo inte d Con servato r of th eRoy al Picture s .Calle j a , A ndre s de la , born at Rioj a (1 705 A Spani sh
painter of go od reputation . His best wo rk s are i n the churche s of S .
Phil ippe le Re va ], S . Croix , the Treasury chapel , and the convent ofS . Franci s .Calle t , A n to in e Fran co i s (1 74 1 One of th e best
French painters of hi s time . In the Louvre,there i s a large re pre
scutation of the Four S eason s execu ted by him fo r Louis XVI.,and intended to be worked in Gobel in tape stry . Part of the cei l ing
l 74 CAMASSEI CAMPAGNOLA.
Cam a ssa i , A ndre a (1 601 Pupi l of Domenich ino andAndrea Sacchi . His works may be seen i n many publ ic ed ifices atRome Triumph of Constantine ,
” Bap ti stery of the Late ranAssumption of the Virgin i n the Rotonda
,and a Pieta at the
Cappu c in i .Cam b i as o , L u c a , cal led also L u ch e tto da Genova, born near
Genoa (1 527 Pupil of hi s father , Giovanni , whom he soonsurpassed . He painted bo th in oil and fresco , and i t i s sa id that hi simpe tu o si tv was so great tha t he sometimes executed his work s w ithout cartoon o r sketch o f any k ind . His drawings are much esteemed .
He w as frui tful i n i nvention and there i s novel ty in his designs . ”i sCupids and infan t angel s are bo ldly outli ned , and suggest the studv
of M ichael Angelo. His color i s sometimes bri l l ian t,but too fre
quently brown and dul l . Some of his bes t work s are in Genoa andthat v ic inity . His fame reached Spain , and Philip II . i nv ited himto Madrid , where he went with his son Oraz io i n 1 583 . He wasemployed in the Escorial and received ducats for his fresco ofParadi se on the ceil i ng of the choir of S . Lorenz o . Probably thiswas the large st sum that had then bee n paid for any modern work ofart . After the death of Luca , Ph ilip con tinued to employ Oraz io ,and settled a l iberal pen sion on him .
Cam b i o . Se e Arnolfo .
Cam e ra ta , G i u seppe , born at Venice (1 724 An e n
graver and painter i n mi ni ature who was i nvi ted to Dresden,where
he assisted i n engrav ing th e plate s for the Gall . , and was made e ngraver to the court .
Cam i lo , Fran c isc o , born atMadrid, of an I tal ian family ; died 1 6 71 .
Palomino praise s h im immoderately. He was the scholar of Pedro delas Cuevas . His work s may be seen i n various Spanish cities . Hismost ce i e bra tcd one i s hi s N uestra Senora de B e lcn i n the ch . ofS . Juan de Dios at Madrid .
Cam pagn o la , G i u lo . A Paduan who flouri shed about 1 500. Hei s most enti tled to noti ce as an engraver , and there has been muchdi scu ssion concerning him . Some of his plate s are pecul iarly done .
The ba ckground i s expressed by dots , and the figures , strongly out~
l ined, are fin ished by dots within . These plates prove this style not
modern , as i t i s genera l ly supposed to be .
DCam pa gn o la , D o m e n i c o . So n of the preceding. A
O '
l f T'
t'
h r I S (1 th 1 u s ' of that maspup i 0 “ an , e a o i e c Je a o yCA P'
ter . Hi s fre scoe s i n the Scuola del Santo , and his oilpicture s in S . M . del Parto establ i shed his right to good consideration .
His more important works are at Padua ; there are four Prophets ,ha lf figures, i n the Acad . at Venice . He holds high rank as an en
graver, and his etchi ngs and wood-cu ts, mostly from his own designs ,are executed with 3. Spiri t and style which show the power o f amaster hand .
CAMPALASTRO CANAL . 1 75
Cam pala s tro , L u do v i c o , born at Ferrara . His be st works arein the churche s o f that c ity .
Cam panh a , Pe dro , born at Brussel s (1503 Went whenvery young to Italy , where he gained a good reputation , and in 1 530was i nv ited to Spain by Charle s V . His principal work s are atSevi l le .
Cam ph u y se n , Th e o do rc R aph a e l, born at Go rcum
1 626 Pupil of Die tri e Go ve rtz e . An imitator of Paul Potter .
Th e fact s of his l ife are not known , and are variou sly stated by differe nt authors . According to Smith , N o . 527
, Cassel Gall . , representi ng cattle l ife siz e , i s by Camphuyse n .
Cam pi , Gale a z z o . A Cremonese of l ittle reputation,who flourished
i n the early part of the l 6 th century , and whose bes t work is his ownportrai t i n the Florence Gal l .Cam pi , Gi u 1i o , bo rn at Cremona (1 500 So n o f the pre
ceding . Head o f the Ec lect ic school at Cremona . He attempted tounite the excellences of the Roman and more northern school s , andhas been cal led the Ludovico Carace i of Cremona , al though hisre form must have preceded that of Ludov ico . He adm ired Raphael
,
Titian , and Giorgione . Hi s best works are in Cremona, M ilan
and Mantua .
Cam pi , A n to ni o , born at Cremona . Flouri shed about 1 586 .
Brother and pupil of Giul io. He excelled most as an archi tect . Hispic ture s were mannered . Hi s be st one i s tha t of 8 . Paul re su scitating Eutychus ,
” which was engraved by Agosti no Carace i .Cam pi , V in c e n z o , died 1 59 1 . Also brother of Giul io , and in
s tructed by him . His best pic ture s were those of stil l- l ife,but he was
much inferior to hi s brothers .Cam pi , B e rn a rdi n o , born at‘ Cremona (1 522 Also
brother of Giul io, and the greatest of the Campi . After studyingunder Giul io, and at Mantua, he went to Parma andModena to studythe manner of Correggio . Return ing to Cremona he execute d important works , the best of which are i n the ch . of S . Gismondi . Inthe cupola he painted an immen se representation of th e Blessed ofthe Old and N e w Tes taments . ” The figure s are seven bracciahigh and are very numerou s , each one be ing di sti nguished by anappropriate sy mbol . He completed thi s great work in seven mon ths.The Campi were the be st Cremonese arti sts of their time , but theywere extremely mechanical i n their styl e .
Can a ch u s . A sculptor of Sicyon . L ived probably at the beginn ing of the 5th century B . 0 . He excelled more i n technicalitie s andin the excellence of the separate parts of his works than in the grac eand beauty of the whole . One of his most important work s was acolossal braz en Apollo at M i letus . Of this we have copies i n astatuette i n the British Mu s. , and on Milesian coins .Can al or Can a l e , A n t o n i o , called Canaletto , born in Venice ,
1 76 CANAL CANO .
(1 69 7 A pupil of h is father, who was a sc ene pain ter . Hewent early to Rome, where he assiduously studied the ruins o f theancient city . Returning to Venice , he aston ished his coun trymen byhis magnificent v iews of the palaces and edifices of the ir c ity
,and by
hi s repre sentations of festival s and carni val scene s, in some o f whichthere are at leas t 200 figure s . He went twice to Englan d , where hewas much patron iz ed . His i nterior v iews were fine . Hi s colori ngi n the latter w as not bri l lia nt, and in hi s Venetian picture s it i s thegondolas with their gold and gay decoration s which gi ve the glare tothe scene , hi s figure s be ing ofte n i n neutral ti nts . He acquireda fortune . His work s are very numerous and are i n almost e ve rvcollection . Some of his followers imi tated him so closely that the irworks are sometimes mi staken for his own , and , i ndeed , there arelarge numbers of pic ture s similar to those of Canaletto .
Candide . Se e lVi tte .
Can o , A lo nso , born at Granada (1 601—1 66 Archi tect , sculptor ,and painter. He stud ied painting under Pacheco, Casti l lo , and theelder Herrera and sculpture with Martinez Montanes . His ta lentsand versatile genius se cured him a hi gh plac e among artists ; and hi stemper was such as led him to defend hi s rights again st al l newcomers . In 1 63 7 he fought a duel , and e scaped Madrid ; and in 1 644hi s w i fe was found murdered i n her bed . Cano was suspected of thecrime , and , although he fled , was at length apprehended and put tothe torture . He made no confession , and was released , j udicial ly i anocent . He sti ll retai ned hi s place as painter of the king
,and draw
ing-master to Don Carlos ; and was, from t ime to time , employed onimportant work s . He determ ined to remove to Granada and takeprie st ’s orders . Philip IV. appointed him to a canonry . He wasstil l employed as pain ter and sculptor by private person s and rel igi ou sbodie s, and even went to Malaga to supe ri n tend improvements in theCathedral . On account of his fierce temper he was depri ved of hi soffice by the chapter , and was obli ged to repair to the k ing in orderto be re ins ta ted . Thi s oc curred i n 1 659 , and so offended him thathe would no more use hi s pe nc il
’
o r chi sel in th e service of the Cath .
at Granada. He devoted th e remai nder of hi s l ife to reli gious andcharitable work s , and gave away hi s money as soon as rece ived . Hi s
purse be ing ofte n empty , he was accus tomed to go into a shop andbe g a pe n and paper . He would then sketc h a head , or an architec tural design , and mark th e price upon i t . This he would gi ve to abeggar with directions for finding a purchaser. Large numbers ofthese eleemosynary work s were collected after his death. One of h iss trong characteri s tic s was ha tred of the Jews . He would cross thestreet i n order to avoid them , and throw away a garmen t that hadtouched one of them . Enteri ng hi s house , one day , he found hishousekeeper bargain ing with one of the despi sed race . He chasedhim out with great fury , sent his housekeepe r away to pe rform quar
1 78 CANOVA .
companied hi s grandfather , became the fri end of the young Giuse ppeFal iero , and the favori te of the entire family . On one occas ion whenCanova and hi s grandfather atte nded a festival in th e Vil la Fali ero ,the ornament for the dessert was forgotten . The mistake being di scovered almost the moment i t was required , th e servants appl ied toPasino to assis t them , for they feared the di spleasure of th e master .
The old man could do nothing , but th e young Tonin , as he wascalled
,asked for some butter , and pre sently carved a l ion . This
being sent to the table attrac ted the attention of all , and Tonin wassent fo r. He received the prai ses of th e whole company , and fromthi s time the Senator Faliero became hi s patro n . Thi s anecdote i svery pleasing , but i t i s probable that the ta lents of Canova were wel lk nown to Faliero before this occurrence . He placed the boy under thetuition of Giuseppe Bernardi , called To re tto , a Venet ian sc ulptor , whohad settled at Pagnano . Canova was at thi s time twelve years of age .
He remained two years with thi s master, and duri ng that time mademany statue s and mode l s which are stil l preserved in the Falierofamily
,and i n various collections . During an absence o f hi s maste r
he made the model s , i n clay, of two angel s , which were his firs t rea l lyoriginal work . He placed them i n a conspicuous s ituation , andawai ted the master ’s return with hope and fear . To re tto remainedastoni shed before them , and excla imed that it was t ru ly a marvellouswork . From these model s the grandfather executed in pietra durathe two angel s on the hi gh -altar at Mo nfum o . Abou t thi s timeCanova executed his firs t representa tion of the human form in marble .
He made smal l statues and used them as gifts for hi s friends . Whenhe was fifteen his patron sent for him t o go to Venice , and receivedhim k indly into his own house . Canova desired to do somethi ng forhimself
,and engaged to work the latter half of the day for Giuseppe
Ferrari,nephew of To re tto . In a private letter Canova afterwards
wrote,I labo re d for a mere pittance , but i t was suffi c ie n t. It was
the frui t of my own resolution , and , as I then flatte red myself, th e
fore taste of more honorable rewards .” Thi s fact places his gen iusbe fore u s i n a strong l ight , for i t i s unusual that a youth of fifteenshould receive money, i n stead of paying i t for instruc tion . In Venicea. new field was ope n to hi s observation . He systematically dividedhis t ime ; passed his mornings i n the Acad . or in some Gall. , hi safternoons i n th e work shop, and the even ings in s tudie s which h adbeen neglected i n his youth . The firs t commission whi ch Canovarecei ved was from the Commendatore Farse tti , and consi sted of twobaskets fi l led with frui ts and flowers
,sc ulptu red i n marble , and
placed on the balustrade of the stai rcase whi ch led to th e picturegal lery , i n the Pal . Farsetti , where Canova had spent much tixn e instudy. These work s had no espe c ial excellence , and prove that th epowers of Canova were not ex traordinary at that time . At the endof a year he wen t with th e Fal iero fami ly to the ir summ er home at
CANOVA . 1 79
Asolo. Some time prev iou s to thi s, hi s patron , desiring to posses s agood work of his, had given him as a subjec t , a group of Orpheusand Eurydice , and wished him to repre sent the moment when thelover beholds her torn from his arms forever . He had worked upo nthis in his lei sure hour s , and took everythi ng necessary for the workwith him to Asolo , where he fin ished , in hi s si xteenth year , Eu ryd
ice,
” his first original statue . It was executed i n pie tra di Costo sa ,and was the siz e of l ife . From thi s t ime Canova perceived a greatdeficiency in the model s then used, for i t was customary to makethem many times smaller than the statue when finished . He determined to make all hi s model s
,even those of colossal figures
, o f theexac t siz e i n which they were to be finished . After thi s time he o ccupi ed a cel l i n the monastery o f the Augustine friars attached to thech . of S. S te fano . During the next three y ears , i n addition to hisstudies
,he was employed on the “ Orpheus ,
” and i n executing abust of th e Doge Renier . He was accustomed , at thi s time , to studyentirely from nature . He also gave much time to anatomy , and i nlater years made dissection s with hi s own hand , i n order to sketch ,
andfrequently to model from important parts , or wel l-de fined conformation s in particular in stances . In 1 7 76 hi s Orpheus was exhibi tedat the annual festival of the Ascension . It happened that at the sametime the opera o f Orpheus was brought out -i a Venice . Thepraise which he then received was always remembered by Canovaas that which made him a sculptor,
” to u se hi s own words ; and hi sgrati tude for i t caused him , when created Marqui s of Ischia , to choo sethe serpent and lyre
,the mythological symbol s of Orpheus and Euryd
i ce,for his armorial en sign s . He soon re ceived an order from the
Senator Grimani for a copy of the Orpheus ,” whi ch was the first
statue he executed i n Carrara marble . Finding his workshop toosmal l
,he removed to one i n the street of S . Mauriz io , where he con
tinued until hi s final departure from hi s native country . His nextwork was a statue of JEsculapius,
” larger than l ife ; and i t i s said thatbu t a short t ime before hi s death , he saw this work for the first timeafter i t had left hi s ateli er , and declared himself sorrowful that h is
pro gress had by no means corresponded with the i ndications of excellence exhibited i n thi s performance of hi s youth .
” He also executeda group of Apo l lo and Daphne ,
” never entirely finished . \Vhentwenty- two years old , he completed the group of Daedalus and Icaru s,
” for the Senator Pisani . This was intended as an outward decoration of hi s palac e , but when finished , i t. was considered too valuable ,and was placed in the Gal l . already made famous by the Family ofDarius of Paul Verone se , and other excellent works . This may beconsidered hi s last work executed in Venice , as he wen t to Rome so onafter his twenty-th ird birthday . He had been recommended by letters to the Cavaliere Zul iani , who then represented the Republ ic ofVenice at Rome , and was the intimate friend of Fal iero . He was an
l80 CANOVA.
enl ighte ned and generous protector o f the arts, and received Canovawith great k indness . He soon arranged to have the model of Daeda
l us and Icarus displayed before the be st art ist s and connois seurs inRome . The trepidati on with which Canova went to thi s exhibi tion ,can easily be imagined . The praise which he received , and theacknowledgment of hi s merit, establi shed his reputation . He hadlong des ired to undertake a group on some heroic subj ec t , and Zul ian i procured h im the marble , and promised that if no other purchaserappeared , he would give him the full value of the group when
finished . The subjectO
ch o se n was that of Theseus vanquish ing.
theM i notaur ,
” the figures to be of heroic siz e . His work shop was i n apart of the Venetian Pal . to which no one had access . He worked withunt iring industry , studi ed i n the museums and collection s at Rome,and at dayl ight was ofte n seen with his sketch-book or model li ng apparatus before the statues i n front of the capitol , or the colos salfigures on Monte Cavallo . In the mean time his friends in Venicesucceeded in obta in ing for him a pension of 300 ducat s from thegovernment . IVh ile at work upon the Theseus he al so finished asta tue of “Apol lo,
” whi ch last was first exhi bited at the same time withth e Mi nerva Pac ifica of Angel ini ,
’
and in spite of the formidable competition , the Apollo ” rece ived high prai se . At length th e Theseus was finished . Its exi stence was unknown to al l save the ambassador . In order to give full effect to the first exhi bition of thi s work ,Zulia ni gave an entertai nment and i nvi ted al l the most di stingui shedmen of Ro me . A model of the head of Theseus had been preparedby the artist , and attracted the attention of the guest s . Vari ous opinions were expressed regardi ng it s form , it s expression , and subject , andal l agreed that i t was an antique of grea t merit . In the midst o f thetalk , the ambassador sa id , Come , let u s end these di spute s by seei ng the original ,
” and the statue was unveiled before them . Everythi ng was forgotte n in their surprise and admirati on, and even the arti sts, who afterward s pursued him wi th envious mal ice , prai se d himi n that moment . Canova was often heard to say that death itselfcould not have been more terrible than his emotions dur ing these o ccurre nce s. Wi th the completion of thi s work termin ate d the novi tiateo f Canova . From this time hi s fame was establ ished . He was soonselected by Volpato to erec t a monument to Clement XIV.
,
“ th e
suppressor of the Jesu its, the collector of the C lementin e Mus . , andthe author of those elegan t letters by which hi s fami ly name , Gan
gane lli , has be en rendered famous over Europe .
” Canova hesitatedi n accepting th is , feel ing that his t ime should be control led by thosewho h ad be stowed hi s pen sion . He went therefore to Venice , andlaid the matter be fore the senate , who directed him to employ hist ime as was most profi table to himself . He now gave up his studioi n Venice , and , as Zuliani left Ro me at th i s time , he e stabli shed h imself i n the S trada Babbuino, and opened that studio which is sti ll the
182 CANOVA .
the statu e of Maria Loui sa . In 1805 , he went the second time toVienna
,where he modelled the bust of the emperor. Wi th the ex
ce pti o n of these journeys, from 1 800 to 1 8 1 5 , he never qui tted Rome ,and
,i n truth , scarcely left his work shop . In the last named year
he was sent , i n an offic ial capac ity , to Paris, for the purpose of reclaim ing the works o f art which had been taken from Italy, and belonged to the patrimony of the Church . Hi s exertions, and the succes s atte ndant upon them , shou ld ever be remembered by Romanswith gratitude . When his commission was happily accompli shed hewent to London . Here he was received with great distinc tion . Thek ing honored him with several conferences, gave him a commiss ionfor a beautiful group, pre sented him with rich gifts , and made h imthe bearer of private l etters to the Pepe . The j oy in Rome whenher work s of art were re stored, was increased when Canova himse lfarrived . His entry there may be called a triumphal one , and tookplac e on the 5th of January, 18 16 . He had been pre sident o f S.
Luke ’s before ; he was now made president of the commission for thepurchase of objects of art, and of the Acad . of Archaao logy . In fullcon sistory, the Pope ordered hi s name to be inscribed in th e “ goldenvolume of the Capitol,
” with the ti tle of Marqui s of Ischi a, and a pension of 3000 crown s a year was given him . Canova now designed toexecute a colossa l statue of Rel igion ,
” to commemorate the returnfrom banishment of the Pope . He only waited for the proper au
th o ri tie s to determine where i t should be placed ; but thi s they wouldnot do , and , through mutual j ealou sies , Rome was deprived of themagn ificen t gift . Canova was fil led with sorrow and regre t at thi scircumstance , but he determined that not only one statue , but his remaining life and fortune , should be consecrated to religion ; and he resolved to erect a church at Possagno, adorned with many work s ofart , and that there hi s ashe s should repo se . In the summer of 18 1 9 ,after many preparation s , Canova arri ved at h is native town . On the8 th of July , he assembled his workmen and gave them a sumptuousentertainment . Many young shepherde sse s and peasant girls hadj oined i n the fe stiv itie s
,and ass i s te d in the preliminary excavations .
At the close of the day , each one rece ived a present from Canova asshe passed his seat to bid him farewel l . On the eleventh of themonth the rel igious ceremony of layi ng the foundation stone of th efuture church took place . An immense concour se, not only from thesurrounding country , but from Venice , was pre sent . Canova , habitedin hi s robe s as a Knight of Chri st , and bearing the insignia of variousother orders , led the procession . The occasion must have bee n mostimpre ssive , for al l could not have passed away, who had see n th isfamous man , when , a poor
“
boy , he attended the s te ps of hi s grandfather , the sto ne-c utte r , now raised by the noblest di stinctions . Heconsecrated hi s life and fortune to the serv ice of God, and the bencfit of his birthplac e . Every autumn , Canova v is ited Pos sagno , e n
CANOVA. 1 83
e o uraged and rewarded the .workmen , and changed from time totime
,as seemed best to him , the detai l s of the prev ious plan . The
expenditure he thus incurred necessi tated great exertion , and he consta ntly undertoo k new commissions . One work of thi s time
,the
statue of Washi ngton , i s espec ially i n teresting as the first piece ofsculpture executed i n the Old , and publ icly commissioned in the N ewWorld ; thus uniting , by the fame of one individual , the art of bothhemispheres . ” (Memes ) In -hi s last winter he was more than o rdinari ly di ligent , engaged upon an eque strian statue of Ferdi nand ofN aple s . On account of thi s work , i n May , he wen t to that c ity , andthere became i ll . He returned to Rome where , for a time , he seemedto rev ive , and was able to resume his work . He arrived in Possagnoo n the 1 7th of September , and in October went to the Villa Fal iero .
A half century had passed si nce he had here i ndulged the dreams ofyouth
,and he li ngered lovingly on every favori te s po t . Though con
stantly growing weaker he went to Veni ce , to the house of his friendFrance se o n i , where , on the 13th of October , he died . Solemn services were held i n Veni ce when hi s bier was hom e to th e cathedralby the professo rs of the ac ademy , atte nded by the most di stinguishedmen in art , le tters , or rank . Hi s rema in s were then consigned to adeputation of priests from Possagno, and borne in a barge to Postioma From here they were taken to hi s temple , and on the 25th ,
the last honors were paid them . On this occasion , th e crowd wasso vast that they were obl iged to del iver the oration i n th e openair . The Venetian Acad . o btai ned
‘
th e heart of Canova, to contai nwhich
,an elegant li ttle monument was erected in the hall o f the Pal .
of the Arts . The Venetian artis ts made arrangements to erect acenotaph to h im , and selec ted for i t hi s own model of th e tomb ofTitian . In Ro me a statue was decreed to h im , and he was proc laimed perpetual president of her chi ef academy . In personal appe ara nce Canova was not e specially attractive . His hair was blackand luxuriant
,and hi s forehead of noble dimensions
,but the outl ine
of his feature s was neither grand nor extraordi nary . His head wasremarkably wel l set upon hi s shoulders , and hi s loose manner ofdressing hi s neck permitted thi s to be seen . Hi s whole air , manner ,and dress was that of modesty , benevolence , and simplici ty . .Therei s a story that when he first arrived i n Venice , he fel l i n love with abeauti ful girl
,somewhat older than himself
,who came to draw in the,
Farsetti Gal l . Day by day he watched her,until at last she came no
more . At length her attendant appeared , and when he i nquired forthe loved one , she burst into tears and exclaimed , La Signora Jul iai s dead . He said no more . Who Jul ia w as he never knew, but ,through al l h i s l ife, whenever he endeavored to unite the pur ity ofthe angel with the representation of earthly beauty, the lovely Juliawas in hi s m ind . The habits of h is life were very un ostentatious.He arose early and worked la te . He went l ittle i nto public soc iety ,
184 CANOVA CANTAGALLINA .
but almost always surrounded h imself with a few friends at dinner .He enterta i ned them cordially
,but wi thout display . He was very
abstemious , and required rest even after hi s frugal meal s . He joinedin cheerful and l ight conversation , but avoided any subjec t connec te dwi th the arts, or any thing that requ ired mental ac tiv ity . He re
tired to hi s chamber at eleven , and amused himself with a book orpencil before sleeping . Some of hi s fine st sketche s were made at thist ime , a part of which have be en publi shed un der the t itle of Pensieri . ” To describe one day, i s to describe hi s whole life . His religio us charac ter and generosity have been suffic iently portrayed . Inprofessional i ntercourse
,he was governed by the same rule s that regu
lated hi s life . The progre ss of art through the achi evements ofothers afforded h im pleasure ; envy and j ealousy were unknown tohim . At the same time he was severely j ust in the estimation of hi sown meri ts . He would not receive pup il s , and no one could boast ofbeing taught by hi m; but he never refused to l eave his own work togive his advice or ass istance
,or to v isi t the work of any other artis t .
To art he was a w i ll ing and powerful patron , and he had executed , athi s own order and expe nse
,the numerous bust s of distingui shed per
son s in the Mu s. of the Capitol . The following is a lis t of a po rt ion of his works
,with the date s of the ir exec ution
1 7 72. Two baskets of frui t s and flowers in marble , FarsettiPal .
1 7 73 . Statue of Eurydi ce ; soft stone of Costo sa .
1 7 76 . Orpheus so ft stone of Cos tosa .
1 7 79 . Daedalus and Icaru s Carrara marble , Pasi ni Pal Veni ce .
1 782. Theseus and the Minotaur.1 78 7 . Tomb of Clement XIV.,
Rome,ch . of the Holy Apostles .
1 792. Tomb of Clement XIII . , Rome , S . Peter’s .1 793 . Se cond statue of Ps y che .
1 794 . Cenotaph of Admiral Em o .
1800. Perseus , with the Head of Medusa ; Vati can .
1 803 . Colossal statue of N apoleon .
1805 . Venus v ic torious ; head of Pauli ne Bonaparte ; Villa B o rgh e se , Ro me .
1 8 1 1 . Statue of Mari a Lo ui sa .
1 8 1 7 . Monument of Card i nal York .
1 8 18 . Sitti n g statue of Washi ngton .
1 822. Pieta i n model .1 822. Seven rel iefs for the Meto pes of the temple at Pos sagn o.
These are but a smal l portion of hi s work s . Cupid , Psyche ,Venus , Adonis , Nym phs , etc .
,etc ., were hi s favori te subje cts and
often repeated .
Ca n ta gallin a , R em i gi o , bo rn at Flore nce (1582 Aneminen t designer and engraver , sa id to have instructed Ca llot andStefano della Bel la . Hi s pen-drawings are much priz ed .
The following are his pri nc ipal plate s
18 6 CARAGL IO CARDUCC I.
Anton . He executed some medals at the cou rt of Poland wh ichgained h im much reputation , and he. was often employed to engravegems .Carav aggi o , M i ch a e l A n ge lo . Se e Am e righ i .
Cardi , L u do vi c o , cal ledCigol i from the place of his
CIV.F, IN birth (1 559 One ofthose arti sts disti nguished
more by the absence o f any glaring fault s than by the presence ofany strik ing excellence s . His color was warm and pleasing
,but h is
expression was often exaggerated . He was a fol lower of Barmcio, and well understood chi aro-sc uro . His designs were sometimesgrand . S . Franci s was one of the favorite subj ects of thi s artist ,and one of the bes t of these pic tures i s in the Pitti Pal .
,where the re
i s al so a Christ walk ing on the Se a with Peter and an EcceHomo , which last merits much prai se . In the Louvre there i s a beaut iful Fl ight into Egypt .” Several of hi s works are in the churchesof Ro me and Florence . He engraved the two fol lowi ng plate sMary Magdalene washing the feet o f Chris tThe Convers ion of S. Paul .Cardisc o , M arc o , cal led Il Calabrese. A Calabrian wh o flo ur
ish ed from 1 508 to 1 542. Some of h is work s may be seen i n thechurches of N aples .Carduc c i or Caran cho , B art o lo m e o , born at F lorence, 1 560; died
at Madrid, 1 608 . A pupi l of Zuccaro , he wen t with him to Spai n .
Carduch o had al so studied sculpture and archi tec ture u nder Bartolom e o Ammanati at Florence . He was employed by both Phi lip I ] .
and hi s successor . Henry IV. i nv i ted him to the court of France ,but he preferred to stay i n Spai n. Among his work s at the Escorial ,th e fre scoes i n the spaces be tween the bo okcase s and the cornice ofthe l ibrary are espec ially fine . The work which most es tabl ishedhis reputation was the Desc ent from th e Cross , painted for th eob . o f S. Feli pe e l Real . He was engaged in pain ting a gal lery at th ePal . of the Pardo at th e time of h is death . He was an imitator ofthe antique . His drawing and coloring were good , and he wasfastidious to a faul t
,i n hi s own ideas o f excel lence . He never fel t as
if a picture was finished, and he declared that i t was not the people thathe wished to please , but those who could j udge of art.Ca rdu c c i or Ca rdu ch o , Vin c e n z o , born at Florence , 1568 ; died
at Alcala dc Henares , 1 638 . Brother of Bartolomeo , who broughth im to Madrid in 1 585 . Vincenz o was accustomed to declare himselfmore a Spaniard than an Italian . He was ins tructed i n painting byhis broth er
,and at hi s death was appointed to succeed h im as pai n ter
to the king . He had an inventive genius , and was not confined toanv one class of subj ec ts . He had studied ana tomy to good advan
tage,and his pic tures are v igorous in ac tion , hi s draperies grand , and
CARDUCCI CAROTTO . 1 87
hi s coloring rich . In the N ational Mu s. of Madrid are the pictureswhich he painted for the Chartreuse of Paular . . They number 54
,
and he agreed to paint them in fou r years . Twenty-six of theseillustrate the l ife of S . Bruno ; an equal number represent events i nthe history of the order
,and two are a combination of the arms of
the Royal House and those of the Carthusians . These works are awonderful monument to his industry and inventive powers. Theylose much of their effect from being seen i n a museum . They wereintended for the lonely silence and gloomy shadows of a clois ter
,and
to speak to the hearts of those who l ived i n perpetual silence , towhom the figures of these picture s became friends
,and were to them
th e only reminder of the mothers and si sters they had left , or , i nfac t, of the exi stence of woman in the world . What i s absurd to u snow , was venerable and lovely to them . The pictures of Carduch oare seen i n most of the Castilian c itie s . In the Gal l . of the Queenof Spain
,there are three pictures of a different order of subj ec ts :
The Taking of Rh e infe lt ,” The Relief of Constance ,
” and TheVictory at F lorus . ” There is also a colossal study of a man ’s head
,
which is very effec tive i f v iewed from a favorable position . Co lle ctors of sketches formerly es teemed those of Carduch o very highly .
He also wrote a book of “ Dialogue s on Painting ,” publi shed i n
1 633 . This book is very curious and rare . Hi s portrai t at theLouvre , Gall . Espagn .
, N o . 454 , represents him as turning the leavesof thi s book with one hand , and holding a pen i n the other .
Ca ri an o , G i o ., born at Bergamo . F lourished early i n the 1 6th
century .
’
His chef-d’
oeu vre was a “ Madonna and Saints ” paintedfor the ch . of S . Gottardo i n Bergamo, whi ch was removed to theGal l . of M ilan , N o . 1 1 3
,duri ng the French domination . He made a
fine reputation as a portrai t pai nter . Several of his work s remain inBergamo ; Palaz zo Borghese , Rome , Room IX.
, N o . 32 Hermitage,St. Petersburgh , N o . 1 1 6 ; Dresden Mu s.
, N o . 218 Berl in Mus . , N o .
188 .
Ca rle v am s, L u c a , born at Udina , 1 665 ; died at Venice , 1 729.
His pictures are li ttle known out of Venic e,and represent v iews of
that ci ty and other sea-ports . His figures have spirit , but his coloris not good . He made 100 good etchings of v iews in Venice .
Ca rlo n i , G i o ., born at Genoa (1 590 He stud ied underPassignano at F lorence
,and became a good fre sco pa i nter , espec ially
remarkable for hi s fine coloring .
Ca rlo n i , G i am b a ttista (1 594 Younger brother of thepreceding , with whom he studied under Passignano , and painted withhim afterwards . He was remarkable for his large family , having had24 chi ldren by hi s wife N icoletta Scorz a . Three of h is sons werepainters . The Cath . of Guastato at Genoa was the place where theCarloni executed their best and most' extensive work s .Caro t to , Gi an fran c e sc o , born at Verona (14 70 Ou t of
188 CAROTTO CARRACC I.
Verona hi s work s are rare ; there they are i n the churches and thePalaz z o del Con sigl io . Mantegna was hi s te acher , but hi s worksmore nearly imitate the manner of Leonardo. His drawing wassevere , his co lor warm and wel l blended . The His tory of Tobias inS . Eufemia i s an excellen t serie s of picture s .Carpac c i o ,V i tt o re . F lourished early in the l 6th century. Kug
ler calls him th e historical pai nter of the elder Venetian school . ”
His pictures represent da i ly life in Ven ice . The backgrounds havelandsc ape , archi tecture , etc .
, and hi s figure s are numerous and ful lof spir i t , hi s color deep and powerful . Many of hi s works are i nthe Acad . of Venice
,among wh ich are e ight representing S. Ursula
and her v irgins. His pic tures are al so in th e Venetianchurches
,in the Brera , the Louvre , and the Berli n Gall .
Carpi , U go da . Flourished about 1 5 10. Born at Rome .
Pai n ter and engraver, but chiefly important on account of havinginven ted (as i t i s beli eved) that k ind of wood-engraving whi ch imitate s drawi ngs, and is called chiaro-scuro . Bartsch gives 52 platesby Ca rpi ; they are mostly after the works of Raphael and Parm igiani no
,and are sp iri ted and masterly.
Carpi , Giro lam a , born at Ferrara (1501—1556 Pupil of Garofalo. Pai nte d bo th in fre sco and oil, and succeeded in portraits . Hewas also an archi tec t and a decorative painter . Juli us Ill. des ired tohave him superin te nd th e Vatican bu i ld ings , but his rival s i n Romeso di sturbed him that he returned to Ferrara.Carpi o n i , Giuli o , bo rn at Ve nice (1 6 1 1 Pupil of Ale s
sandro Varo tari , called Padu an in o . He painted bacchanal s andhistory , and small sac red subjects , many of whi ch are in the churchesof the Venetian sta te s . Some of hi s work s are close imitations ofPaolo Veronese, and so me re mind o ne of N iccolo Poussin , thoughu pon examination the figure s are not as hi ghly fin ished as tho se ofPoussin , and th e color i s more opaque . His pictu re s are in privategallerie s i n England .
Carra cc i , L udo v i c o , born at Bologna (1555 The founderof what i s called the School of the Carracc i . This was the most. important of the eclec t ic schools of Bologna . Ludovico was a pupi l ofProspero Fo ntana , and afte rwards of Tintore tto . He s tudi ed withmore sys tem and devotion to th e pri nc iples of art than was th e custom o i hi s time . He thus incu rred much critic ism , and by i t he became convince d o f the need of a reform in the study and practice ofpai nting. In the formation and conducting of his school he was assi s ted by hi s two nephews , Agostino and Annibale . The formercomposed a sonnet in which the pri nciples of their theory was se tforth . He advocate d the selec tion of the chief points of excellencefrom various mas ters, pa r exemple , the color of Lombardy , the truthand nature o f Titian . the design of Rome , etc . , etc . ; and a ll th esewere to be uni ted to the s tudy of N atu re . But al though thi s doc tri ne
1 90 CARRACCL
Engra ve r, B m z zm or B m ccxo ,France sco . The Re turn out of
Egypt . Portrai t ofCi n th io Aldro bra ndin i . A Fronti spiece inscribedExplica tio ne del Savro, lenzuolo 1 599 ; scarce . Another Fron ti spiecein scribed Tempio al Ca rdinale Cintlzio Aldrobra ndin i ; 15 79 . AnotherFronti spiece with the Arms of the Duke of Modena , with children i nthe middle ; 1 594 ; very scarce . S . Francis holding th e Infant Jesus ,with the Virgin in the Clouds . The Virgin crowned , with the Infantand two Angels .Engra ve r , CAM ERATA , Giuseppe . S . Roch . The Assumption of
the Virgin .
Engra ve r , CAN TA R IN I, Simone . S. Benedict cu ring a Demoniac .
Pla tes by kimseff, from h is own Designs.
Samson overcoming the Lion ; L. C . G.
The Virgin and Child with four Angels ; half length .
The Virgin suck ling the Infant ; half length L ori . Ca r. inv.
The Holy Family , with the Vi rgin washing Linen ; L . O. f.
Another Holy Family ; 1 604 ; Ludo vico Ca rra cc i fee .
Another Holy Family under an Arch .
The Frontispiece to the Poems of Cesa re R imaldi .A Thesi s with the arms of B o nfiglio vo li , wi th Mercury and Her
cules .
Engrave r , C I AMBERLANO , Luca. Chri st appearing to S . Theresa ;1 6 15 .
Engraver , CORIO LANO , Gio . Bati s ta . Christ crowned with Thorns ;fine .
Engra ve r , CORNE I LLE , Michel the Elder. The Virgi n suckl ing theChild .
Engra ver , CO RNE IL LE , Michael the Younger. Marriage of S .
Catheri ne .
Engrave r , CO RT , Cornel ius . The Cord of S . Franci s .Engra ve r , CON EGO , Domenico. The birth of S . John Bapti st .
Engrave r, DARET , Peter . The Virgi n suckl ing the Ch i ld .
Engraver, DUPU IS , N icholas Gabriel . S . Sebastian .
Engrave r , Fa xrnr r i , Cesare . Chri st i n the Garden .
Engra ve r , FR E Y , James . Crowning of the Virgin .
Engra ver , FR EZZA , Gi o . Girolamo . Th e Virgin suckl ing the Ch ild .
Engra ver, GAN TREL , Stephen . S . Franc is supported by an Angel .Engra ve r , GATTI , Oliv iero . An emblematical subject represent
ing an armorial beari ng supported by two river gods , surrounded byseveral mythologi cal personage s .Engra ver , GI O VANN IN I , Gi acomo Maria. S. Sebastian .
Eng rave r, GREEN , Valentine . The Entombing of Chri st .Engraver , KESSEL , Theodore . Chris t and the \Vo m an of Samaria.
The Woman taken i n Adultery.
CARRACCI . 1 91
Engra ve r , LA SN E , Michael . Th e Visitat ion of the Virgin .
Engra ve r , LO R ENZ IN I , Fra Antonio . The Ascens i on .
Engra ver , MATTIO LI , Ludovico. The Annunciation ; scarce . TheCircumcision .
Engra ver, MORIN . John . The Virgin , with the De ad Chri st .Engra ve r, PA SQ U IL IN I , Gio . Batista . S . Fel ix kneeling before
the Virgin and Chi ld .
Engra ver, PI TAU ,N icholas . Th e Entombing of Chri st .
Engra ve r, Po n s sra ,Andrea. Two Subj ects from the L ife of S .
Diego .
Engra ver, Po i nL Y , Franci s the Elder. The Dead Christ on th eLap o f the Virgin at the foot of the Cross .Engra ver , Ro ssr, Girolamo , called DE Ru nnxs THE ELDER . The
Virgin and Chi ld,with SS . Jerome and Franci s, in scribed Hie ro n i
m us (Ie Rube ispiclo r, delinea vit inc idi t.Engra ver, SCARAMUCCI A , Luigi . S. Benedict praying.
Engra ve r , SCHULZ E , John Go tfri ed. The Head o f Chri st.Engra ve r , S IMON EA U ,
Charles . The S toning of Stephen .
Engra ver , TO RR E , F laminio . The Virgin and Chi ld wi th SS.
Francis and Jerome ; very fine .
Engra ver , TRA B A L L ESI, Giul io. Conversion of S. Paul.Carra cc i , A go sti n o , born at Bologna (1558 A man of
poe tic temperament and superior education . In the school he superintended th e theoretical in struct ion . His pictures are rare
,and the
most important one i s the Commun ion of S . Jerome ,” now in the
Gall. of Bologna. The Infant Hercule s in the Louvre has been a ttributed to Annibale
,but belongs to Agost ino Carracc i . There i s no
doubt that the advice and sugge stion of Agostino had much to dowith the work s of Annibale , espec ially in hi s mythologi cal pictures,for the latter had not suffi c ient knowledge to have guided him inthese undertakings . But Agostino is chiefly famous as an engraver
,
and i s one of the most celebrated Itali ans in that art . His plates arevery numerous . The heads are admirable , and the extremitie s areworked with th e greatest care . His in stru ctor was Cornel ius Cort,and hi s manner i s bold and free like that of his master. He see msto have u sed the graver entirely .
ENGRAVINGS AFTER THE WORKS OF AGO STINO CARRACCI .Engra ve r, B a R TOL o z zx, Francesco. The Adultere ss before Christ .Engra ve r , B R IZZIO or BRICCIO , Francesco. The great S . Jerome ;
the plate left imperfect by Carracci,and finished by B riz z io . Christ
and the Samaritan Woman ; 1 6 10.
Princ ipal Pla tes by himself, afte r his own Designs, Po rtra its a ndother
Subj e cts.
Agostino Carracci .Antonio Carracci , his father ; very scarce .
192 CARRACCI.
Medall ion of the Emperor Augustus ; C. A.
Bust of Cosmos I., with ornamental figures .
The Head of a Woman ; fine .
Portrai t of a Lady , with a collar of pearl s.Giovann i Tommaso Costanzo .
Princes s Christi na of Lorrai ne .
Ulysses Aldro vandu s.
Marc Anton io Raimondi .
Titiano Ve ce lli . 158 7 .
Antonio Carracc i as S . Joseph .
Eve giving the Apple to Adam. 1581 .
The Virgin and Chi ld .
The Virgin suckl ing the Chi ld .
The Repose i n Egypt .The Virgin i n the Clouds giv ing the Scapulary to a Saint .The Virgin Seated on a S tep w i th the Chi ld ; SS . Joseph and
Joh n and an Angel ; scarce .
Good Samari tan . Proofs before the lette r are very rare . Theimpressions with the name of B ertelli are retouched .
The Crucifixion , with two Females repre senti ng Chr i s t ia nity andPaganism .
The Re surrec ti on .
Le Nome d i Dio . The Pope and the Senate of Venice kneeli ngbefore the Virgi n ; Luc . B a rtelli , form is . 1 582.
S . Franci s of Assis i rece iv ing the Stigmata ; Ages. Ca r. 1 586 .
The Cord of S . Franci s ; S . Franc i s di stributi ng cords to perso nsof different orders . 1 586 .
S. Jerome kneeling at the entrance of a cave . There are im pre ssions of thi s plate whi ch are very scarce , where i t i s three parts finish ed,
and —the rest sl ightly sketched . The plate was finished byVi llam e na
Seventeen plates of free subject s , called L e L asc ivie dei Carra cci .Two other i ndecent subj ects .A Landscape with naked figure s .A Landscape with the same ; a dance in the di stance .Cupid conquering Pan ; Omn ia vi ncit Amo r. 1 599.
Perseus combating the Monster .Fro n tispie ce for the book Cremona Fide lissima , which con tai ns
35 portraits engraved by Agostino ; very scarce .
Subj e cts afler Va rious M asters no t M entio ned Elsewhere .
A Child blowing Bubble s . Goltz ius . Very scarce .
Jacob wateri ng the Flock s of Rachael . D. Ca lvart. 1 58 1 .
Judith ; ha lf length . Lorenzo Sa bba tin i . Tobit conducted by theAngel ; imprope rly marked R afi aelle d
’Urbino. It i s after Raf a elle
194 CARRACCI .
subject s , and in some cases the attention i s much divided between hisfigures and the background . His picture s are very numerous and arei n almost al l good collections . It i s said that he pai nted very l i ttleduring th e last five years of hi s l i fe . He died at Rome , and was buri ed i n the Pantheon , near Ra phael . Annibal e excelled in smal l compositions of th e Madonna and Holy Families . His Three Marie s is very fine , and full of deep pathos in i ts expres sion of sorrow . But hi s Farne se pictures are generally con sidered hi s greate stwork s , and are a good example of the school of the Carracc i .
VENUS AND ma ns . BY ANN IBALE CARRACCI .In the Farnese Pal. Rome .
ENGRAVINGS A FTER THE WORKS OF ANNIBALE CARRACCI .Engra ve r, AUDEN AERDE or OUDENAERDE,
Robert Van . TheBirth of the Virgin .
Engra ve r , AUDRAN , Charle s . T he Baptism of Christ ; smal l oval .Engra ver , AUDRAN , Ge rard . The Death
'
o i S. Franci s . Marty rdom o f S . Sebastian . Achi l le s at the court of Lycomedes . Tempta
tion of S. Anthony .
Engra ver , AUDRAN , John . The Good Samaritan ; arched .
Engraver , B a n ro u ,Pietro Sante . The Family of Coriolanu s at
his Feet . S . Charles Borromeo led by an Angel .Engra ve r , BARTOLOZZ I , Francesco. Portrait of Ann ibale Carracci .Engraver, BAUDET , Stephen . The Dead Christ on the Lap of
the Virgi n ; The Ston ing of Stephen ; 1 6 7 7 .
Engrave r, B m z z lo or BR ICCIO , Francesco . A Blind Man led bya Dog .
CARRACCI . 1 95
His own Plates.
The Virgin suckl ing the Child ; oval .The Virgin supporting the Head of the Chi ld sleeping.
The Virgin and Ch i ld, and S. John presen ting a Bird .
The Virgin seated, the Child standi ng.
Adoration of the ShepherdsThe Virgin of the Porri nger givi ng Drink to S . John . 1 606.
A Dead Christ , called th e Christ of the Capraro le . 1 597.
Christ crowned w i th Thorns ; A . C. inv. etfec . 1 606 .
S . Jerome with Spectacle s.S . Francis with the Crucifix and Skull .S . Franci s k neel ing at the foo t of a Rock.S . Petronius kneeling.
Apollo playing the Lyre , with Pan .
An Old Man with two other Figures .Venus sleeping, with Cupid and a Satyr .Venus sleeping, contemplated by a Satyr , menaced by Cupid.
S ilen us, a Faun , and Satyr , called the Cup of Annibale .
The Triumph of Bac chus, a Salver to the Cup ; both very scarce .
Aci s and Galatea , with a Satyr.Susanna and the Elders ; very scarce .
Engra ver, CES I or CE S I O , Carlo. Forty-one plates from the Farnese Gall .Engra ve r , CHATEAU or CHA STEAU , Wil l iam . The Stoning of
Stephen . Assumption of the Virgin . Christ appearing to S . Peter .
Engrave r, CORN E I LLE , Michel the Younger. Jacob wrestling withthe Angel . S . John preaching in the Desert . S. Jerome . S . Franc isreceiving the Stigmata. Si lenus , a Satyr, and Faun . Abraham sending away Hagar .Engra ver, CORN E ILLE , M ichel the Younger. S . John in the Wi l
derness . Christ w ith the Samari ta n Woman .
Engra ver , CUNEGO , Domenico . Apo l lo and Silenu s .Engra ver , DUPUI S , N icholas Gabr iel . The Virgin and Ch i ld, with
Sai nts .Engraver, EAR LOM , Richard . Chris t curing the Blind .
Engra ver , F AN TETTI , Cesare . Charity , with three Children .
Engra ver, FAR IA T or FAR JA T, Benoi t . The Virgin and Chi ld,with S . John presenting Frui t.Engraver , GAL ESTR U ZZI , Gio . Bat i s ta. Mercury givi ng the
Golden Apple to Paris .Engra ve r, GR IMALDI , Gio . France sco. Two upright L andscapes .
A set of four Landscape s .Engra ve r , HA IN ZELMANN , El ias . The Virgi n and S . John , with
the Child sleeping , called The Silence .
”
196 CARRACCI CAnns i'
o .
Engra ve r, HAIN ZELMAN N , John . The Chi ld embrac ing the
Virgin .
Engra ve r, LANGL o xs , John . Tobit and the Angel .Engra ve r, LA SN E, Mi chael . The Virgin , called The Silence .
Engra ve r , LOMBARD or LOMBART , Peter . The Virgi n and Chi ld .
Engra ve r , M ANN L or MAENN L , Jacob . Susanna and the Elders .Engra ver , MATTIO L I , Ludov ico . Chr i st and the Woman of Sa
maria .
Engra ver, M ICH E L , John Baptist . C lytie ; circ ular .Engra ve r , MITEL LI , Giuseppe Maria . Th e Crie s of Bologna ; 4 1
prints .Engra ve r , PA SQU IL IN I , Gio . Batista. S. Diego work ing a Mi racle .
Engra ve r , PICCHIANTI , G10 . Do menico . The V irgin and Childwith S. John .
Engra ver, Po ,Pietro del . S . John in th e Wi lderness . The
Woman of Canaa n be fore Chris t . The Dead Chr is t on the Lap ofth e Virgin .
Engra ve r , PO I LLY, Franci s the Elder . The Repose i n Egyptwhich the Virgin i s sleepi ng , with two Angel s k ne eling .
Engra ve r , REN I , Gui do. Holy Family , with S . Clara . The Virgin suckl ing the Chi ld . The Chari ty of S . Roch 1 6 10.
Engrave r, Ro ssr, Girolamo , called De Rube is the Elder. S. Charle sBorromeo kneel ing before a Cruc ifix .
Engra ve r , ROULL ET , John Lou i s . The three Marie s wi th theDead Christ ; very fine . The Virgi n and Child .
Engra ver , ROU SSEAU , James . The Repose i n Egypt . S . Johnbaptiz ing the people of I srae l .Engra ve r , SCA RAMUCCI A , Lui gi . Venus and Adonis . The Virgi n .
Engra ver , SCHM I DT , George Frederi ck . Alexande r and his Physic ian . Tim o cle u s j ustified by Alexander .Engra ve r , SHARP , \Villi am . The three Marie s and Dead Chri s t ;
plate left u nfin ished.
Engra ver , S IMON EAU , Charles . The Adorati on of th e Shepherds .Christ and the Woman of Samari a .
Engra ve r , VOR STERMAN , Lu c as the Elder . Chri st pray i ng in theGarden .
Engra ve r , WOOL L ETT , Willi am . A Landscape w i th figure s anda wate rfall .Can -6 or Carre y , M i cha e l. born at Amsterdam (1 666 A
landscape and cattle painter . His work s re semble th ose of Van derLeeuw more than those of N icholas Berghem ,
w ith whom he i s saidto have studied . He was employed by the King of Prussia
,and ap
pointed one o f his princ ipal pa i nters . His ease l picture s are se en inmany col lection s , and are very good .
Carre fi o , a s he i s commonly known , w as a native of Aviles (16 14Hi s whole name was Juan Ca rreno de M iranda . His pa rents
1 98 CARSTENS CASSANA .
great lover of M ichael Angelo and clas sic art . He gave a new im c
pulse to Ge rman artist s, and his fine paintings and draw ings did muchi n the ir noble simplic ity to cast o fi mechanical drowsiness , andarouse hi s countrymen to th e poetic sentiment whi ch now di s ti n
gu i sh e s them .
Caruc c i , Ja c o po , called Pontormo, from hi s birthplac e (1493After studying under other masters he en tered the schoo l of Andreadel Sarto, wh o , from jealousy of hi s fine powers
,expelled him from
his academy . I n his large works b e di sappointed the expectationsfounded on hi s youthful promise , but he excelled as a portrai t pai nter .
There are good portraits of h im i n the Berli n Mu s.,and in the Ufli z i
one of Cosmo (le i Medici , whi ch i s v ivid i n color . In the N ationalGall . there i s a portrai t by him of a young Ital ian nobleman , whi ch isvery fine .
Casali na , L u c i a , born at Bologna (16 77 A very successfu lportrait painter . Her own l ikeness pai nted by herself i s i n the Florcu tine Gal l .Casan o v a , Fran cesc o , born i n London (1 732 So n of Ve
ne tian parents , he was early placed under th e i nstruction of Guardi .He painted battles , landscapes , and animal subjects . He was ad
m i tted to the French Acad ., and settled i n Vienna. Two of hi s large
battle piece s are in the Louvre .
Cas e n ti n o , Ja c o po di . born at Prato Vecchio (1 3 10 —1 390 Arelative of the family of Messer Christoforo Landino . Ile acompa
nied Taddeo Gaddi to Florence . He painted many fre sco e s , of whichfew remain
,and was an archi tect as well as a pai nter . He is worthy
of notice as one of the founders of th e Florentine Acad . of S . Luke . Inth e N ational Call. there i s an al tar-piece by him , formerly i n the ch .
of S. Giovann i Evangeli sta at Prato Vecchio . It has 22 compartments
,and represents the old legend o f th e l i fting of the Evangel is t
to heaven . I t was probably the chef-d’azu vre of Casentino. N o . 1292,
Ufli z i , i s also his work , and is a predel la , representing a re l igious ceremony in the centre , with side pic ture s from th e l i fe of S . Pete r . Iti s better painted than the National Gall . picture .
Caso lan i , A le ssandro , born at Siena (1552 A reputable
painter .o i hi story , whose work s may be seen i n the churches ofS iena. and al so at N aple s and Genoa.
Cas o lan i , Dari o , son of th e preceding. Se veral of hi s work s arei n th e churches of Rome , where he died in middle l ife .
Cassan a , G i o . Fran c e sc o . born at Genoa (1 6 1 1 Apainter of history and portrait s ; i n the le tte r he excel led . He wasthe father of a family of art i s ts who were all of goo d reputation .
N iccolo was an exce llen t portrai t painter , and went to Englan d inQueen Anne’s time . He painte d her portrai t, and those of manynobles . He died in London , i n 1 7 13. Abate Gio . Agosti no painte danimals
,and hi s work s are in th e collec tions of Genoa , Venice , and
CASSANA CASTIGL IONE. 1 99
Florence ; died 1 720. Gi o . Batista painted fruit , flowers , and stil ll ife . Maria Vittoria executed small devotional subj ect s for privatecollections, and her works were much esteemed ; died 1 7 1 1 .
Ca ss te e ls, P e te r, born at Antwerp (1 684 A successfulpainter of flowers , birds , fru it , etc . He also engraved some plateswhi ch are not without merit .Cas ta gn o , A n dre a de l, born at C as tagno (1 390 The
name of this painter has been loaded with infamy as the murderer ofDomenico Venez iano , from whom i t is said he had learned th e secre tof oil-painting , and killed h im that he might be the sole possessor ofthis knowledge . But of thi s crime he could scarcely have been guilty
,
since,according to Signor Gaetano Milanesi , he died three years
before Domenico ! (Se e Giornale Stor. uh . sup . pp. 6,
As a '
painter he i s a coarse and exact imita tor of nature , rather than thefollower of any school . Some of his works show the study of theantique ; hi s colors were used with a dash , but his flesh tints werenot good ; his figure s are bold i n outli ne and full of action . Hepainted fo r the Cath . of S . M . de l F iore at F lorence a picture of S .
N iccolo d i Tolentino , intended to represent an equestrian statue .
I t was a remarkable work .
’
It has been tran sferred to canvas , andhangs i n the cathedral . Besides his picture s i n various places i n Flore nce, there are two in th e Berl i n Mus.
Caste lli . or Caste llo , B e rn ardo , bo rn at Genoa (1 55 7 Inhis desire to acquire facili ty of execution , he fel l i nto many faul ts .His work s may be seen in Genoese churches , and at S . Peter’s atRome there i s one representing S . Peter walking on the Se a .
” Hel ived i n intimacy with th e cultivated and l i terary men of hi s time .He excelled as a miniaturis t, and was praised for his manner of pai nti ng i n sec ts .Cas t e lli .Va le ri o , bo rn at Genoa (1 625 So n of the pre
ceding. He was a good painter. His sacred s ubj ect s are i n thechurches of Ge noa , and hi s battle pieces in the palaces of that ci ty.
Cas te lli , G i o . B a tti s ta , called Il Bergamasco, born at Gandino
(1500 In his youth he attrac ted the atte ntion of one of thePallavic ini at Genoa , who sent him to Ro me, where he became profic ie nt in archi tecture and sculpture , as wel l as painting . After hi sreturn to Genoa , he pai nted i n rivalry with Luca Cambiaso . Castell iwas th e more successfu l one . In 1 56 7 he was i nvi ted to Spain byCharle s V.
, and rece ived a salary of 300 crowns , besides payment forhis work . He designed the grand staircase i n the Escorial , andexe cuted several ce ilings i n the Palace of Madrid , i n whi ch ci tyhe died .
Cas te llo . T here are several other arti sts of thi s name , whoseworks are occasionally seen in churche s and gal leries .
Cas ti gli o n e . Gi o . B e n e de tt o , born at Genoa
E (1 6 1 6 Pain ted landscapes i n whi ch he introduced animals , and sometimes figures . He m e t Van
200 CASTIGL IONE CATL IN .
dyck in Genoa and received some instructions from him , the influenceof which may be traced in his works . Sometimes he painted re
ligio u s subj ect s with great tendern es s . There are a few stu dies ofanimals on paper by thi s artist, which are surpri singly good . As anengraver , he deserves notice, having left more than seventy plate setched with power
,and in light and shade re sembli ng Rembrandt and
Della Bel la . He used the graver but li ttle . His'
so n France sco,and
his brother Salvatore , were his pup il s and imi ta tors , but neverequal led him .
Cast illo Ju an de l, born at Sev il le (1 584 Pupil of LuisFernandez and teacher of Muril lo , Alonso Cano, and Pedro de Moya .
He was a di stingui shed pai nter of historical subj ec ts .Casti llo y S a av e dra ,A n to ni o de l, born at Cordova (1 626
S tudied first with his father,and then at the school of Zurbaran at
Sev ille . He pa i nted portraits , sketched from nature , made archite ctural drawings , and executed models for th e silversmiths at Cordova . After hi s return from Sev ille , he became the fashionablepai nter of his c ity, and his portraits were sought by al l persons ofpretension . Fla tte red by thi s homage , he desired to win reputa tioni n a wider field , and went aga in to Sev ille . He was k indly receive dby the art is ts there , but foo li shly praised his own work s, at the expense of theirs . When , however , he was led to the cathedral to see
th e work s of Muril lo , he was overpowered by their splendor , and exclaimed , Castil lo i s dead .
” He returned to Cordova and attemptedto imi tate hi s rival , but soon sickened and di ed , a v ictim to hi s convictio n of inferiority ; in the same way as Francesco Francia, a century and a half before, i s said to have died of the S . Cecil ia of Ra
phael. Castil lo was a man of culti vation and wi t. His pupil, Juan
de Alfaro , v isited Madrid , and returned puffed up with his knowledgeof art . He signed hi s pictures conspicuously , Alfaro pinx i t ;whereupon Castillo inscribed his “ Bapti sm of S . Francis,
”N o n
pinxi t Alfaro .
” Most of his works are in the churche s and conventsof Cordova. The Ro yal Gal l . at Madrid has but o ne the Adoration of the Shepherds which has strong lights and shadows, efl
'
e e
t ive heads, i s well drawn , but dry and disagreeable in color.Ca te n a , Vin c e n z o , born in the Venetian State s (1 495
Real name Vi ncenz o di Biagio . He was a most i ndustri ous art i s t,
but had no great talent . One of the school of the Bell i ni , of whomhe was a close , i f not a servile imitator. His best work s were hi spo rtraits, some of which are fine . Many o f hi s pic ture s are in Ven ice ,and they are al so found in nearly al l large collec tions i n Europe . Heleft several wills and codic ils
,and considerable property .
Ca tli n , Ge o rge , born i n Wyoming Valley, Pennsylvania (1 794He firs t studied law
,but afterwards devoted himsel f to
painting . He Spent e ight years , 1 832—1 839 , among the Ameri canIndi an s , and made the acquaintance of forty-eight d ifferent tribe s.
202 CAXES CELL INI .
Spai n . Few of hi s work s remai n , for many of them were burned inthe Pardo . In the Quee n of Spain ’s Gall . , there i s a large Madonnawith th e Child asleep on her lap
,s urrounded by adoring angels .
Caz e s , Euge n i o . So n of the preceding , born at Madrid (15 7 7Court pai n ter to Philip III. and Philip IV . Much employed
in the churches, convents , and edifice s of Madrid ; many of his worksp eri shed in the Pardo and the Convent of
'
S . Philippi . Queen ofSpain ’s Gall . , Re pulse of the Engli sh under Leicester , at Cadiz ,i n 1 625 .
Ca y lu s , A nn e Clau de Ph i lippe , Com t e de (1 692 Anamateur engraver . He was a z ealous lover of art
,and did so much
for its advancement, and for the service of art i sts , that h is name de~
serve s honorable men tion i n any work referring to the fine arts .Ce l e sti , A n dre a , born at Venice (1 63 7 One of the be st
pai nters of the Venetian decline . He imitated Paul Veronese . His
l ights and shadows are be tter than hi s middle tints , but this mayari se fro m his backgrounds not. havi ng been prope rly prepare d . Hisworks can be well j udged in the Dre sden Gal l . He painted v iews ofVenice and other Ital ian c it ies , which are rare and of much value .
Ce llin i , B e nv e nu to , born at Florence (1 500 The l ife of thi sgreat sculptor was so full of change and incident, that h is story is oneof the most in teresting book s of i ts c l ass . Very early i n life b e desired to be a sculptor , but his father was determined he should be amusic ian ; and his first fifteen years were divided between the two pursui t s . Then , again st the will o f hi s father , th e son e stablished himself with a goldsmith . His temper constantly led him into difficu ltie s . On account of an afi ray he went to Siena, then to Rome, andthen returned to Florence . Again , for the same reason , he went toRome , and Pope Clement VII . employed him both as sculptor andmusician . He tell s us that he was a good soldier
,and claims to have
ki l led the Constable Duke of Bo urbon and the Prince of Orange wh i lefighting i n defence of Ro me . He returned after a t ime to F lorence,and from there wen t to Mantua, which he was soon obliged t o fleeon account of some i ndi scretion . He be came k nown to Michae lAngelo in Florence . By invi tat ion of the Pope he went agai n toRome , and was appointed engraver of the mint ; but Pompeo ofM ilan ,wh o w as his enemy , obtained hi s dismission from offi ce . Aboutthis time his mistress , Angel ica , de serted him ,
and he spent muchtime with a necromancer
,who told him she had gone to N aples .
He was engaged i n another quarrel,and this
,un i te d to the influence
of Pompeo, determined th e Pe pe to arrest him and have h im immediate ly executed . He was informed of thi s design
,and fled to N a
ples , where he met Angel ica as had bee n foretold . She again dece ivedhim and although the Viceroy desired h is serv ice s, he wouldnot remain . He obtained the pardon o f the Pope, and again went toHo m e . In 1 584 th e Pope died, and as Cell ini was returning from S.
CELL INI CERACCHI. 203
Peter’s,where he had be en to k iss the feet of his dead patron
,he
met Pompeo and k illed him . Paul III . desired hi s services,so he
pardoned him and agai n made him engraver o f the mi nt. Pier Luigi,
the natural son of the Pope , hated him and determin ed to have himassassi nated . He learned this and fled agai n to Florence, where h ewas received with m uch honor . But soon th e Pope summoned himto Rome ; and after go ing there and again return ing to F lorence , andagain to Rome , he determined to vi sit France . Franci s I. made him
great offers i f he would remain ; but he was ill , and attributed it tothe climate . So again he went to Rome only to meet misfortune ,for h i s servant accused him of havi ng stolen vast treasure s from theCastle of S . Angelo during the war. This was utterly false, but hewas impri soned , and made hi s escape . Again he was apprehendedand treated with great severity . While in prison hi s release w as
foretold to him i n a vi sion . His friend , the Card . of Ferrara, ob
tai ned his pardon , and they went together to Pari s . The salary proposed to him did not please him , and he set out on a pi lgrimage toJerusalem . Francis I. sent i n pursuit of him and he was broughtback . The king would have been his friend but for the i nfluence ofthe favori te
,Mme . d’Estampe s, who di sli ked Cellini . He obtained
perm ission to return to Florence , and Cosmo de’ Medici gave hi m a
stud io where he commenced his celebrated “ Perseus .” He thenwent to Venice where he became acquainted with many di stinguishedarti sts . Returning to Florence he finished the Perseus . ” Thi sobtained such great honors for him that he made a pilgrimage toVallombrosa and Camaldol i in order to express hi s gratitude . Hewas then employed on variou s important work s , and contended withBandinel li for th e commission of a statue of N eptune . Catherine de’
Medic i wi shed him to go to France to erec t a monumen t to her husband
,but the Grand Duke required his serv ices, and he left Italy no
more . His Perseu s ,” i n the Piaz z a del Gran Duca , F lorence , di s
plays h is meri t as a sculptor of large work s. He executed manyportraits , and large numbers of dagger-hi lts , medals , coins, clasps, e tc .
His work s are not as numerous now as might be expecte d . Onegreat reason for thi s i s the fac t that h e often worked in the preciousmetals
,and they have been destroyed for the sake o f their intrin sic
value,regardless of their meri ts as works of art . He wrote a treatise
on his art , which i s praised by Vasari . He died at F lorence andwas buried in the Annunz iata with great pomp .
Ce ph i so do tu s , the Elder. A sculptor of Ath en s . Probably thefather of Praxitele s . In the Glyptothek at Munich there i s a copy ofa statue by this master which represents Irene with Plutus in herarm s . The forms are grand , th e drapery admirable , and the wholeexpre ssion noble . This art i s t represents the transi tion period betweenthe severe and subl ime art of Phid ias and the grace of Praxiteles .Ce ra cch i , Jo seph (1 760 He h ad an eventful l ife . In
204 CERACCHI CESPEDES .
1 782 he was i n London , and made some excel lent bu sts of distin
gu ish ed men . But no t finding suffi cient employmen t , he went i n1 790 to Vienna . Soon after thi s he met N apoleon , and executed hi sbus t so wel l that he was i nv ited to Pari s, where h e was guillotined ,i n 1 800, on account of the part which he had taken in the inven tionof the Hell-machine . The bust of Napoleon i s in th e Glyptothek atMunich ; that of Metastasio i s i n the Pantheon at Rome . One of hisbe s t work s was the bust of Prince Wenze l von Kaunitz
,which he
executed at Vienna.Ce ran o , 11. Se e Crespi .Ce re z o , M a tt e o , bo rn at Burgos (1 635 An excellent pupi l
of Carreno . He was called the Vandyck of Spain . Q ueen of Spain’s
Gall . , Marriage of S. Catheri ne S. Jerome ; Assumption ofthe Virgin .
”
Ce rqu o z z i , M i ch a e l A nge lo , cal led Michael Angelo delle Battagl ie ; born at Rome (1600 A distinguished painter ofbattle scenes . The work s of Peter de Laer were so in vogue i nRome , that Ce rqu o z z i gave himsel f to the same style of paint i ng, andrepresented fairs , and festive scenes i n low life . He heeded not theprettiness of peasant l ife , but chose the la zzarom
’
, etc ., as his subj ect s.
He could rival many o f the be st masters of th e N etherlands i n color,finish , completeness , and na ive lé. In th e Spada Pal . , Rome , there i sa very touchi ng repre sentat ion of a Dead Ass , with the family towhom it belonged grouped around i t ; Berl i n Mus . , a fine representation of the entrance of one of the Popes into Rome .
Ce sare .Gi u seppe , i l Cav ali e re -d’
A rpin o , born at Rome (1568Pu pil of Roncalli . He had great fac il i ty of hand l ing , a nd
finding himself able to please , he did not study thoroughness . Hisinfluence upon art was bad , although he acqu ired great reputation ,and was much employed . He had also many scholars , and opposedhimself to other school s
,especial ly that of the Carracci . His fres
coe s on the ceil ing of the choir of S. Si lvestro a Monte Cavallo arehi s best wo rk s. His pictures o f Diana and Actaeon ,
” and Bathing Nymphs are al so among hi s finer pictures .Ce si , B art o lo m m e o , born at Bologna (1556 A contempo
rary of the Carracci , and often employed with them . He deserveshonorable mention among th e arti sts of his t ime. His frescoe s weresuperior to his oil pic tures . Many of hi s work s are in Bologna .
Ce spe de s, Pa b lo de , born at Cordova (1 538 Pai nter,architec t , sculptor , div ine , poet, and scholar . He studied at th eUniversity of Alcala
,and excelled in th e language s of the Orient .
He went to Rome and studied . He was an intimate friend , somesay the pupi l
,of Fede rigo Zuccaro . While in Rome , Cespedes
painte d i n several churches , and made a head of Seneca in marble ,which he fi tted to an antique trunk . Thi s gained fo r him the title ofVi ctor il Spagnu o lo.
” When Zuccaro was asked to paint a pic
206 CHAMPAIGNE CHAUDET .
Ch am pa i gn e , Ph i lippe de , born at Brussel s (1 602—1 6 Wh enquite young he went to Paris and worked with N icholas Duchesneupon the decorations of th e Luxembourg. In 1 627, he returned toBrussel s, but soo n hearing of the death of Duchesne, he returned toParis
,married the daughter of that pai nte r, and succeeded to his work
at the Luxembourg . Champaigne excelled as a portrai t pai nter.His bes t works of thi s k ind are i n the Lo uvre . Some of hi s picture sare fini shed with great attention to effec t i n matters of lace s , j ewel s ,etc . One of hi s finest pic ture s represents Adam and Eve mourni ngfor Abel
,
” and is in the Belvedere Gall . , at Vienna.
Ch an tre y , S ir F ran c is , bo rn at Norton , i n Derbyshire (1 782From hi s early youth, he des ired to be an artist , and attrac ted
the attention o f a lady named Stanley , by some pastry figures which bemodelled for her table . She plac ed him wi th a carver i n Sheffield .
Here he m ade model s i n clay, and received -i nstruction in pai ntingfrom John Raphae l Smith . He visi ted Edi nburgh and Dublin , but atlength went to Lo ndon and studied i n the Roy al Acad.
, where b e exh ib i ted a portrai t in oil , i n 1 804 . He returned , however , to hi s truevocat ion , and next exhibi ted three busts whi ch di splayed greattalent . In 1 809
,the archite c t Alexander gave him an order for four
colossal busts . He also made the bust of Pi tt , and , i n 1 8 1 1 , the
works whi ch he exhibited so pleased the sculptor N o lleke ns th at heordered one of his own bu sts to be removed , that one by Chantreymight take i ts plac e. Fo r the c ity of London , he executed hi s s tatueof George III. This greatly i ncreased hi s fame. In 1 8 1 7
,he was
made an assoc iate of th e Roya l Ac ad. He made many statue s andmonuments .
‘
One of the fines t represented two children, lyi ng asleepi n each other’s arms , which is i n L i tchfie ld Chapel . This obtainedhim an election to th e Royal Acad . In 1 8 10
, he wen t to Italy, andwas elec te d member of the Academie s at Rome and F lorence . In1 835 , he received the honor of knighthood . An especially beautiful work i s h i s statue of Lady Lui sa Russell . At the time of hi sdeath
,he was engaged upon the colossal equestrian statue of the
Duke of Welli ngton . He po sse ssed a choice cabinet of medals,antiques
,etc . His large fortune was bequeathed to hi s wife for life,
and then to the Royal Acad . for the encouragement of English art .Ch a rdin , Je an B aptiste S im o n , born at Paris (1699 A
pain ter of conversations, st i ll-li fe , e tc . His be st works are those w i thtwo or three small figure s to gether. He paid great atte ntion to accesso ri e s. Some of his k itc hen pieces are excellent . There i s a l ightness and grac e i n his female figures, and he gave a richness of effec tto hi s works by a vari ety of colors .Ch a ude t’, A n to in e D e n is , born at Pari s (1 763 At the
age of fourteen , he had shown so much talent for modelling and designing, that he w as a dmitted to the Roy al Acad . In 1 784 , he carri ed o ff th e grand priz e , and went to Rome with the royal pension ,
CHAUDET CHRISTOPHSEN. 207
where he remained five years . He soon came to be ranked amongth e first modern sculptors . He also acquired a reputation as a painterand des igner . He was appointed professor of sculpture, and madevaluable contribution s to the Dictionary of F ine Arts .” Some ofhi s work s i n sculpture are the silver stat ue of Peace, i n the Tuileri e s ; s tatue of Cincinnatus , i n the senate chamber ; a statue of(Edipu s ; a ha s-relief, representing Painting , Sculpture , andArchitecture,
” i n the Musée Napo leo n , and many busts , etc. Hepainted “ E neas and Anchi se s i n the Co nflagratio n of Troy, anddesigned many of the il lustrat ions for the fine edition of Rac i ne ,published by P . Didot , and a great number of medals .Ch e n e y , S e th , born at Manchester , Conn . ; died 1 856 . Brother
of John Cheney, one of the be st engravers of heads i n America .
Seth was a crayon l imner , and hi s best work s are exquisite femaleheads . He was enthusiastic and of an extremely sensiti ve temperament ; so much so, that if a sitter came to him to whom he found himself antagonistic , he was forced to reli nquish the picture . He vi sitedEuro pe four times , and ended hi s l ife in a weary decline in his nativetown
,where he was buried with an impressive service by moonl ight ,
singularly i n keeping with his poetical nature . There i s no department of ar t, i n which true genius can be more strikingly displayed,than i n that of drawing where few lines are used , and no color andli ttle shadow to conceal defects . The most scrupulous exactness indesign can alone be termed excellent.Ch o do w i e cki , Dan i e l N i c o la s , born at De utz ie , 1 726 ; died at
Berl in,
The po verty of hi s youth compelled him to follow merce nti le pursuits , but he practised miniature pai nting during lei surehours, and learned th e proces s of enamel pai nting . At last he gavehimself up to the profession o f an artist and engraver , and succeededwell . He painted few oil pic ture s , and they had no spec ial merit .His e tchings amoun ted to more than 1 300, and he made them as illustrat io ns for variou s k inds of books . Those for th e Sorrows of“
T
e rth e r,” were very fine . He publ ished a plate called Les Adieux
dc Calas,” of which but 100 impressions were taken . It i s now rare ,
and priz ed by collectors . At the time of hi s death he was director ofthe Acad . of Arts and Sc iences at Berl i n .
Chri st o ph . The history of thi s artis t i s unknown . He flourishedin Cologne , early in the 1 6th century . His first k nown work, execu ted about 1 501 , was formerly in the Chartreuse , at Cologne , now theposses sion of Herr Haa n of that ci ty . His most remarkable work i s aDescen t from the Cross ,
” No . 280, Louvre . There are others in
the Mun ich Gall . , Cabinets , and i n the City Gall . at Mayence .
Ch r i st o ph se n , Pi e t e r . This painter i s k nown by this name,but
should properly be Christus . He was of the Van Eyck School . He
bought c itiz en’s rights as a painter i n Bruges , i n 1 444 . His earlies tknown work i s dated 1 44 7, i s in the Stadel Mus . , at Frankfort , and
208 CHRISTOPHSEN CIGOLI.
repre sents the Virg i n and Child with SS . Franc is and Jerome . In1 452, he painte d a “ N ativi ty , an “ Annunciation ,
” and a LastJudgment ,
”ne w i n the Berlin Gall . They are wonderfully fine i n
color . He painted a picture of S . Eligiu s, as a goldsmith sel ling aring to a bridal couple . This i s dated 1 449 , and i s i n the posse ssionof Mr. Oppenheim , the banker at Cologne.Ch u rri gu e ra , Jo se f de , born i n Salamanca ; died , 1 725. His
work s were so pecul iar , that si nce hi s t ime , everything biz arre e r
ex travagant has been called Ch urrigure squ e . He removed to Madridi n 1 688 . In the next year he made the de sign for a catafalque fo rMaria Louisa
,wh ich was very singular. He was appoin ted assis tan t
draughtsman for royal work s, buil t a portal , church , and palac e , andexecuted many sculptures . Soon after his death , the dome of the ch .
of S . Tomas,upon which he was employed , fell down and k il led num
bers of workmen and worshippers .Ci am pe lli , A go stin o , bo rn at Florence (15 78 Pupil o f
Sa u te di Titi . He painted some angel s with offerings , on the wallsof the apsi s of S. Maria i n Trastevere, which meri t at tention . Twogood wo rks of hi s , representing the Burial of Martyrs by PiouslVe mcn , are in S. Pude nz iana . He was a l so an architect , and superi ntended some work s at S . Peter’s .Ci b b e r, Ca
i
ns Gab rie l, born at Holstei n . Flouri shed about 1 6 70.
He went to England , where he received much encouragement . He i sbest k nown by his statue s of Raging and Melancholy Madness
,
”
at N ew Bethlehem Hospital , S t . George ’s Field s.Ci gn an i . Carlo , born at Bologna (1 628 This arti s t was o f
a no ble family. He has been called the last of th e Bolognese . Hewas of the sch o o l of Albano , and produced correct and pleas ing pictures , quite academic i n character , but wanting i n depth of sentiment . He attempted pri ncipally gr aceful posture s and display ofbeautiful limbs . He was much admired i n his t ime , and even calledth e Apelle s of his age .
“ Joseph and Potiphar’s Wife ,” o ne of hi spic tures, i s i n the Dresden Gall. , and an Assumption of great siz ei s i n th e Gall . at Munich . He painted the cupola of the ch . of theMadonna del Fuoco at Forli . Th i s occupied him nearly twentyyears
,and he died i n that c ity .
Cign aro li , G i am b e tt in o , bo rn at Verona (1 706 One ofth e be st pain ters of hi s t ime . He pain te d in the manner of CarloMaratti , and his pic ture s are full of swee t beauty and grace . Hissubjects were mostly rel igious . He introduced arch itec tural backgrounds w ith ge od effect, and his angel s and cherubs were wel lpainted . It i s said that in 1 769
,the Emperor Joseph Ii . v isited
Cignare li i n h is studio at Vere na , and afterwards said that i n thatc ity he had seen tw o rare things , th e first pa inter in Europe , and anan cient amphitheatre .
Cigo li . Se e Cardi .
210 CIMAB UE CIVETTA .
figures of saints on gold gro und. The old features are stil l here , butthe eye i s softene d by a change i n the form of the ir is , and by closercurv ing of the li ds than had be en customary . The hands are verys trik ing for the ir thinness , and the separation of the fingers . The
head of Mary is disproportionate to the slenderne ss of her form ,and
i t i s a w o nde r now that angel s could have been so pa in ted, and yet ,from this very pic ture went out an influence , but for which such namesas those of Giotto , Ghirlandaie , Michae l Angelo , Le onardo, and Ra
pha e l might never have been heard . In color , Cimabue made grea tadvance. He softe ned the old hardness of outl ine ; he ma de new andbetter fle sh tints ; he rounded the form , and he used for his draperie sgay, transparen t colors. He u sed much ornam ent , i t i s true , but hemade i t a subordi nate part of hi s work , and executed it i n b e tter tas tethan h is predecessors had sho wn . Cimabue pa in ted i n th e ch . of A ssisi, but which are hi s pic ture s is not known . .The careful observerof that church must be conv ince d tha t the work s w ere done byseveral d ifferent hands , and I can but be l ieve that careful study andcriti cism reveal s th e bru sh of Cimabue. A large Virgi n and Chi ldabove the altar of the Conception i n the lower church, surrounded bythe works of Giotto , and an enthroned Saviour and some a ngel s i nthe northern transept of th e upper church , seem to be the work o f
the same master wh o painted the Madonnas of Florence , e spec iallythat i n the Acad . of Arts. The last k nown work of Cimabue was
done in the Duomo of Pi sa, where he was appointed capo ma estro ofthe mosaic s. He executed a large part of the m osai c i n the chieftribune, representing the Saviour with the Virgi n and John the Baptist. Thi s work has s uffered so much inj ury as to afford l ittle sati sfaction from examination . A Madonna somewhat like those in Florence , once in S . Francesco at Pisa , i s ne w in th e Louvr e. A Madonnai n the N ational Call. was i n the ch . of Santa Croce .
Cim a ro li , Gi am b a tti sta , da S a lb , born at Ven ice . Flour ished1 71 8—1 733. .A pa i nter of seaports , landscape s, and class ical ruin s .Hi s works are not uncommon in England .
Gi o li, or Ci o lli , Vale ri e . Thi s old sculptor studied u nder Triho le and Raphael de Monte L upe . He was employed by the GrandDuke of Tu scan y to restore antique s tatues . He exe cuted the statueof Illicha el Angelo, on his grave at San ta Croce 1n Florence .
Cipri an i , G i o . B att ista ,
a
born'
at Florence , 1 727 ; died i n Lo ndo n ,1 785. An elegan t de signer , as well a s a pai n ter . After studying inF lorence and Ro me he went to England , where he designed manyplates which were engraved by Bartoloz z i i n hi s excellen t manner .He pai nted but fe w large pic tures , but he left many beautiful drawings
,which , together with Bartoloz z i
’s engrav ings,have a wide repu
tati e n . In hi s o il picture s his female figure s are beautiful i n the di s»
tance , but are too coar se and unfini shed to bea r exami nation .
Civ e tta . Se e Ble s .
CIVITAL I CLEVENGER . 21 I
Civ i tali , M a tte o , born at Lucc a (1435 One of the mostdistingui shed sculptors of his time . Studi ed in Florence . His S .
Sebastian ,” i n the Duomo at Lucca, so deligh te d Perugino that he t e
pe ated the figure in hi s picture of The En tombment . ” His most important work w as the tomb of Pietro da N oceto, Secretary to PopeN icholas V. ,
which rank s high among the monuments of the 15th
century . At Genoa he executed si x statues and five ha s-reli efs forthe chapel o f S. John the Baptist . In the Ufii z i there is a seatedfigure of Faith
,
” ful l of earnestness and rel igious fee ling . Althoughbest known as a sculptor, he was an a ccompli shed architec t, and didmuch to im prove the style of building in Lucca ; and the beautifultemple of the Volto Santo i n the Duomo was designed by himCla e sse n s, A n tho n y . A painter of B ru ges , whose works are in
the Acad . and Town Hall of that city.
Cle e f, Jo h n Van , born at Venloo, 1 646 ; di ed at Ghent, 1 71 6 . Pu
pil of Gaspard de Craeye r. Hi s works are numerous in Flanders andBrabant
,and some of the best are at Ghent .
Cle o m e n e s . 1 . The sculpto r of the Venus de Medici m the Uffiz i Gall . Pli ny alone men tions thi s master , and he does not appearto have been very celebrated amon g the ancients . From variousknown facts i t i s dec ided that he l ived be tween 363 and 146 B .C.
2. Another sculptor , the author of the statue in the Louvre calledGermani cus,
” and which , i n tru th , represe nts a Roman orator wi ththe right hand lifted and in the habit of Mercury, as i s seen from theturtle at hi s fe et . There i s also at Florence a bas-relief representingthe story of Alceste , which i s i n scribe d with th e name of Cle om e ne s,but to whi ch one it shou ld be attributed i s not known .
Cle ri sse au , or Clari sse a u , Ch a rle s L o u i s , born at Pari s . Di ed1 820. An archi tec t and a designer i n wate r-colors . Principal lyknown for his much-e steemed water-color drawin gs of the rema ins ofancient archi tec ture .
Cle v e , Jo as Van , born at Antwerp . Flourished from 1 530 to 1 550.
Little i s known of him . It i s said he went to Spai n . I t i s certai nhe painted i n England . .Hi s picture s are sometimes mistaken forthose of Holbe in . Two of hi s bes t works are hi s portrai ts of hiswife and himself, atWi ndsor Cas tle .
Cle v e ly , Jo hn , bo rn in London (1 743—1 His be st work s arewater-color mari ne views . His perspective w as fine and his execut ion neat and deli cate .
Cle v e n ge r, S h o b a l Vai l, born in Middle town ,Ohio
, 1 8 12. Diedat sea, 1 843. He was first enco uraged to attempt sculpture by th e
execution of an angel upon a tomb-s tone,
when employed as a s to necutter in Cincinnati. He confined h imself to maki ng busts, andfound much employmen t in Boston and N ew York . His work s arewell k nown
,and some of them have been widely c irculated in plas
ter casts. His bust of Webs ter i s perhaps th e most s trik ing of all.
212 CLEVENGER CLOVIO .
It doe s not repre sent Webster , the intellectual giant , but the Web .
ste r k nown by the mass of the people . Webster , Clay , Everett ,Allston , Van B u rcn ,
Ch ief Just ice Shaw, and other eminent menwere perpetuated i n his marble p o rtraits . Thorwaldsen greatlypraised some of hi s works . The early education of Clevenger wa sdeficient , but hi s assoc iation with refined and cult ivated people hadi ts fullest legitimate effect upon him . He frankly confessed hi s needof knowledge
,and never he sitated to ask what he did not know.
There was a genuine truthfulne ss and a sincere di rec tne ss about h imthat endeared him to all with whom he came i n contac t . When i nFlorence , with hi s young family, with every Oppo rtun ity and motiveto work about him ,
he was prostrated by di sease . His in tense longing for hi s home led hi m to at tempt to reach i t . This he was notpermitted to do
,and from the midst of the broad o cean hi s spirit found
free course to hi s eternal home .
Cle y n , F ran z , born at Rostock ; died 1 658 . He was employed byChristian IV. o fDenmark , went next to Rome , and acquired the artof painting grote sques . James I . of England employed him at histape stry manufac tory at Mortlake . Some of hi s best work s are i nHolland House . He left a few e tchi ngs whi ch rese mble those ofHollar .Clin t, Ge o rge , born at Hexham (1 7 70 So n of a ha ir
dre sser . After repeated trial s of other pur su its , he gave hi mself upto mini ature painti ng and mez zotinto engrav ing . About 1 8 16 hecommenced his val ua ble portraits o f the principal dramati st s of hi st ime . These embrace Kean, Charle s Kemble , Young , Liston , Matthews , Macready , etc . , i n character . Many of the se are at the GarrickClub . He also pain ted numerous other portrai ts .Clo u e t , or Clo e t . Three artist s of this name have been con
founded into one . Jehan the father went from Brussel s and settledi n Tours , i n 1 840. Jehan th e son went with his father to France ,and became painter to Franc i s I . i n 1 5 18 , and the portraits ofte ncredited to Francois belong to hi m . He painted the equestrian portrai t o f Francis I . i n the Florence Gall . , attributed to Holbe i n .
He di d not wri te hi s name on his works .Clo u e t, F ranco is , son of Joh an the younge r , and called by hi s
name , on ac count of hi s celebri ty , was born at Tours (1 5 10He succeeded his father as painter to the king , and was continued i nthat office under Henry II . He painted many portraits of the royalfamily , nobi l ity , and person s of celebrity .
Clo u e t, Pe te r , born at Antwerp (1 606 An engraver,who
studi ed with Spie rre and B lo em ae rt , at Ro me . After his return toAntwerp he engraved several plates after Rubens
,wh ich are much
es teemed .
Clo v i o , Gi u li o , born i n Croatia (1498 A pupil of Gi ul ioRomano. He was a m in ia turi s t or i lluminator. His designs were
214 COELLO COLE.
convent s . He became the friend o f Carre ii o , who obtai ned admi ssion fo r hi m to the Royal gal leries , where he studied color by copying Rubens, Vandyck , and Ti tian . He be came the partner ofXimenez Donoso , and together th ey executed many frescoes. WhenQueen Maria Louisa made her publ ic entry into Madrid , these twopainters superintended the arti stic arrangements of the great ceremonial . In 1 68 3 , Coello was called to Zaragoz a , by th e Archbishop ,to pai nt in the collegiate ch . of the Augus t ines , and upon hi s re turn ,i n 1 684 , w a s ma de painter to the k ing , and a fterwards becamepain ter-i n-ord inary and deputy-apose ntador. After the death ofRiz i , i n 1 6 85 , he painte d the altar-piece for the Santa Forma. Thiswas his masterpiece , and still hangs i n the Escorial . It representsCharle s II . and his court rece iving the sacerdotal be nedi ction at thededication of the altar . (Fo r legend of the San ta F orma , see Franc i sco Riz i .) This picture occupied him more than two years , and ati ts completion was received with great applause . During a few succe eding years , Coello re igned supreme artist of Madrid . He paintedportrait s of the royal family and many notable person s ; he was appointed painter to the Cath . of Toledo , and keeper of the Royal galle ri e s. He felt , with reason , that he m eri ted th e honor o f paintingthe wal ls o f the Escorial ; and so great was hi s sorrow and m o rtifi
cation when Luca Giordano was preferred to that work , that hethrew aside his br ushes and pe ncils , grew sad , and at length i ll, anddied a year later. The frescoe s of Coe l lo were not hi s be st work s ,because too hastily done , but his oi l pictu re s were finished withcare , and are effective , graceful , and ri ch in tone . The picture atthe Escorial i s the best The Royal Gall . , Madrid , has two largecomposition s, N o s. 224 and 306 , both repre sent ing the Vi rgi n , wi thseveral saint s . The sketche s of Coe llo , a few o f whi ch are in theLouvre , are highly esteemed .
Co l e , Th o m as , born i n Lancashire , England , 1 801 . His fatherwas a wo o llcn manufacturer, who came to America whi le Thomas wasa child , and manufactured paper-hangings i n Ohio . In mixing pigmen ts , the so n
'
took his fir st les sons i n art . He was of an ex tremelysensi tive temperament , had much taste for music , and fully appre
c ia ted beautiful scenery . A portra i t pai nter strayed into the v il lagewhere he l ived , and gave him some i nstruction . At length
,with his
palette and other material s,hi s flute . and a li ttl e cloth ing, he started
o ff, supporte d himse lf by playing his flute , and took his fru gal meals.by the ro adside . After varied experiences
,he made hi s way to N ew
York . Here Durand and Trumbull were his friends . His v iews ofthe Hudson brought him good prices . During hi s l i fe he made twov isits to Europe , but he followed hi s art wi th unceasing devotion .
Some of hi s autumnal scenes were exhi bi te d in England , where th eywere considered as the invention of an extravagant Yankee . Hi s
allegori cal pictu re s are most ce lebrated , but i t i s i n the land sc ape
COLE COLOGNE 215’
rather than in the fig ure that he excelled . He painted landscapesin England , Italy, and Sic ily , but he loved best to represent thebe autie s of the N ew lVo rld. It has been well said that his bru shperformed the same service to our scenery , as Bryant
’s pen . Hewro te from I taly, “ N either the Alps , nor the Apennines , nor evenEtna it se lf have dimmed in my eye s the beauty of our own Catsk il ls .”
Hi s rel igious sen sibil ity was shown in hi s picture s of the Voyageof Life .
” He died at hi s home among th e Catsk il ls when forty-sevenyears old . There i s a singular coinc idence connected with h is serialpicture s . The Course of Empire was painted for Luman Reed
,
who died j ust before its completion . His Voyage of Life was forSamuel \Vard , whose own life was ended before the work was done .
The Cross and the World,” he pa inted for himself , and th e Pil
grim entering Heaven w as scarcely finished when hi s own spiri t wastaken to that other world he had so recently contemplated . Hepainted but few portrai ts . His descriptions of scenery were charming and fu l l of arti stic feel ing . His Mount Etna ,
” and v iew of theWhite Mountain s are i n the lVardswo rth Gall . , Hartford ; hi sCourse of Empire i n the Gall . of the N ew Y ork Historical Soc i
e ty ; the Mountain Ford ,” Kenilwor th Castle ,
” and the Voyageof Life are i n the Gall . of John Taylor Johnston , N ew York c ity ;the Angel appearing to the Shepherds ,
” i n the B oston Athenaeum ,
and many of hi s picture s are owned by our most appreciat ive men , aswil l be unders tood from the fact that after his death sixty-three picture s were exhibited i n N ew York , by the k indness of the owners .Co lin , Ale xan de r, born at Malines (1 520 His principal
works are at Innsbruck , where he settled and received the appoin tment of sculptor to the Archduke Fer dinand . In 1 5 7 7, he execu ted th e embelli shments for a fountai n at Vienna.
\
Co llan te s , Fran c isc o , born at Madrid (1599 A painterof history and landscapes , whi ch last were rich i n color, and bold andmasterly i n style . Queen of Spain ’s Gall ., very striking picture ofEz ek iel i n the Vallev of Bo nes ,
” signed, F ra n. Co lla ntes,fl. 1 630 ;
same Gal l . , a landscape ; Louvre , the Burning Bush in Horeb .
Co llins , W i lli am , bo rn in London (1 788 A very charming painter of landscapes , rustic children , e te . His pictures arehighly priz ed . They are excellen t, whether considered as landscapeswith figures , or as figures in a landscape . He was fond of such sub
je cts as The Sale of the Pet L amb ,” Shrimp Boys at Cromer.
Skittle Players,
”e tc . He painted many subjec ts connected with
fishermen and sea v iews , e specially those of Cromer Sands . He
v i si ted France , I taly , Holland , Belgium , Germany, and the ShetlandIsles . Towards the end of his life he painted some religiou s sub
je cts .
Co lo gn e , M e i ste r W i lh elm , o f. Little is known of this oldmaster, who is said by some to be the same as Wilhelmus de He rle ,
21 6 COLOGNE CONINCK.
and to have settled i n Cologne i n 1 3 70 . The L imburg Chro n icle of1380 says , In thi s time there was a pai nter in Cologne of the nam eof Wi lhelm ; he was considered th e best master of al l German Land ;he paints every man , Of whatever form , as if he were ali ve .
” All thebe s t old picture s of Cologne and vicin ity ha ve , on the strength of thi s ,been credited to Meister \Vilhelm . The olde st o ne i s probably thatat S . Castor , at Coblentz . It i s a wal l pa in ting , commemorative of
an Archbishop of Trcve s who died i n 1 386 . Its original appearancecannot be even surmised , owing to the restorat ions it has suffere d .
The altar-piece and wings which once adorned the ch . of S . Clara ,and are n e w in the Cath . of Cologne , are far more satisfactorily assoelated with the great fame of Meister lVi lh e lm . It i s probable thatthe centre portion only was hi s work . This represents the Life andPassion of Chris t .” The pic ture s are on gold ground , the drawingfeeble and incorrect , but the t ints better . At S . Severin
,there i s a
“ Crucifixion on the wal l of the Sacri sty,probably by the same
hand . There are work s attributed to h im i n the Museums of Cologne ,Berlin , and Munich ; i n th e National Gall . , the Frankfort Library ,e tc .
Co lo nn a , M i ch a e l A n ge lo . Se e M i telli .
Co m pe , Jan Te n , born at Amsterdam (1 71 3 Pupil ofDirk Dalens . IIe painted landscapes and v iews of citie s . One ofthe N ew Market at Amste rdam sold for 2000 Dutch flo rins, at publ icsale .
Co n c a , S eb asti an o , born at Gacta (1 6 76 A pupil ofFrancesco Sol imena , he strove only to acqui re th e pre ttiness of art .He was employed in Rome by Clement XI . Mengs says that by th ei ntroduction of his style at Rome , “ he put the finishing stroke to th eruin of painting .
”
Co ndi v i , Asc ani o . A pupil of Michael Angelo . lVi th o u t suffic ient ta len t to be known as a painter, his reputat ion i s world-wide asthe author of the l ife of the great master, publ ished in 1 553.
Co n e gli an o , Gi am b a ti sta Cim a da . His latest date on anyk nown work is 1 508 ; but he i s said to have l ived much later . Hew as o ne of the be st of the B e lline squ e painters. Ilis coloring of somework s i s such that Kugler says i t “ gli s tens l ike j ewel s . ” His chefd’
aeu vre i s i n th e ch . del Carmine, at Venice, and represents the Virgin kneeling before the sl eeping Child . He often i ntroduced into th elandscape s of his backgrounds the rocky height and cas tle o f Ge negl iano . As a pain ter of sacred subject s he meri ts a worthy
“
place inhi s age . He w as very i ndustrious, and his pictures are i n most Euro
pean collections, and many are i n Venice i n churches, and in theAcad .
Co n i n ck, D av i d de (1 636 Pupil of Jan Pyt . His picture s are an imated and po werful i n color . They are rare . Thereare two of great meri t in th e Amsterdam Mus ., repre senti ng a Staghunt and a Bear-hun t.
'
218 COPLEY.
van tage to young Copley , since he not only re ceived the instru cti onand advice of Pelham , but was surrounded by those who sympath iz edwith him in his choice of a profess io n . He was studious and qu i et ,and advanced ra pidly . He attained eminence as a portrai t pain teri n America , and l ived in easy elegance , having married i n 1 769 Mi ssSusan Clarke , the daughter of a dist inguished merchant of Bosto n . Alittle later Ce pley sent to Benjamin lVe st , i n London , hi s picture ofthe “ Boy with a Squirre l now owned by Mrs. James S . Amory ,for exhibition at Somerset House . He sent no le tter or name withi t ; th e rule of the exhibition excluded anonymous pictures , but Westknew i t to be an American work by the wood upon which it wasstretched , and from the fac t of the squirre l being such as belong toN ew England . The rule was se t aside , and the picture so favora blyreceived , that Copley was advised to go to England . He sailed i n1 7 74 , never to return . He went from England to the Continent
,
studied at Ro me and Parma, travelled as far as Naples , returned toFrance , Germany , and Holland , studying constant ly , and finallysettled in London
,where hi s wife and chi ldren j oi ned him .
He soon rose to distinction , was made an Assoc iate of the Ro yalAcad . i n 1 7 7 7, and an Academician s ix years later . Many distingui shedperson s were among hi s s i tters , and a portrai t of times of the childrenof George III . , now at Buck ingham Pal. , i s a fine example o f
'
h is portraits . He pa inted several large pictures, i ll ustrative of even ts inEngl ish hi story, and some reli gious subj ec ts . His portraits are fu llof dignity , and there i s that i n them which seems to assure u s tha tthey were truthful l ikenes se s ; his rich , subdued coloring i s veryeffec tive . His li fe was most succe ssful ; he h ad friends among themost eminent men on both side s of the Atlantic ; his family were cult ivated, and his son became emi nently di stingui shed as th e greatLord Lyndhurs t . He was a man of strong religious se ntiments, andof quick and earnes t sympathy . Th e following anecdote shows us
hi s American feel ing . In 1 782, Elkanah Watson was i n London ,and Copley made a ful l length portra i t of him . In hi s journal , Mr .
Watson says , The paint ing was finished in most exqui si te style i nevery part except the background , wh ich Copley and I des igned torepresent a ship, bearing to America the acknowledgments of our independence . The sun was j ust ris ing upon the stripe s of the Unionstreaming from her gaff. All was complete save the flag , whichCopley did not deem proper to hoi st under th e pre sent circumstances ,as his gallery was the co nstant resort Of th e Royal family and of thenobil i ty . I di ned with the arti st on the glorious 5 th of December ,1 782. After listen ing with him to th e speech of the King , formallyrecogniz ing the United States of America as i n the rank o f nations ,previous to di nner, and immediately after our return from the Houseof Lords , he inv ited me i nto his studi o ; and there , with a bold hand ,a mas ter’s touch, and I believe an American heart, he attached to the
COPLEY COQUES . 219
shi p the stars and stripes . This was , I imagine , th e first Americanflag hoi sted in Old England .
Copley was buried i n Croydon eh ., near L ondon . Many of hi s
pictures are scattered over America , belonging to the descendants ofthose fo r whom they were painted. A number are of easy acces s tothe public i n the Bosto n Athenaeum, where some are owned , andwhere from time to time they are put on exhibition by pri vate i ndividu als. Heretofore there has been no satisfactory account of hi sworks
,but a book i s about being published which will supply this de
fic ie ncy . It i s known that 269 oil paintings , 35 crayons , and 14
mi niature s by him are sti l l i n existence in thi s country a list of thesew i ll be given with a sketch of his l ife , and other intere sting fac ts .The title of the bo ok i s A Sketch of the Life , and a Li st of someof theWork s , of John Si ngle ton Ce ple y . It is wr itten by Au gustusThorndike Perkins , to whom I am indebted for th e facts contai ned i nthi s article .
L IST OF . ENGRAVINGS AFTER THE WORKS OF COPLEY , A S G IVENB Y M R . PERKIN S .
Engra ver , DUNKARTON , Robert . The Children of George III.
Abraham’s Sac rifice .
Engraver, B ABLOH , Richard . Portrait of Admi ral Vi scount Duncan . Portrait of Lord Spenser.Engra ve r, GR EEN , N . Portrait of Henry Laurens of So uth Caro
Engra ver, GREEN , Valentine . Samuel and Eli . A boy re scuedfrom a Shark .
Engra ve r, THEW , Ro bert . Picture of the COple y Family.
Engra ve rs no t given . Portrait of President John Adams . Portraitof Lord Howe . Portrait of Admiral Bon ington . Portrai t of LordMansfield . Portra i t of George IV . at a Rev iew . A Head of Copley ; by himself . The N ativity . The Tribute Money . The De athof Earl Chatham .
1 The Death of Major Pierson . The Surrenderof Admiral De Winter. The Siege of Gibraltar .Copley al so made an engr aving from one of his portraits . It bo re
the following inscription : Rev . ‘Vi lli am We lste ed, of Boston , NewEngland , ce t. 58 , 1 753, J. S . Copley
, pinxit etfecil.Co q u e s , Go n z ale s , bo rn at Antwerp (1 618 Pupil of
David Ryckaert, the Elder . Hi s best work s are groups of ladies ,gentlemen , and chi ldre n , with acces sorie s , i n the Open air. Thesewere probably po rtraits . They are admirably colored ; his whitedraperie s are exquisi te , and he excel led in painting beautiful hands .He often introduced dogs , and so wel l were they done that the ad
m ira ti o n of the beholder i s di vided be twee n them and the ch ildrenplaying with them . His backgrounds were al so we ll done, but i n
1 Engraved by Francesco B arto lo z z i. C. E. C.
220 COQUES CORNELISSER .
these he was ofte n assi sted by other art i sts . The Vo rhol st Family ,his chef i s i n the Queen’s Coll . at Buck ingham Palace .
Dresden Gall . , No . 964, i s said to represent his own family . Hi s sin
gle po rtrai ts are , as a rule , inferior to his groups . He sometimespa i nted genre pic ture s , such as La Lecon dc Musique,
” i n LordHe rtfo rdts coll . He was a true lover of art, and be ing rich , pai ntedfor pleasure rather than gain . His work s are not n umerous, and a re
very valuable .
Co rdi e ri , or Co rdie r, N i ch o las (156 7 Educated i n Romeas an engraver on copper . He preferred sculpture , and became disti ngui sh ed i n that art . Clement VIII . and Paul V . ofte n v i si ted hi satelier . His works are i n the Pauli na , S . John in Lateran , and S .
Gregorio i n Monte Cel io .
Co re n z i o , B e li sari o . A Greek (1558 He studied atVenice , under Ti ntoretto . Settled at N aples, where he gained greatinfluence and a large fortune , and l ived i n e legant luxury . His work si n that ci ty are numerous . His style was the same as that of Tinto re tto , and large frescoe s were. his be st efforts . His pictures areal so i n some churches in Venice . He formed a cabal with Caracc ioloand Ribera (called Lo Spagn o le tto ) for the purpose of excludingother Ital ian artists from N aples . They committed many outrages
,
and , i t i s sai d , the crime of poi soni ng those whom they could notbe rid of otherwise . D
’Arpino , Guido, Annibale Carracci , and, i t i s
said , Domenichino , all s uffered at the hands of these men .
Co ri o la n o . The name of a family of arti s ts , mostly engravers ,who flouri shed in the las t half of the l6 th and the early part of the1 7th centurie s . Cristofano was th e most important, and engravedth e portraits for Vasari ’s Live s of the Pain ters
,
” published i n 1 568 .
Co rn e i lle , M i ch e l, the Younger , born at Pari s (1 642More noticeable as an engraver than as a pain te r. His etch ings arethe admirat ion of collec tors. They are correc t in drawi ng, grand incomposition , and masterly i n exec ution . H is S . Franci s k neelingbefore the Cross i s fine . The fou r followi ng plate s came into thehands of a Ro man pri nt-seller , Rossi , who put the name o f Raphael onthem ; they are now scarce .
The Deity appearing to Abraham .
Abraham journeying with Lot .Abraham discom fiting the Army of the Confederate Kings .Abrah am with hi s son Isaac setting out for the Sacrifice .
Co m e li sse r, Co rn e li s , called Cornel i s van Haarlem , from hi s
birthplace (1 562 One of hi s be st work s i s that by whi ch hebecame known , and w as executed for the Gui ld of Marksmen of Haarlem . Berli n Gall . , N o . 734
, Bathsheba Bathing,” i s o n e of hisc .
’
cefs—d’oeuvre . In the Gall . at the Hague his
“ Murder of the Innocents i s most unpleasant . At Dresden there are mythological sub
je cts by him , but a l though carefully fini shed,good in cofe r
,and full
222 CORT.
The Descent of the Holy Ghost ; afte r the same .
Chris t Triumphant,with SS. Peter and Paul ; after the same .
Four plate s of the Rich Man and Laz arus ; afler Hemskerk.
The Parable of the Vineyar d; afte r the same .
Four plate s of the Parable of the Ta len ts ; after the same .
S ix plates of the history o f Noah and the Deluge ; after F . Flo ris.
Six plate s of the history of Abraham nfler the same .
Six plates of the hi story of Jacob and Rachel ; afle r the same .
Ten pla te s of th e labors of Hercule s ; afler the same .
Four plate s of the histo ry of Pluto and Proserpi ne ; afte r the sam e .
Bacchus and Venus ; 1 5 66 ; afte r the same .
The Immortal ity of Virtue, emblematical ; 1 564 ; afler the same .
The Descent from the Cross ; afler Roge r van der Weyde .
S . Roch ; afler J. Specka rt. 1 56 7
S . Lawrence ; after the som e .
S . Dominic re adi ng ; afler B a rt. Spra nger.
Holy Family with Angel s afler the same .
Crowning of the Virgi n ; nfler Giles M o esta ert. 1565.
The Acad . of Pai nt i ng ; afte r Stradan fine .
S UBJECTS ENGRAVED IN I TA LY.
Afle r Girolama M utia no .
S . Peter walk ing on the Water . 1568 .
Chris t crowned wi th Thorn s.Chr ist bearing his Cross .The Desce nt from the Cross, with two ladders .The Descent from the Cross
,with four l adders .
Chri st appearing to the Marie s.S . Jerome meditati ng .
A set of seven landscape s with figure s,called “ The Seven Peni
tents : S . John Bapti st, Magdalene , S. Jerome , S . Onophri u s, S .
Hubert , S . Francis wi th the S tigmata, and 8 . Franci s i n devotion .
The Annunciation .
Adoration of th e Magi , i n the form of an Altar.Virgin and Child ; half length .
Chri st preaching in the Temple .Baptism of Christ .The Crucifixion between the two Thieves.Another Crucifixion ; a gr and composition . 1568 .
The Dead Christ , with the Marie s.Entombment of Chri st .Chri s t appeari ng to Magdalene .
Conversion of S . Paul .S . George and the Dragon.
CORT.223
Afler Taddeo Z ucchero .
Creation of Adam and Eve .
Presen tation i n th e Temple .
Nativity ; a rich compo si tion .
Holy Family, with S . John and a Lamb.M irac le of the Loaves .Entombment of Chri st .Descen t of the Holy Ghost.Martyrdom of S . Agatha .
Afler F ederigo Z a cchero .
Moses and Aaron before Pharoah .
Birth of the Virgin . 1 5 78 .
Conception of th e Virgin .
The Annunciation . 1 5 7 1 .
The N at ivity . 1 568 .
Adoration of the Magi .Holy Family.
Flight i nto Egypt.\Vom an taken i n Adul tery.
Temptation of Christ .The Money Changers driven from theResurrection of Laz arus .The Woman of Samari a.
Chri s t on the Mount of Olive s .Christ taken in the Garden .
Death of the Virgin .
Coronati on of the Virgin .
SUBJ ECT S A FTER VA RIOU S MA STER S .
Parnassus ; after Po lido ro tla Ca ra vaggio.
Adoration of the Shepherds ; afte r the sam e .
Repose i n Egypt ; afte r B . B assa ro .
Vi si tation of th e .Virgin to S . El iz abeth ; afler M a rco da S iena .
The N ativ ity ; after the same .
Adoration of the Shepherds afler Par is Roma no .
Holy Family ; afle r F . B a ro cci o .
Bapti sm of Chri st ; after F . Sa lvt'
a ti .
The Marriage at Cana ; after L o renzo Sabba tim'
.
The L ast Suppe r ; afler Isivio Agresti .Ston ing of Stephen ; afte r M a rcello VenustiS . Jerome p
’
eni tent ; afte r R i ccio (1a S ie na .
S. Jerome in the Desert, with two Angel s ; afler J. Pa rme nsis.
S. Margaret of Corton a ; afte r Tempesta .
A da nce of Dryads ; afte r It 20330 .
The Three Fates ; afler Giulio Roma no.
224 CORT COSSA.
Co rt , He nri 6 9 , born at A ntwerp , 1 742; d ied i n London , 18 10.
Pupil of An to n isse n and G . IIe rreyns. Many of hi s picture s,which
are landscapes , are i n collections in England , i n which country helived many y ears . T hey are well fin ished
,and have rich fol iage
,
with cool . sil very skie s . He was fond of open ings i n heavy fol iage,
with bright light or sunshi ne between , which discloses buildings andother object s i n the distance .
Co rt e , Juan de la , born at Madrid (158 7 Painter to bo thPhili p III. and Phil ip IV. He excelled i n b attle piece s and perspective v iews . Several of h is work s may be seen i n Madrid .
Co rt e s e , Ja c o po , cal led Il Borgognone , born i n Franche Conté
(1 621 One o f the most celebrated battle pai nters . Pupi lof Ce rqu o z z i . Many picture s are attributed to Borgognone whichare th e work of hi s imitators . In the Borghese Pal . there are twoof h is original work s . Others are i n the Pi tti Gall . Wh en in theheight of his career hi s wife died . He had not l ived amicably wi thher
,and was suspected of her murder . The sadness which thi s
accusation i nduced led him to become a Je sui t . Besides his pictureshe left a few etchings of battle s , which are uncomm o nlv effec tive inl igh t and shade , and ful l of spirit .Co rt o n a , Pi etro B e rre tt i n i da , born at Cortona (1596
One of the most prominen t among tha t'e la ss of painters called
ma chin ists. His works prove that he had great talent , i n spi te oftheir incorrec tnes s and supe rfic i ality . He attempted to daz z le bygreat effect rather than to sati sfy j udgmen t or good ta s te . Heacquired a passing repu tation by his inventive powers and re adv
execution , but i s now more justly val ued . He painted a ceiling inthe Palaz z o Barberin i at Rome , and frescoe s in the Pitti Pal . i nFlorence . Some of his smal ler picture s , good specimens of whi chmay be seen i n Paris, are pleasing in their bright , cheerful tin ts .Co rt o t, Je a n Pi e rre (1 78 7 Thi s sculptor excelled in
de sign , but we find a want of deep feel ing in expression . In theChapel le Expi ato re th e group representing Marie Antoinette , supported by Rel igion , i s hi s work . He also executed a group in thepediment of the Palai s de s Deputes , symbol ical of the glory ofFrance , and the rel ief of “ N apoleon crowned by Victory ” on theArc de l’Eto ile ,
'
Co s im o , P ie ro di (144 1 Pupil of Cosimo Rossel li . Saidto have rivalled Leonardo in hi s early Florentine days . He was ofa gloomy temperament
,which i s shown in his work s , espec ially in the
“ History of Perseus,
" i n the Uffi z i . Hi s chiaro-scuro i s good , butdepth of feeling i s wanting i n h is pic tures . His pri ncipal work s arei n Florence , but there are specimens i n the L ouvre , Berl in Mus . , etc .
Co ssa , Fran c e sc o . Little i s k nown of th e hi story of this painter .Hi s name first appears i n the h istory of Ferrara in 145 6 . He wentlater to Bologna, where there are two works of his , j ustly celebrated .
226 co sra co usm .
Co st a , L o re n z o , born at Ferrara (1460 There i s doubt asto who were th e teachers of Costa
,but i t i s easy to te l l hi s earlier
from hi s later work s by the change and improvement in them . Hepainted much i n Bologna , and his work s may be seen i n th e churchesand gal lery of that c ity . In Ferrara , too , i n the Co nstab ili and
other collections, there are pictures of his , and in most large coll eetions i n Europe . A “ Dead Chri st ,
” at Berlin,i s a good spec imen
of his manner . Among Bolognese arti sts he rank s nex t to Franc ia.He was his contemporary and co -worker. Hi s color i s less harmen i o u s and del icate than that of Franc ia , but i t i s more powerful . Insome of his work s the archi tectural parts are overdone , as was therule in Ferrarese art. After the fal l of the Bentivogl io , who hadbeen his patrons i n Bologna , Costa en te red the service of theGo nz agas
-o f Mantua , where he passed the remainder of hi s l ife ,and executed as many more works as he had before done in B o lOgm
and Ferrara .
Co sw a y , R i ch ard, born i n Devonsh ire (1 740 An eminent miniaturi st . He did not confine himself to that branch ofpainting, but nothing that he d id outside of i t compared in excel s
lence with hi s min iatures , or added to hi s reputation . Smal l picture sof Venus, Cupid , etc .
, were his bes t subjects . There i s a charmingrefinement i n his miniature
/portraits of la die s, which are rather pale
or deli cate in color, and ofte n i n white dresse s with light backgrounds .Co tan , Ju an S an che z , born at Alcaz ar de S . Juan
,1 561 died
at Granada, 1627 . A painter monk . A pupil of Blas del Prado .
His finest pictures were for the Chartre use of Granada . He wasalso a mechanic , and in the habit of repairing the water-pipes andclock s of the convent, making alarums , etc . The Mus. of Madr idh as a fine bodego n , or kitchen piec e , by Cotan , in which is a. hugegarden thistle , lying on a table surrounded by vegetable s , whilebirds and frui ts hang above .
Co te s , Fran c i s , born i n London (1 725 A portrait pa i n terwho i s j ustly celebrated for hi s pictures i n crayon
,i n which he
excelled . His painted portraits cannot be prai sed .
Co ti gn o la , G iro lam o M arch e si dafi Real name Marchesi ; cal ledCotignola from his birthplace (14 75 Pupil of FrancescoFrancia. His picture s prove h im to have been a great artis t . Heh ad two di stinct style s . Th e firs t was that o f his master ; the othershowed th e effec t of Roman study , the work s of Raphael , e tc . Tothe first belongs a Coronation i n the Berli n Mu s . There ismuch sweetness i n the heads
,but the arrangement of the pic ture i s
stiff and void of grac e . A Madonna ” wi th kneeli ng Monks , insame Gall. shows his later manner .
Co u rt o is , Ja c q u e s. Se e Cortese .
Co u s i n , Je an , born at Soucy, 1 501 . A painter,sculptor
,arch i tect ,
and write r . Little i s posi tively known concerning him . He was ori gi
COUS IN COY PEL . 227
n al ly a glass pai nter, and execute d work s of thi s k i nd at Sen s. Heis celebrated for his picture of the “ Last Judgment,
” i n theLo uvre . I t i s i n minute , hard style . P. de Jode engraved i t i ntwelve plates . He was the author of a boo k of po rtrai ture , published i n 1 603
,i n Pari s . The monument of Lou i s de Breze , i n th e
Cath . of Rouen , has been attribu ted to Cousin . It i s a beauti ful worko f the Renai ssance style , and i s more probably that of Jean Goujon ,rather than Cousin .
Co n s t o u , N i c h o las , born at Lyons, 1 658 ; died at Pari s ,He studied at Pari s under his uncle (Coysevox) , and took the grandpriz e at the Royal Acad . at twenty-three . He went to Rome , wherehe studied principally the work s of M ichael Angelo and Algardi .
He made a copy of the Hercule s,” which i s now at Versai l le s . Afte r
his return to France , he was much employed . His works,though
executed with spirit,are wanting in the purity of the antique : Hi s
most impo rtant produc tion was a colos sal representati on of the“ Junction of the Se i ne and Marne .
” He also executed a bronz estatue
,repre senti ng the ri ver Saone, for the c ity of Lyons . Some
of hi s work s are i n the Cath . of N otre Dame .
Co nst o u , Gu i lla u m e , born at Lyons (1 6 78 Brother ofthe precedi ng. He gained the grand priz e of the Acad . and wentto Rome . Returning to Pari s , his reputation rapidly increased .
Some of hi s be st work s were fo r the garden at Marly the bronz estatue of the Rhone, at Lyons ; a bas-relief of “ Chri s t wi ththe Doctors,
” at Versail le s ; and statue s of Louis XIV. andCard inal Dubois, i n the Mu se
’
e des Monuments Franca is.
Co u sto n , Gu illa um e , born at Pari s (1 7 1 6 A son andpupi l of the preceding . He took the grand priz e and went to Rome ,and , i n 1 746 , was appointed Professor of Sculpture , and Keeper ofthe Sculptures i n the Louvre . He executed the sepulchre of th efather of Louis XVI . a bronz e of the Visi tation in the chapel ofVersailles
,i n has-relief and a statue of St . Roch in the church of
that sain t . For the King of Prussia he made statues of Mars andVenus and a fine marble group for the Jesuits of Bordeaux , repre
senting the Apotheosis of St. Franci s Xavier . ”
Co y pe l, N o e l, born at Paris (1628 He was,when quite
young , employed at the Louvre , and be came an Academician i n1 659 . He was appointed di rector of the French Acad . at Rome ,whither he went in 1 6 72
,and presided for three years with great
honor. He painte d the four easel pictures representing scene s inRoman hi s tory , n ew in the Louvre ; they were displayed i n th e
Rotu nda and much admi red . After he returned to Paris he wasemployed at the Tui lerie s , and when seventy-eight years old paintedthe Vault of the ch . des Invalides
,whi ch was one of hi s be st works .
He also left the following etchingsThe Vi rgi n caressing the Chi ld ; two siz es .The Holy Family .
228 COY PEL CRAESB ECKE.
Co ype l, An t o in e , born at Pari s (166 1 So n of the preceding . Thi s arti s t has been much admired by some , and severelycritic ised by others , His grace has been called that of the danc ingma s te r , and hi s effec ts too theatrical . But he was very popular
,
was much employed in the royal palaces , and made pain ter to theKing . He also left a considerable number of etchings
,some of
which are very fine , and all are executed i n a maste rly and finishedstyle .
Co xc i e n or Van Co x cy e n , M i cha e l, born at Mechl in (1499Pupil of Van Orley . He studied also in Rome
,and became
an imitator of Raphael ; i nde ed , he has been called the FlemishRaphael . In the Antwerp Gall . there i s a “ S . Sebastian , and aTriumph of Christ ” by this master ; in the Mechlin Cath . a “ S .
Sebastian .
” His frescoes in the ch . dell ’ Anima at Rome are . u n im
portant . His chef-d’
cewrre was a copy of the Adoration o f the Lamb ”
by the Van Eyck s . He pa i nted thi s for Philip II . of Spai n , andwas two years in completing i t. Much of i t i s wel l executed . Heis said to have received more than £ 300, be sides hi s li ving whi le atwork on i t . This pic ture was formerl y i n Madrid , but was takenaway by the French . Some portions of i t are in the Munich Gall .and some at Berl in .
Co y se v o x, A n t o i n e , born at Lyons (1 640 Before hewas seventeen he had di stingui shed himself by a statue of theVirgin . He studied in Paris, and progre ssed rapidly. In 1 66 7 hewas engaged by Cardinal Furste nberg to go to Alsace to decoratehis palace . This occupied him about four years . Wh e n he re
turned to Pari s he executed a statue of Loui s XIV. and was commi ssioned by the province of Bretagne to make an equestrian s tatueof the same monarch . He became very eminent . Among his bestwork s are : the tomb of the Cardi nal Maz arin ; the tomb of the
great Colbert, i n S . Eustache ; the monument of Charle s lc Brun ,i n the ch . of S. N icholas ; the statue of the great Condé ; themarble s tatue of Louis XIV. i n the ch. of N otre Dame , etc . Hisbust by Lemoine i s i n the Musée de s Monuments Fra nea i s.
Co z e ns , Jo hn , died 1 799 . A land scape pai nter and drawingmaste r. He left many drawings, admirably executed , wh ich arenow highly priz ed by connoisseurs .Cra e sb e cke , Jo o st Van , born at Bru ssel s , 1 608 . Pupil of
Adria n Brower. He painted the same class of subject s as hi s master but did not equal him in color or execution . His works are veryspirited . On account of ha v ing firs t fol lowed the trade of a baker ,and dying young hi s works are rare . One of the best i si n th e Aremberg Gal l . a nd represents hi s o wn ate lier , with himse lfpai nting a group of men and women . This is u ndoubtedly hischef-d
’ce u vre . Kugler says , The arrangement is easy the head s
full of life th e keeping i n a cool harmon y , and, wi th decided l ight
230 CRANACH.
almost burle sques upon goo d renderings of such subjec ts . He wassuccessful i n the representation of childhood, as i s shown i n hi svarious pic tures of Chri st blessing l i ttl e chi ldren . Purely real is ticsubje cts,
'
su ch as hunting pieces, he treated well. His execution was
GROUP FROM A PAINTING B Y LUCAS CRANACH .
no rapid that he was called celerrz’
mus pictor. He was in the servi ce o f Frederick the Wi se , and was re tained by his two successors ,John the Constant, and John Frederick the Generous . When thelatter was a pri soner fo r five years , Cranach remained with him , to
CRANACH CRAWFORD. 23 1
cheer him by his art and hi s soc iety . In Wi ttenberg he was muchrespec ted , and was elec ted Burgomaster. His print s are scarce andmuch priz ed . The followi ng are some of the best .
Copper-pla tes.
Portrait of John Frederi ck , Elector of Saxony , with an Angel holding a Crown o f Laurel ; very scarce .
Portraits of Frederick and John , two Electors of Saxony ; halflength ; one holding a Chaplet . 1 5 10.
Christianus I I . B a n o ram rer ,etc .
Martin Luther,i n a Monk ’s Habit .
Temptation o f Chris t ; L . C . W. ; very scarce .
Wo od-cu ts.
Half length o f an Elector , with a Book , before a Crucifix ; markedwith the Dragon ; 1 552; scarce .
Phil ip Me lancth o n ; full length .
Emperor Charle s V . ful l length .
Em peror Ferdi nand ; ful l length .
Adam and Eve i n Paradise . 1 509 .
Th e Annunciation .
S . John preaching i n the Wi lderness . “ 1 5 1 6 .
The Passion of Chri st ; i n fourteen prin ts ; entitled PassioJesu Chris/i , e tc . ; 1 509 ; very fine .
The twelve Apostle s ; very fine .
Paris dying on Mount Ida , v i si ted by the three Goddesses ; 1503 ;fine .
M . Curt iu s pl unging i nto the Gulf.The great Tournament 1 509.
The l i ttle Tournament. 1 509.
Cu ts in Ckia ro-scu ro .
S . Ge orge and the Dragon .
S . Chris topher carrying the Infant Jesus . 1 507.
Venus and Cupid .
Cran a o h , L uc a s , the Younger, died 1 586 . He formed hi s styleafter his father and Albert Dii re r. In the principal ch . of Wi ttenberg
,there are several of his work s , and they are also in the galleries
at Munich , Dresden , etc . N o doubt some of the pictures attributedto the father
,were the work s of the younger . He had grace and
sweetness , and his color was often glowing . He was also a Burgomaster a tWi ttenberg.
Craw fo rd, Th o m a s , born in N ew York , 18 13 ; died in L ondon ,185 7 . N o striking event marked hi s youth , and his advance in artwas a heal thful and systematic proces s . N ext to Rome
,Munich is
,
of all the ci tie s of Europe , severely critical of statuary . It i s there
232 CRAWFORD CREDI .
fore su ffi cient to e sta bli sh Crawford ’s cla im to eminence to say that,
at the time of the ca s ti ng of his two great s tatues , tha t German cityexpressed i ts enthusiasm by the celebrat ion of impromptu festivals .
At the completion of the Beethoven , some o f that composer’s grand
e st m u sic was performed under the united auspice s of the court andthe artists . When Crawford went to Munich to see h is Wash ingto nin bronz e , on the evening of his arrival , he was surprised to find i t i nthe m idst of a large and gloomy a rena ; but suddenly, as b e appre ached , numberless torche s flashed their l ight upon hi s work , and ahundred German voices greeted him in a triumphant song. For yearsthe studio of Crawford was one of the homes of travellers in Rome ,and he became , through hi s work s and the charm of his manners , thefriend of the lovers of art in every country in whi ch the word art isu sed . The following are his principal work s and the places wherethey may be found The statue of Beethoven , B os to n Music Hall ;statue of James Oti s , Chapel of Mount Auburn ; the Indian ,
” N ew
York Historical Soc ie ty ; the Orpheus,” Adam and Eve after the
Expulsion ,” a Shepherdess
,and a bust of Josiah Quincy , B o sto n
Ath eme um ; a statue o f F lora,”N e w York Central Park ; Ch i l
dren in the Wood ,” owned b y Hon . Hamilton Fish ,N e w York ;
B oy Playing Marble s ,” by Ho n . S tephen Sali sbury , Worceste r .
M i ss . ; the bust of hi s wife when a bride , and several busts ofWashi ngton were owned by the late John Ward , of N ew York . Hismost elaborate monumental work s are in Washington , D . C , andRichmond, Va . ; while hi s “ Pandora ,
” “ Danci ng Jenny, — forwhich his daughter , now deceased , was the model, Cupid ,
”
Genius of M irth ,
”Flora ,
” Indian Woman,
” Hebe andGanymede ,
” Mercury and Psyche,
” Daughter o f Herodias ,Aurora ,
” Peri ,” etc .
, as original or repetitions, are widely distributed . Crawford execute d no less than twen ty-two has-rel iefsfrom classic , Scriptural , and other subjec ts . Eighty-seven pl astercasts of hi s work s were presented by L ouisa W. Crawford to thecommissioners of the Cen tral Park
,and are now arranged in a bui lding
where they can be seen by v is itors . His work s embody th e his toryof hi s l ife , i n whi ch there w ere few remarkable events . The diseaseof which he d ied was extremely painful , a tumor on th e i nner s ide ofthe orbit of the eye . The pre ssure on the brai n was removed bymedi cal sk il l , and he retained his mind until hi s las t moment. Hisrema in s were brought to N ew York and interred at Gre enwood . Awe consider h is l ife , i t would almost seem from the intensity of hisappl ication and the re sults of his labor, that the time of his earlydeath had been revealed to him and urged him on to work whi le hi sday laste d .
Credi , L o re n z o di . died 1 53 7 . A fel low-pupil with Leonardo daVinc i under Andrea Ve rocch io . He surpas sed hi s teacher , but notLeonardo . Hi s favori te subjects , and those in whi ch he be s t suc
234 CR IVEL L I CROME.
the changes and improvements in hi s manner . The honor of knighthood was conferred o n Crivel l i i n 1 490
, b y Prince Ferdinand , ofCapua. Some of the bes t work s of thi s mas ter i n any Gal l . are inthat of London . The Brera , Berl in Mus . , Borghese Pal . , Vatican
8 . LUCIA. B Y CR IVELLI .
Gall ., and Kensington Mu s., all have his pictures . A Pi eta of
1493 , now i n the Oggio n i Coll . ,
at M ilan, was hi s best and probablylas t work . He had much talen t
,but h is pic tures are not pleasant .
They are very numerou s,and are i n many private collections and in
the churches of Massa and other places .Cro m e , Jo hn , born at Norwi ch (1 769 A good landscape
CROME CUYP. 235
painter . His sun effects and moonl ight scenes are especial ly excellent . Sandy o r pebbly beaches he also painted well
,and his water
v iews were made effective by bright l ights thrown on the water i nthe distance . His color i s sometimes very rich . He also left someetchings
,which are good .
Cro ss , Jo h n , born at Tiverton (1 8 1 9 Studied i n Pari s .In 1 84 7 he gain ed a priz e of £300 for his picture of Richard Coeurde Lion forgiv ing Bertrand de Gourdon,
” which was purchased bythe Engl ish governmen t , and is n o w at Westm inster Pal . Fo r
several years he sent pic tures to the Exhibition , but i n the end hisStorm Scene on the C liffs was rejected by the Acad . He died
in great poverty,and broken-hear ted at hi s want of success i n the
art he loved .
Curi a , Fran ce sc o , born at N aples (1 538 This artistpainted several imposing al tar-pieces fo r churches in N aples . Thatin S . Maria della Pieta h a s been a model to N eapol itan painters .Cu rradi or Cu rrado , F ran c e sc o , born i n F lorence (1 5 70
Pupil of Batti sta N aldi n i . His bes t work s were historical subject s,
ease l siz e” Two of his finest ones are in the F lorence Gall .Cuy p, Ja c o b G e rri t z e , cal led Old Cuyp, born at Dort (1 580
1642 Although much eclipsed by hi s son , this arti s t meri ts hono rable mention . A pupi l o f Abraham B lo em a e rt . He painted landscapes and battle pieces
,but excel led most i n portraits . He was
skilful i n the arrangement of family groups. His color was fi ne,and
may be described as sunny. Berl in Mu s. , N o . 743 ; Amsterdam Gal l . ,No . 60.
Cuy p, A lb e rt , born at Dort (1606—1 6 7 So n and pupil of thepreceding . Little i s k nown of the l ife of thi s great painter . Hisfavori te subj ects were landscapes , with cattle and other animal s .Frequently they were lying beside a river . He also painted winterscene s with good effect ; sti l l-l ife , fowl s , hens , ducks, e tc.
,were all
painted by him . He was remarkable for hi s atmospheric effects , andas we look at his pictures we can almost fee l the chil l of the dampmorning , or the heat o f the high noon which he has painted . Ili scolors , too, are managed with great skil l ; and the contrasts of l ightand shade , of dull and bright , were perfectly understood by him .
But there i s a certai n monotony i n th e heads of his cattle ; and hispictures were never very carefully finished . He was not appreciatedfor a long time , and his paintings had no large sale even at moderateprice s . The Engl ish first gave them their proper value
,and many
of them are i n England, both in publ ic and private collections .Smith’s Catalogue numbers 336 of his pictures . N o . 53 , N ationalGall ., i s called his masterpiece , and repre sents a morning landscapewith two cows reposing i n the foreground , and a woman talk ing witha horseman . Some o f his work s are in the Mun ich Gall . and theLouvre , but are wanting in most Continental col lec ti ons.
236 DADDI DAMER .
Daddi , B e rn ardo . born at Arez z o. Flourished about 1355 . Pu pilof Spinello Aretino . Some of his work s remain i n Florence
,and
hi s name is among those who approved the original statute s for thefound ing of the Compagni of Florence . The obj ec t of thi s se
c ie ty was the meeting together of artists to afford each other assi stance
,and to thank God for the prospered state of art at that
time . It seems to have been l argely a religious i nsti tution , and assembled in a chapel of S . Maria N no va .
Da e llike r , Jo hn.
R u do lph (1 6 94 A Pruss ian portrai tpainter who l ived at Zurich and Berne several years
,and then s tudied
i n Pari s, a fter which he returned to his own country . His drawing
was correc t,his color beautiful
,and hi s execution masterly .
D ahl , M ich ael, born at Stockholm ,1 656 died in London , 1 743 .
After v i si ti ng France and Italy he settled i n England , where hemade a fine reputation as a portrait pa i nter.Da hl, Jo h n Chri sti a n (1 788 A Norwegian landscape
painter . He was intended for the Church , but he loved art to o wellto devote himself to anything else . In 18 1 1 he w e nt
'
to Copenhagenand found friends who enabled him to study at th e Acad . Beforethis he had received but li ttle i n struction . He wen t afterwards toDresden
,and later
,i n the sui te of Prince Chri stian of Denmark , he
v isited the Tyrol and I taly . He was an acute observer,and an
accurate imi tator of nature , and represen te d her wel l i n variousforms ; but h i s best work s were repre sen tat ions of stormy northernseas , al though his Itali an sk ie s and sultry atmospheric effects , andhi s Tyrolese passes
,are wel l painted His work s are to be seen in
all part s of Europe ; some are i n America, but the larger number arei n the galleri es o f Cope nhagen and in B e rghcn , his native city ,
andother place s in N orway .
D a lm as i o , L ippo di , born at Bologna . Flouri shed towards th eend of th e 1 4th cen tury. Called dalle Madonne ,
” on accoun t of thebeauty of his Madonnas . I t i s said that his work s were done in oi lcolors , wh ich is in te resting in connection w i th the much -discussedquestion of the time when these were first used .
D am e r , H o n . A n n e S e y m o ur (1 748 A distinguishedsculptor . Daughter of Field-Marshal Conway . Wh ile still young .
i n conversation with Hume , Mi s s Conway criticised some pla s tercasts they had seen . Hume told her i t was more easy to critic i sethan to do better . Sh e immediate l y obtained some. wax and m od
clled a h e adwhich she showed him . It h ad meri t enough to surpriseh im
,but he suggested that i t w as much more difficult to chisel than
to model . She then proceeded to execute a bust i n s tone , which ,though rude
,demanded hi s admiration . From thi s time she devoted
238 DAN IEL L DAVID.
lished in six volumes , i n 1 808 . The ir work s are so united that theymus t be con sidered as almos t one artis t .Dann e cke r, Jo h ann H e inri ch , born at Stuttgart (1 758
He gained the priz e in the Acad . founded by the Duke Charle sEugene . His statue was that of Milo. Thi s enti tled him to theroyal pen sion
,with which he wen t to Paris , from there to Rome , where
he re mained seven years , and then re turned to Wurtemburg to beappoin ted Director of the Acad . with fr . a year . Fo r fifteenyears he was con sidered a fine sc ulptor , but his heal th fa i led, andothers of his country surpassed h im . There was a del icate fee l i ngfor nature
,and noble expre ssion i n the heads of Dannecker, and hi s
figures were l ight and graceful . The Ariadne in the coll. of M .
Bethmann o f Frankfort i s one of his be st known and most adm i rableworks . He al so executed a Cupid a sta tue of Alexander , andthe monument of Count Zeppeli n . His figure of Ch i ist, upon wh ichhe labo red eigh t years , be longs to the Emperor of Russ ia . Hi s
statue s and portrait-busts are numerou s . The Maiden lamentingthe Dead Bird is fine ; i n Stuttgart, on a foun ta in i n Neckar S treet,there is a Nymph pouring out water , and on a reservoir i n the palacegarden s two reposing Nymphs , which di splay the fine archi tec turaltaste of thi s master .D an t e , G ir o lam o , celebrated for hi s copie s of his master , Titian .
Sometimes, i t i s said , Titian finished hi s works with a fe w stroke s .and then i t was impossible to see that they were copie s . His ownde signs were meritorious . There i s a good work attributed to himin S . Giovann i i n Oli o .
Dari o da Tre v i so . Flo u rish ed about th e middle of the 1 5thcentury . Disc i ple of Squa rc io ne . But one of his picture s remains ,and that i s a Virgin of Mercy i n the Bassano Ga ll . I t was thecustom
,i n hi s time , to paint the outside s of houses , and many deco
rated by him are seen at Serravalle , Conegli ano , and Trev iso.
Da u lle, Je an , born at Abbev i l le (1 703 One of the mosteminent and excellen t engravers of hi s time .
D a v e n , L e o n , cal led also Daris and Dane t , an engraver whos e
birthplac e i s not known . He distingui shed himself in Florence andRome about 1 540. When Primati cc io wen t to France . Davcn ao
compan ied him , and engraved plate s afte r his work s . His plates areesteemed by col lectors . Th ey are frequently marked with his in itials, L . D .
Da v id, Ge rh ard, born at Oudewater. Settled at Bruge s 1 48 7, anddied there 1 523 . In the Acad . of Bruges there are. two of his pictures il lustrating the j udgment o f Cambyse s upo n the unj ust j udge ,S isam ne s. Th e firs t represents hi s se iz ure , and th e second his flayi ng . Herodotus say s that the son of Sisam ne s succeeded his fatherin offi ce , and that his j udgmen t-seat was covered wi th h is father
’sskin . Th e pic tures of David have th e figures three quarters li fe siz e .
DAVID DEAS .
They are wel l colored , and the heads are expressive , but the subjecto f the second is too horrible . In the same Gall . there are al so twominiature s on vellum by thi s artist.D av i d, Ja c q u e s -L o u is , born at Pari s (1 74 8 He was con
side red the firs t master i n modern. art , at the close of the 1 8th century . He had great power, but his taste and j udgment may wel l b equestioned . So great was hi s admiration for the antique that hispictures are repeti tion s of the ideal Greek physical proportions , andhi s costumes might be called heroic Greek . Some of his work s aremerely groups o f statues — the flesh i s as hard as marble . He wasac tive in the revolution , but returned to the practice o f his art .N apoleon honored hi m , and he painted the Passage of S . Bernard
,
and other scene s from the l ife of the Emperor . After the return ofthe Bourbons, David was banished , and lived in Brussels , where heexecuted many of his best works . His family were not allowed tobury him i n France .
D av i d, Pi erre Je an , born at Angers (1 789 ? He wentwhen young to Pari s to study sculpture . He was in very poor c ircum stance s unti l he by some means made the acquaintance of Dav idthe painter, who instruc ted him gratu itously , and otherwise assis tedhim . In 1 8 1 1 he obtained a priz e which secured to him a pen sion ,
and enabled him to go to Rome . He studied closely,and upon his
return to Pari s was constantly employed . He executed many colossal work s , large numbers of bu st s, and more than 90 medall ions .Among h is works m a y be mentioned the statue of Mm e . de Sta
'
e'
l ;that of Ta lma . for the Theatre Francais ; colossal statue of KingRené at Aix ; Fenelon
’s monument at Cambra y ; statue s of Cuvier ;one of Jefferson in Philadelphi a
,etc , e tc . He executed busts of
Goethe , Schell ing , Dannecker , and many others . He was a Knightof th e L egion of Honor
,a member of the Institute, and a Pro fe s
sor in th e Acad . of Painters, besides belongi ng to other academies .He i s cal led David of Angers to dist ingui sh him from David thepainter.D aw e , Ge o rge , died 1 829 . An Engl ish portrait painter who
went to Russia, and i s said to have pai nted 400 portraits of theleaders of the R ussian army which fought against N apoleon I .
D e as , Ch arle s , born in Philadelphia (1 8 18 From h is e ar
l iest youth hi s i nclination for art was plainly man ifested . He wasof a nervous tempe rament and strangely sens ible to color . He hadexecuted several pictures when he saw Catl in’s Ind ian Gallery .
From this time he desired to repre sent scene s from Indian l ife , andas hi s brother was stationed at Fort Crawford
,every opportuni ty
was hi s for the study of their wild habits and customs . He a t
tended the ir counc il s , feasts , dances , etc . He establi shed himse lf atSt . Louis, and there found patronage and apprec iation . He wasderanged in hi s later life
,and died i n an asylum where he had been
240 DEAS DELACROIX.
fo r a long time . The followi ng are the subj ec t s of some of hi s picture s : Long Jake ; “ The Trapper : The Wounded Pawnee ;two scenes from the history of Wenona ; The Last Shot ;Hun ters on the Prairie ,
” etc .
D e c am ps , A le x an de r G a b rie l, born at Pari s (1803 Apainter of landscapes , an imals , and ge nre pictures . He often repre
se nted Eas tern scenes with strik ing l ights and effec tive contour. Atthe Pari s International Exhibition of 1855
, there were forty-fou .
paintings besides drawi ngs by this art i st . His subj ects were a lwavspopular
,becau se i l lustrative of the life about hi m . He was thrown
from his horse against a tree , and k illed , whi le hunting i n the foresto f Fontainebleau .
D e cke r or Dekke r . There are nine arti sts of thi s name ment io n ed by different writers , and the confus ion concerning them i s so
great , that i t i s qui te impossible to gi ve a clear account of any one .
The Decker l ived i n the 1 7th century , and painted pic tures c loselyresembl ing those of Ruysdael , and l ike the latter excelled i n representing river scenery and running water. His works are wel l finished
,
hi s perspect ive correct , his cottages wel l done , and though hi s toneof color is sometimes dark , he re lieves i t by si lvery sk ie s . Hiswork s are placed in the most importan t collections . The figures insome of hi s pictures were pain ted by Adrian Van Ostade and A . Vande Velde .
D e e le n , D i rk Van , born at c sde n . Flouri shed from 1 640 to
1 6 70. He painted architectural subj ects , both exterior and interi or .
His perspective was good , his color c lear and pleasi ng , and his execu t io n fin ished . His i ndicat ion of separate forms i s somewhat tooprononcé and reminds u s of older artis ts . The figure s in his picture swere done by others . His work s are no t numerous i n publ ic gal leries .Th e Vienna Gal l . has two of the finest, both represe nting grandbuildings with col umns . At the M us. of the Hague, there i s a v iewof the Binnenhof with th e last great meeting of the States General ,which took place i n 1 65 1 ; Berli n Gal l . , a v iew o f antique buildings ,dated 1 64 7
,clear and delicate in tone . One of hi s be st pictures in
England is a church interior i n the coll . of Mr. H . T . Hope .
D ela c ro ix , Eu ge n e , born at Charenton , S . Maurice (17 99Under the Directory , his father had been M ini ster of Foreign Afi a irs,and held other offi ce s of honor . The so n had the prospec t of somefortune
,but all was los t, and he was obl iged to stru ggle hard for the
bares t necessi t ies of exi stence . He entered the studio of Guerinwhen eighteen years old , and there became the friend of Ge
’
ricault.He firs t exhibi ted in 1 822, and his subject was that passage fromDante’s Inferno i n which the poe t recogn iz es some of hi s oldtownspeople among the condemned who float upon the lake whichsurrou nds the infernal c ity . Thi s work made a great im pression.It was purchased for the Luxembourg Gall . Baron Gros was so
242 DELFT DESI’ORTES .
D e lft , Jo h ann W i lli am , bo rn at Delft . So n of the preceding . There i s in the Hote l de Ville , at Delft , an archerypiece dated 1 592
, by this arti st . But he was a be tter e n
graver than pa inter,and at length gave all his t ime to tha t
art . He engraved many po rtraits , especially after M ircvelt , whosedaughter he married . His head s are finely drawn .
D elli , De llo , born about 1 404 . I l e was about twenty years old,
when his father , who was keeper of the fortres s of Mo n te ce rro ,sur
rendered to the Duke of Milan . For th is he was sentenced to death ,
and fled to Sienna . From here they went to Ven ice , and at lastDel lo emigrated to Spain , and l ived in Se vil le many years . Hegained a fortune and the t itl e of Cavaliere ,
” which was recogniz edi n F lorence upon his return to Italv . I n the ch . of S . M . N ove lla , atF lorence , there are tw e n tv-four p i cture s repre senting epi sodes fro mth e Gene si s , said to be the work of Dcllo . These are very weak andimperfect , and i t doe s not appear that one who pai n ted them couldhave gained reputation for excellence i n any country . Dello was thefriend of Paolo Uccel li , and i t is sai d that the latter painted thepo rtrai t of Dello , in th e figure of Shem , i n hi s pic ture of theDrunkennes s of Noah .
”
D e lm o n t , real name De oda t van der Mont , born ne ar Antwerp
(1 58 1 T he earl ie s t scholar of Rubens . His work s a re veryrare . No . 300, Antwerp Mus. , i s a representation of the Tran sfig uration by him , and has no great merit .D e ni s or D e n y s , S im o n , born at Antwerp (1 750 He
painted landscape s and cattle . He resided many years i n Italy, anddied in Naple s . His bo tanical represen tations are fine and very accurate . His work s nre much valued .
D enn e r, B a lth a sar, born at Ilamburg (1685 If the exac tand toil some imitation of nature would make a great arti s t
,Denner
would be at th e head of the firs t rank . His be s t works are bustportraits of old people , with not a freckle , a ha i r, a wrinkle , or aspeck left out . Two very striking pictures of th i s k ind are at Vienna ;another, N o . 1014 , Berl in Mu s. But he sometimes pa in ted fami ly
groups and other l ikenesses , and many of hi s portrai ts remain atSchweri n , where he was much employed by th e Duke of Me ckle n
bu rg-Schwerin . His mini ature s executed late i n l i fe , both i n oi l andwater-colors , are very fine . In the c ity l ibrary of Hamburg, there i s ase ri e s of these in water-colors .D e spla c es, L o u i s , born at Paris , 1 682. An eminent engraver . His
best plates are after Jo uve ne t . He u sed both point and graver .
D espo rt es , Fra nco is , born at Champigneul (1 66 1 Anli ncnt painter of animal s , e special ly dogs . He was a great favorite
with Loui s XIV . , who employ ed him in the palac es of Versai l le s , Fo nta ine ble au , a ndMeudon , and gave him the office o f pain ter to theki ng. His own portrai t , as a sportsman with dead game and a dog ,
DESPORTES DIEPENB ECK . 243
pain ted by himself , i s i n the Louvre. Desporte s was without doubti n England , and painted some pictures there .
D e tro y , Je an -F ra nco i s, born at Paris (1 6 79 This art is tpassed many years in Italy , was Director of th e French Acad . atRo me , and President of the Acad . of S . Luke . He painted a varietyof subjects ; large altar-pieces , genre subjects, and myths and storie sfor the Gobel in s’ tapestrie s . His execution was very carele ss
,but
his designs exhibit great abil i ty. In the Louvre i s one of his bestwork s
,dated 1 732, and representing the first Chapter of th e Or der
of S . Esprit, held by Henri IV. i n the convent of th e Grands-Au
gustin s .D e utsch . Se e Manuel .D e v is , Arth ur , born at Pre ston , Lancashire (1 708 He
could not be termed a miniaturi st, and yet his portraits were small ,often ful l lengths 15 or 1 8 inches high . He gave them the appearance of fancy sketches by putting them i n a room or i n a landscape
,
and paying great attention to all the detail s o f fin ish . His color wascool , but hi s heads are very expressive , even when thinly pai nted.
D e v i s , A rth u r W i lli am (1 762 So n of the preceding .
He painted l ife-siz e portraits in a somewhat theatrical style . Whenbut twen ty years old he was appointed draughtsman to the East IndiaCompany, and started for a voyage round th e world . He sufferedshipwreck and many hardships , but at length reached Bengal , wherehe painted for a time. Returning to England he executed historicalsubj ects , one of the best of which i s the Death of N el son
,
” atGre enwich Hospital . He grouped his figures wel l
,and his portrai ts
were ful l of character ; he made good use of l ight and shade , but h iscolor was brown and thin . Many of his portraits are excellent .D i a z , D ie go Vale n tin e . A Spani sh painter o f architec ture and
history. He founded a hospital for orphans at Valladol id,and hi s
most cred itable work was done there . In the Mus . at Valladol idthere i s a Holy Family by Diaz .
D i epe n b e ek, A b rah am v an , born at B o is~le ~Du c (1 607This artis t was originally a painter on glass , and the windows of achapel i n the Cath . of Antwerp were hi s work . He spent a longtime i n Italy, and went al so to England . His whole manner showsthat he was the pupil of Ruben s ; but he u sed more impasto than hismaster , his colors are more blended , and the whole work smoother .
He was a figure painter , dec idedly , but hi s backgrounds were wel ldone and very varied, embrac ing lake and river scenery , houses andterraces , landscape and sea . He also painted animals wel l
,and
loved to represent horses . Antwerp Mus . , Ec stasy of S . Be naventura ; Vienna Gall . , Vanity of all Earthly Th ings Berlin Mu s.
and Louvre, Cloel ia fleeing from Porsen na . His chef-d’azuvre was
long attributed to Rubens , and i s the altar-piece of the ch . of Deu rne,near Antwerp , representing S . N orbert giving the Cross and his
244 DIEPEN B ECK DIETRICH.
Benedict ion to Waltman , fir st Abbot of S . Michel .” Perhaps nowork s of h i s so wel l display his powers of i nvention as the des igns hemade for engravers, among which were those for The Temple ofth e Muse s,
” engraved by Co rnel ius B lo em ae rt .
D i e st , A dri an v an , born at the Hague (1 655 A landscape painter of some merit . He occasional ly painted portraits also .
His picture s would be cal led decorative work s , but they are bold andSpirited in effect . His sk ies were pale blue , and hi s whole tone ofcolor silvery gray ; sometimes he made large gray c louds with li ghtededges of a del icate yellow . His m e n-o f—war and fi shi ng boats were
good ,and hi s foreground figu re s spirited . He executed a few e tch
ings from hi s own design s, i n a sl ight , masterly manner.D i e ti sa l Pe tro ni . In the latter part of the 1 3th century i t was
the custom to have the regi sters and books of the publi c ofli ce sadorned with paintings of the arms of the people and commune ,
”
or with portraits of the officers who kept the books . Die tisalvi
painted i n 1 264 and 1269 two such book-c overs , whi ch are now preserved in the Acad . of Arts at S iena . They are very curious andi n tere sting on account of thei r authentic ity and age . M . Rambo ux,
of Cologne , made a ful l collection o f these curiositie s , and among themwas a portrai t by Die ti salv i .D i e tri ch , Ch risti an W i lh e lm Ernst , born at Weimar (1 7 12
Pupil of hi s father and Alexander Thiele . He espec iallyloved the pain ti ng of pastic c i , and succee ded well with the works ofRembrandt
,Everdingen , Ostade , Po e lemberg, Heinrich R00 8 , and
Salvator“
Ro sa . He had no originali ty,and his color and executi on
were subj ect to much cri tic i sm , yet he had gre at popul ari ty and hi swork s are numerous . The Dresden Gal l . has 5 1 , and all the Ge rman galleries have specimens of hi s brush . In the N ati onal Gall . theWandering Musician s i s an unusual ly good work of thi s art i s t .The engraving of Wi l le has made it wel l known . But Dietri ch wasmore worthy of prai se for hi s etchi ngs than for h is paintings . Thesecan only be adm ired , and as he often destroyed hi s plate s after making a certa in number of impressions, some of hi s pri nts are nowrare . Among these are th e following .
Lot and his Daughters ; scarce .
Abraham going to sacrifice Isaac ; 1 730; scarce .Another of th e same subject difl
'
e re ntly designed ; very scarce .
The Repose in Egypt ; 1 732 ; scarce .
Descent from th e Cross ; style of Rembrandt ; 1 730 ; scarce .
The Disciple s at Emmaus ; ex tremely rare .
Famine and Pestilence ; 1 731 ; very sc arce .
N ero dying , tormented by Furies and the Shade of his Mother ;scarce .
Jupite r and Antiope 1 735 ; one of th e be st ; scarce .
246 DOLCI DOMEN lCllINO.
ENGRAVINGS AFTER THE WO RKS OF CARLO DOLCI .
Engra ve r , B AR ON ,Bernard . S. Ceci l ia .
Engra ver , BARTO LO ZZ I , Francesco . Madonna and Child .
Engra ve r, BASAN , Franci s . Chri st breaking th e Broad .
Engra ve r , CAR B ON , Anthony the Younger . Salvator Mundi .Engra ve r, EAR LOM , Ri chard . The Virgi n and Ch ild w ith S . John.
Salvator Mundi .Engra ve r , FAUCCI, Carlo . The Ma rtyrdom of S. Andrew .
Engra ve r, GARAVAGL I A . Bust of Mary, M a ter pu lchrce dile ctio n is .
Magdalena with the oil-dask .
Engra ve r , K I L I AN ,Phil ip Andrew. Daughter of Herodias with
the Head of S . John . S . Ceci lia .
Engra ve r , MARR I , G. Carlo Dolci , after himself. (Tosti Coll .)Engra ve r , RO SS I, Andrea . A Bust of the Virgin .
D o m en i ch in o , real name Domenico Zampieri , born at Bologna
(158 1 The most dist ingu i shed painter of the school of theCa rracci . His original ity was not large , but hi s expre ssion andcolor command admiration . He ha s been often critic ised for al lowing the auxil iary parts of his works to detrac t from the intere st of th eprinc ipal figure . I t i s true that he di d thi s par er emple , i n hi spicture of S . Cecil ia bestowi ng her Goods ,
” i t i s not th e Sa int herse lf who holds the attention, but the group of poor people below whostruggle for the gifts thrown from the balcony above , and who aremost powerfully represented ; and i n the Scourging of S . Andrew ,
”
the women thrus t back by the execut ioners are the great excellenceof the work . He imitated the design s of other artists, but not withserv i l ity
,for there i s indiv idual ity in hi s heads , as well as grace and
a noble beauty . H is most noted work is the Communion of S.
Jerome ,” i n the Vatican
,cons idered by many second only to Raphael ’s
Transfigurat ion,
” among al l the pictures i n Rome . His other important works in Rome are
,the Four Evangel is ts i n the pendentive s
of the Cupola of S . Andrea delle Val le ; two scenes from th e l ife ofS. Cecilia , i n S. Luigi ; Scourging of S . Andrew ,
” i n chapel of thatsai nt on Monte Celi o ; the “ Martyrdom of S . Sebastian ,” i n S . M .
degli Angel i ; Dia na and her Nymph s,"Borghese Gall . Other famous
pictures of his are , Scenes from the Life of the Virgin in a chapelof the Duomo at Fano ; the Hi story of S . N i lus at Grottaferrata ;a Guardian Angel defendi ng a Boy from Satan ,
” Studj Gall. , N aples ; an “ Inspired S . John ,
” S . Petersburg , coll . of Pri nce Narischk in ; same subjec t at Castle Howard ; Pious Women dress ing theWounds of S . S ebastian
,
” Stadel Insti tu te , Frankfort ; and the Mar
trydom of S . Agnes ,” Bologna Gall. His most importa n t work at
N aples was a serie s of subjects fro m th e l ife of S . Januari us , i n thechapel Tesoro of the Cath . It i s bel ieved that he was poisoned byN eapoli ta n arti sts . He left Rome on account of the persecutions of
c ommum o n o r s . JEROME . BY vomam o nm o .
Va tican .
250 DOMEN ICHINO DONATELLO .
Engra ve r , P0 1 L 1.Y , John Baptist . Martyrdom of S . Cecil i a .
Engra ve r, RO L‘
SSEL I.RT , Gil e s . David playi ng on th e Harp.
Engra ve r , SHARP , Wi ll ia m. S. Cecil ia .
Engra ve r, S IMON EA U , Charles . Chris t with Martha and Mary .
Engra ve r , STRANGE , S ir Robert . The Martyrdom of S . Agnes ;1 759 . S . Agnes ; 1 759Engra ve r, TARDIEU ,
N icholas Henry . Adam and Eve .
Engra ve r, TARDI EU , Peter Alexander . Communion of S. Jerome.Engra ve r, Te sr A , Gio . Cesare . Communion of S . Jerome.Do n a te llo , real name Donato di Betto Bardi (1386 This
old sculptor was a close imitator of nature . He seemed carele s s ofmere beauty , and his work s are str ik ing for their marked differencefrom those of his predeces sors , espec ially i n thi s, that he defined th eforms beneath hi s draperie s , and by u se of the girdle, and other
R ELIEF. BY DONATELLO.
In S . Antonio , Padua.
means, made it possible to bel ieve that the folds concealed the humanfigure . I-Ie executed numerous work s . Among those remaining , th efollowing are the mos t important : Rel iefs in marble representingDanc ing Children , executed fo r the front of th e organ in the Cath . ofF lorence , now in the U ffiz i ; bronz e Dav id , same Gall . ; bronz e statue sof SS . Mark ,
Pe ter , and George , on the exterior of Orsanm ich e le ;
th e Magdalene i n the Baptistery at Florence ; bronz e rel iefs of twopulpits i n S . Lorenz o , and a bronz e Jud ith i n the Loggia de
’ Lanz i .
DONATELLO DOSSI . 251
At Padua, there i s an equestrian statue of France sco Gattamelata,which was the first one of importance in modern art, and is full ofl ife and power . Many of his works are very excel lent, but others , a sthe Magdalene , are almost repul sive . He was much admired andpatroniz ed by Cosmo and Pietro de’ Medic is . I t i s said that he conside red h i s David ,” cal led Lo Zuccone (the bald head) , hi s chefd
'
esuvre , and was accustomed to u se as an affirmation , these words ,By the faith I place i n my Zuccone .
” Donatel lo was buried in thech . of S . Lorenz o with great pomp . His resting-place was near thatof Cosmo de ’ Mcdic is, that, as he said, his body might be near himwhen dead
,as h i s spirit had ever been near hi m when in life .
” Se e
Brunelle schi .D o n i , A do n e or D o n e , born at Assisi , 14 72. A pupil of Pietro
Perugino,whom he at first im ita ted , but later changed to the Roman
style . In the ch . of S . Pietro, at Perugia , there i s an Adorationof the Magi ” by him
,i n his first manner . It i s graceful. He also
painted Sibyl s i n the ch . at Assis i .D o n z elli , P i e ro and Ippo li t o . Many contradictory thi ngs have
been wri tten about these brothers . The full extent of what i s knownseems to be that they were sons of Francesco d’An to n io di Ja c0po ,bai liff (do n cello ) of F lorence . Piero was born in 1 45 1 , and Ippol ito i n 1 455 . The latter was apprenticed to N eri de’ Bicc i
,and they
were both i n th e Studio at Florence i n 1 480. It is hard to saywhi ch of the pictures attributed to these arti sts are genuine . Theymay have taken part i n the frescoes at S . Severino i n N aple s , butthat they were Florentines is certain , and al so i s i t true that theyl ived later than the Neapol itan accounts have stated .
D o rigny , M ich el, born at St . Quenti n (1 6 1 7 A painterand engraver . He married the daughter of Simon Vo u e t, and i s deserving o f noti ce principally as havi ng engraved the work s of thatartist .D o ss i , D o sso , and his brother , G i o . B a t tista . The former was
th e m ost celebrated . He died i n 1 5 60. The brothers passed somet ime in Rome , after the death of Raphael . Dosso shows his peculi archaracteristic s i n myth ological subj ects, more than in religious picture s . The “ Four Fathers of the Church
,
” the First Person ofthe Trin ity, and the Glory of the Virgin ,” al l in
lth e Dresden
Gall . , have much meri t . They are rich and dignified representations .But in the Circe o f the Borghese Gal l . , there i s freedom of act ion ,nai vete of expression
,and pleasing individuali ty . The Dream ,
” i n
the Dresden Gall . , i s wild and fanc iful . The brothers worked togetheri n th e Ducal Pal . at Ferrara , in 1 554 . Many o f their
.
work s aremuch inj ured , and in those that remain there i s a mixture of excellence a nd hard conventionali ty . In the Borghese Pal .
,there are two
landscapes by Gi o . Battista . Dosso excelled i n portraits,and painted
that of Ariosto, by whom he was employed to make designs for hi s
252 DOSSI DOW.
Orlando Furi oso . There are se veral picture s by Dosso in the
churche s of Ferrara.
Do udy ns , W i lli am , bo rn at the Hague (1 630 His cei lings were his best works . He executed several i n the Town Hall ofhis native c ity . He deserves mention as o ne of the founders of theAcad. at the Hague , of which he was a Di rector .D o ugh ty .Th o m as , born i n Philadelphia (1 793 He started
in l ife as a leather manufac turer , but at thirty years of age , h is loveof art compel led him to take up the brush , even i n the face of theopposi tion of his friends , and again st al l prudential consideration s .He was one of the earlies t American artis ts who represented our a utum nal colors . His work s were much admired i n their time
,and are
now remarkable for their true feeli ng for nature . Col . Wi lliamDoughty, of Georgeto wn , D . C. , brother of the arti st, has some ofhi s pictures , others are in the collections of v arious gentlemen , andone of hi s landscape s i s in the Bosto n Athenaeum ; others are i n thePhiladelphi a Acad. of Fi ne Arts .D ow , D o uw , or Do u , Ge rh ard, bo rn at Le yden (16 1 8 So n
of a glaz ier , who, on account o f hi s love fo r drawing, early placed himwith a glass painter
,named
Kowe nho o rn . At fifteenhe entered the school ofRembrandt, where he re ;
mained three years , whenh e had be come a finishedpainter . He did not a tt empt to make his work stell romantic tale s, but de
pic ted the every-day life‘of the humblcr classe s .His execution and fini share most remarkable ; sominutely did he dwel l oneach part , that he wasobli ged to rel inquish portrai t painting on account ofthe weariness to hi s sitters .He loved to paint hermits , and Scriptural events,and , l ike Rembrandt , he
PICTURE BY 0 . n o w .
often repeated
.
hi s.
own
Vienna Gal l . face . Ills impasto IS adm i rable ; 11 15 color warm
and transparen t at times , and always excellen t ; he fully appreciatedthe picturesque , and excelled in hi s ch iaro-scuro . Hi s l ights were oftenfrom la nterns and candle s , and are wonderfu lly effec ti ve .
In spi te
254 DROUAIS DUCCIO .
Dro u a i s , Je an Ge rm ai n , born at Pari s (1 763 An art i stwho gave great promise of excellence , but whose early death pr e
vented the execution of many work s . His masterpiece was Ma
rius at Minturnm .
” This pic ture is i llustrative of the imitation ofthe antique in the modern French school .Drumm o nd, S am ue l (1 7 70 An Engl ish landscape and
portra i t painter . His portraits were his best works.Du b b e ls . There have been at least three arti st s of thi s name , and
a ll painted sea and river views . But few fac ts are known of them .
Ja n has been cal led both the scholar and master of B ackh uyse n , towhom
,i t i s said
,many of his pictures have been attributed . But hi s
k nown works would indicate him to have been the i ns tructor ratherthan the pupil , for th e Dutch school ca n scarcely show a finer seav iew than o ne of Dubbe ls, which is s igned and in the Van der HoopColl . at Amsterdam . It represents an agitated sea breaking on th ecoast . It is almost equalled by another similar subjec t , also signed,i n the Pitti Pal . In this a single figure i s seen emerg ing from thebreakers. The lighting i s exquisi te . The general tone of color i s asi lver gray , with gleams of sunshine on waves, sands , and horiz on .
One of this art is t’s rare works is i n the Coll . o f the Duke of Bedford,
London . Hendrik and Thierry are the names of the other Dubbe ls.
Du e , A . In the Gal l . at Dresden there i s a picture of a peasantkneeling and begging his life of a sold ier , and i n the Vienna Gall .one of a lady and gentleman imploring th e mercy o f an infantry o fiiccr , and both are signed A . Duc . Otherwise he is unknown . Thesework s show him to have been a good imitator of th e sty le of Palamedes .Du cq , Jan le . born at the Hague (1633 He is bel ieved to
have been the pupil of Paul Potter,but hi s picture s resemble those
o f the Palamedes , whom he al so surpassed . He had much delicacyof touch , and his heads are very truthful . His portrait s were excellent , as may be sce n i n two small
,delicately painted one s i n the
Dresden Gal l . The Berlin and Munich gallerie s have good spec imens of his scenes from soldi er l ife . Le Ducq al so executed a numberof very skilful etchings
, representing dogs and other animal s .Du c c io di B o nin se gn a , was to the Sienese school what Cimabue
and Giotto were to that o f Florence . He was a reformer who re
ta ined i ndeed much of the manner of those who had preceded him,
but he added to i t, and elevated i t by creat ions al l h i s own .The
time of h is birth i s unknown . He was in Florence i n 1 285 .He
commenced his great al tar-piece for the Cath . of Siena in 1308, andin June , 1 3 10, i t was borne , like the Madonna of C imabue
,from
hi s studio to the Duomo by a solemn procession,headed by the
Archbishop , fol lowed by clergy . monks , government and communalofficers , women , and children . Music and th e ringing of be l ls addedmerry inspiration , and Duccio was the bright
,particular s tar
DUCCIO DUCHANGE. 255
to the Sienese of tha t day . His work remained nearly 200 yearsi n its place , and i s now wel l pre served i n the transept and sacri styof the Cath . It i s probable that at the t ime of the procession i twas not all completed , for i n the end i t was painted on both sides,and from some records i t would appear that a portion , at least , of theback part was done afterwards . The front was a representation ofthe Majesty ” of the Virgi n . Seated on a vast throne , and holding the Child , she was surrounded by angel s and worshipped bysaints . There was muchgold
,tapestry, and orna
mentation ; the gr oup wascharacteriz ed by gracemore than solemnity ordignity . His drawing wascareful ; his color soft andpowerful ; his executionwas patient and highlyfinished
,and even his
superabundant ornamentwas tasteful . A markeddifference was made b etween the treatment ofthe male and female figures , but color was thebest feature of Duccioand his school , who re
ta ined much of the oldexaggeration of design ,fo rm , and action . On theother side of the work ,he depicted the Passionof Christ , in 28 panel s .The subject s commencedwith the entrance in toJerusalem , and proceededto the meeting at Emmaus . The whole hasbeen div ided into manypieces . In the Acad . ofS iena there are other work s of thi s master
,and in the N ational
i all. a Virgin with saint s and prophets . One of his fines t work s i sin the Col l . of the late Royal Consort
, Prince Albert. This rank snext th e great altar-piece . In the R amb o u x Coll . at Cologne thereare two pictures o f hi s . The successors of Ducc io in’ the 1 4 th century did nothi ng which exceeded h im .
Du ch an ge , Gaspar, born at Pari s, 1 662. An eminent engraver.
THE \VOMEN douse THE SEPULCHRE OFcn m sr . BY DUCCIO.
Cath. o f Siena.
256 DUCHANGE DUPATY.
His plates are remarkable for the effec t which he produced by thecombined use of the etchi ng-poin t and the graver . He reproducedthe works of Correggio with peculiar sk i ll .
Du ch a t e l; Fran s , born at Brusse ls, 1 625 . Pupil of Teniers, hi s
works so nearly resemble those of his great master that they havebeen mistaken fo r hi s. He had however been brought u nder theinfluence of Van der Me u lcn i n France , and was , all i n all , morei ndependent in style than Teniers . His chief work is in the Mus.
at Ghent , and represents Charles II . of Spain receiving homage asCount of F landers from th e Estates of Ghent , i n the person of h isStadtholder the Marquis of Caste l Rodrigo .
” This picture i s signedand dated 1 668 . It contains several most excellen t portrait s , and
‘
i sgood in general effect and keeping . In the Antwerp Mus. the panorama of Valencienne s has been cal led a Teniers , but good authoriti esnow assign it to Duch a te l.Dufre sn o y , Ch arle s A lph o nse , born at Pari s (1 6 1 1 A
very learned painter . He was clas sical i n his taste , and after hi sdeath his friends publ ished his Latin poem
,De Arte Graphi cs
,
”
which was translated into Engl ish by Wi l l iam Mason , and enrichedwith notes by Sir Joshua Reynolds . Dufre snoy went when quiteyoung to Rome , and became learned in antiquitie s , anatomy , andperspective , as well as in clas sical l i terature . His works are scarce .
Hi s subjects were landscapes , history , and architecture . They arecorrect in drawing and carefully executed, but are too studied to bepleasing .
Dun lap, W i lli am , born at Perth Amboy , N ew Jersey (1 766T he versat il ity of hi s talents and th e c ircums tance s of h is
l ife led h im i nto so many different pursuits that i t i s di fficult toknow whether to cal l him a painter, an annali st , or a theatr icalmanager . He did however devote several years enti rely to portrai tpainting , and hi s pictures are numerous T he sketch of hi s l ife i sful l of adventures and interesting stories . He should be mentioned
“
as one of the active men in establ ishing th e N ew York Acad . ofFine Art s , and indeed it i s due him to say that he did much forarti stic and l iterary enterprise at a time when li ttle thought or sympathy was given to such matters .D i inw e gge , Vi c t o r and H e inri ch . Two painters of the West
phal ian school . In the pari sh ch . of Dortmund there i s wha t theGermans te rm a “ Holy Kith-and-Kin picture
,
” by the se art is ts.
It was pai nted in 1523, but seems about a century older i n style andexcellence , prov ing the school of Westphalia to have been behi ndothers in Germany .
D upa ty , Ch ar l e s M e rc i e r, born at Bordeaux (1 7 71 Hisfather designed to make him a lawyer
,but after his death i n 1 788 ,
Dupaty studied painting . He was, however , compelled to enter aregiment of dragoons, and did not resume his studie s un ti l 1 795 .
258 DfJRER .
although Venice and Antwerp made him attrac tive proposal s to t e
main 1n those citie s, and his own people , with in th irty years , paidhim but 500 gui lders .The only favor heasked was that the cityshould pay him five percent. upon a capital of1000 gui lders, whi chhe had obtained by u n
ceasing toil . In representing eccle s iasticalsubj ects , Diire r disre
garded all fixed forms ,and portrayed themwith great power , butwi th perfec tly humanfeeling . In 1498 , heillustrated the book ofRevela tion by woodcuts . In the se the fantastic element forms .
the groundwork , butthey are conce ived in as ingularly poe tic spirit .In them , the marvellous and the monstrousare strangely uni ted .
In th e Uffiz i , at Florence , i s a spl endid
s . c nm sro rm zn . BY ALBERT DURER .
Adoration Of theKings
,
” pain ted i n1504 ; i n the Monas tery Strah o if, at Prague the Feast of Rose sin the Belvedere Gall . , at Vienna, th e Martyrdom of Saints,ful l of terrible truth ; 1 508 : i n the same Gall . , the Trinity ; 1 5 1 1 ;
color clear, l ight , and fresh . From 15 1 1 to 1 5 15 , he publ ished manywoo d-cuts of religi ous subjects . The Madonnas are espec ial lypleasing . In 1 5 18 . he represented the death of the Virgi n , giv ingher the features of the deceased wife of the Emperor Maximilian ,and making the other characters portrai ts of l iv ing personages . Thispicture i s in England . Although his pictures are scarce . the largeGerman galleries have specimens of h is work . In 1 526 , he paintedon two panels , SS. John and Peter , and SS . Paul and Mark , andpresented them to the counci l of N ure mberg . T hey have been calledThe Four Temperamen ts , and are now i n the Pinaco th ek, at
Munich . This Gal l . has also five large picture s of the l ife of Chri st.The portrai t of his father
,dated 1 49 7
,i s i n the Munich Gall . Cabi
DURER . 259
nets,N o . 1 28 ; and hi s own portrai t in the same Gall . Cabinets , N o .
124 . One of his most celebrated pictures , the Adoration of th eTrinity ,
” painted for a chapel in N uremberg, i n 15 1 1 , and a Virginholding th e Naked Child i n her Arms , are now in the Belvedere , atVie nna . One of hi s m ost sm a u lar pictures i s the Knight
, Death ,
and th e Devil , i n the Mun i ch Gall . These are but a small part ofthe important works of Dii rcr. He al so published , during the latterportion of hi s l ife , scientific work s upon Geometry, the Art of Fortifica ti o n , and the Proportions o f the Human Body. He was one ofthe first artists in Germany who pract i sed and taught the rule s ofperspective , which he i s sa id to have learned from Lucas von L e yden . He l ived i n the most frugal and unostentatious manner, applyi ng h imself unceasi ngly to his profe ssion , and receiv ing the honorswhich were paid him with quiet modesty. He had married (i t i ssaid , to please his father) th e daughter of Hans Fritz , who proveda Xantippe , and rendered his li fe one of di scomfort . Sh e survivedhim , and he left her 6000 flo rins. He had joined the Reformers,but Pirkh e im er s tate s that he di ed a member of the Romish Church .
ENGRAVINGS AFTER THE WORKS OF A LBERT DURER .
Engraver , BRUYN or BRU IN , N icholas de . The Knight , Death ,
and the Devil . 1 6 1 8 .
His own Plates.
Portraits on CopperAlbert Durer repre sented at two d ifferent date s , 1509 and 1 5 1 7 ,
on each side of a piece of architecture , with a Latin i n scription.
Albert,Elector o fMentz . 1 523 .
Frederick, Elector of Saxony . 1 524 .
B . Pirkh e im er. 1 524 .
Melanchthon . 1 525 .
Erasmus, from statue at Rotte rdam ; 1 526 ; scarce .
Subjects on CopperAdam and Eve with th e Serpent ; 1 504 ; fine .
Adam and Eve after the Fall .Th e Nativity ; 1 504 ; called The Little Nativity .
The Holy Family , S . Joseph resting on a S tone . 1 506 .
The Holy Family, cal led The Virgin with th e MonkeyThe Virgin and Child , called The Virgin w ith th e Pear.The Virgin and Child , called The Virgin with the Apple.Th e Passion of Chri st ; sixteen plate s in c luding front ispiece . 1 507
1 5 1 2; diffi cul t to find complete .
The Apostle s .The Crucifixion , wi th the Maries and S . John at the foo t of the
Cross ; small , circula r ; very scarce .
Chri st in th e Garden ; 1 5 1 5 ; said to be engraved on iron ; veryscarce .
260 111111 1311 .
Angel s wi th the Ins truments of the Pass ion . 15 16 .
The great Ec ce Homo ; 1 5 12; Lati n inscription ; very scarce .
Prodigal So n ; best impre ss ions before the date . 1 5 13 .
S .Hubert krie e ling before a Sta g with a Cross on its Forehead ;
o ne of his finest works .S . Jerome in the Desert .S. Jerome seated in a Room , wri ting ; 1 514 ; very fine .
A Woman with Wings , standing on a Globe , holding a Cup , improperly called Pandora’s Box ; sometimes called The GreatFortune .
”
A N aked Woman on a Globe , holdi ng a Stick w i th a Thi stle at theend , call ed The Little Fortune .
”
Melancholy ; a Woman resting her Hea d on her Hand , holding aCompass ; very fine .
Three Women or Witches , with a Globe over their Heads , wi ththe letters 0 . G. H. , and an appearance of Hel l i n the background ;copied after Israel Van Meche ln ; 149 7 ; very sc arce .
An Armed Man on Horseback pursued by De ath, c alled Death ’sHorse ; best impress ions before the date 1 513 .
A Coat of Arms with a Skull , a Satyr , and a Young Woman ;1 503 ; called The Death's Head .
”
A coat of Arms , with a Lion and a Cock .
A Horse, with an Armed Man with an Halberd fol lowing.
A Man mounted on a Unicorn , carrying 01? a Woman called TheRape of Proserpine very scarce .EtchingsChrist seated , leaning his Head on hi s Hand , with a figure in front
pointing towards Him .
One of the Fathers of the Church, in a Cell , with two Book s . 1 5 1 5 .
The Virgi n and Chi ld asleep , with a Young Female k neeling .
1 5 1 9 .
Moses rece iving the Table s of the Law . 1 524 .
The Cannon , with figures , at the Entrance of a Village ; 1 5 1 8 ;said to be etched on iron ; very scarce .
Wood-Cuts (Portraits)Albert Dii re r, at the age of fifty-six,
in scribed Albrecht Durer Conle r/ey t, e tc .
Albert Dure ri Effigie s, edila ex Iinea ta bula , etc .Bust of the Emperor Maximili an I . 1 5 1 9 .
U lrichu s Varnbule r ; 1 522; scarce .
Wood-Cuts (Various Subject s)The Life and Passion of Christ
,i n thirty-six cuts .
The Life of the Virgi n,in twenty cuts
.
S. Anne , with the Infant on her Knee , and the Virgi n knee li ngwith two Sai nts ; i n ch iaro—scuro ; very scarce .The Holy Family i n a Landscape
,with two Angel s crowning the
262 DYCE EDMONDS .
were ver satil e . He pai nted i n oil and fre sco , and whi le most of hissubj ect s were rel igious and hi sto ricalt h e also executed some finelandsc ape s . His works are i n the House of Lords , i n the Queen
’sRo bing Room ,
and in All-Saints ch ., Margaret S tre e t.
E.
B axlom , R i ch ard (1 740 An accomplished Engl ish m e z
z o ti nt engraver . His Bathsheba le adi ng Abishag to David,
”h as
be en ca lled the chef-d’
ce uvre of mez z otint engrav ing . His frui t andflowers afte r Van Huysum are al so much admired. Boydel l publish ed the Liber Ve ri ta ti s,
” contai ning 200 plates by Ea rlo m .
Ee kh o u t, or Ee ckh o u t, Ge rb randt Van de r, born at Amsterdam
(1 621 Pupil of Rem brandt . He composed his pic ture s, o s
pec i ally his Biblical subj ec ts, very much in th e style of his master. lncolor
,too , he approached the same excellence , although his whole
effec t i s cooler than that o fRembrandt . His work s are well co nsidered . Among the be st are the Raising of Jairus’ Daughter,
” Berlin Mus . ; Woman taken in Adultery,” Amsterdam Gall . ; t id
and Abigail ,” Schle issheim Gall . ; Chris t Teaching i n the Tem
ple ,” Cabinet , Mun ich Gall . ; and “ Ha n na h giv ing Samuel to
'
bededicated to the Lord ,
” i n the Lo uvre .
B de lin ck. Ge rard, born at Antwerp An eminentengraver. Pupi l of Cornel ius Galle . I t i s d ifficul t to selec t th ebest of the num erous works of this arti st . He interpre ted Raphaelwith great truth , and hi s engravings afte r Le Brun and other Frenchartists are very superior. He used the graver onl y . Il is plate s arehighly finished
,and yet they are spirited and bold . The Holy
Family ,” after Raphael , and the Tent of Darius,” after Le Brun
,
are among his be st works . Some of hi s portrait s are also very fine .
Edem a , Ge rard, born at Friesland (1 652 Pupil of Everd ingen ; like him he pain ted wild, rocky landscape s wi th waterfall s ,etc . They were often Norwegian vi ews , and he al so went to N e wfo undla nd for the studv of scenery. He did not equal Everdingen ,and hi s chief excel lence was i n the repre sentation of fall ing water.Edm o nds , Jo hn W .
, born at Hudson , N e w York Hewas known as a business man as well as an arti st , for from hi s earlyyears he was a clerk , and afterwards the cashier of a bank . He re
moved to N e w York city in 1 834 . When he firs t began to exhib i this pictures he used an assumed name , feari ng that the reputation ofbe ing a pai nter would inj ure him in business c ircle s . He was accuste med to paint both morning and evening , and th is continued appli
cation weakened his health so much that i n 1 840 he went to Europefo r res t . ”i s pictures may be called genre , and are such as appealvery stro ngly to all classe s and ages. Hi s Gil Blas and the Arch
EDMONDS ELMAR . 263
bishop belongs to J. Taylor Johnston of N ew York Dame in theKitchen ,
” to J . L . Claghorn ; “ Boy S teal ing M ilk,
” and BashfulCousin
,
” to Jonathan Sturges ; and “ Bargaining , the Wind~mill
,
” and the “ Image-Peddler ” to R . L . Stuart . The PennyPaper ” was one of his most successful attempts, and some of his othersubj ect s are Spark ing ,
” engraved by the Art-Union ; Comfortsof Old Age ; Dominie Sampson ; Sam Weller,” etc .
Egg, A u gust us L e o po ld (1 8 1 6 His subjects may becalled high gen re . His best pic tures are Catherine seen by Peterthe Great for the first time ; “ The L ife and Death of Buck ingham “ Past and Present ; The N ight before N aseby ; and h islast work , “ Catherine and Petruchio .
” He is noticeable for thespirit of his pic tures in both serious and comic subj ects . He diedat Algiers
,when travelling for his health .
Egm o n t , Justu s Va n , born at Leyden (1 602 Pupil and assista nt of Rubens . He worked
‘
with hi s master on the pictures forth e churches of Mechl in , on those i l lustrating the life of Marie de ’
Medicis, and others . Egmont was appoi nted painter to Loui s XIII .,
and Louis XIV. He also painted i n conj unction wi th Simon Ve net .I n the Vienna Gal l . there are two portraits of Philip IV. of Spain
,by
Egmont alone . They are too smooth in execution , but good in co lorand expression , and prove h im to have been a good painter.Ei m b e ck, Jo h a n n R aph o n Vo n . In the choir of Halbers tadt
Cath . there is a triptych by this painter , dated 1 508 . The cen tre i s.
a picture of the Crucifixion,and the wings represent the Annun
c i a tio n , the Adoration of the Magi and that of the Shepherds , andthe Presentation . There i s l ife and variety of expression
,but the
color i s not good , and the whole effec t i s somewhat coarse .
Elli ge r or Elger , O tto m ar, the Younger , born at Hamburg (1 6661 7 Afte r some other instruc tion he became the pupil of GerardL a ire sse , whose style he imitate d . He was , l ike L a i re sse , very mindful o f detai l s in costume , etc .
, and his arch i te ctural representat ionswere good .
‘He painted historical subj ect s , such as the “ Death ofAlexander, which he did fo r the Elec tor of Mentz . His principalworks are in Amsterdam .
Elli o t, Ch arle s L o rin g, born at Sc ipio, N ew York (18 12One
’o f the very bes t of American portrait painters . His pic tures are
all that one can desire a portrai t to be . Fu l l of expression and character , life-l ike in effec t , and wel l colored . He executed an immensenumber , and among hi s s i tters were many men eminent in differentdepartments of l ife ; clergymen , authors , art ists , statesmen , and military men . His portrai t of Fle tcher Harper i s considered a masterpiece . Some of h is pictures may be seen in the C ity Hall of N e wYork , i n th e State Library at Albany, and in the Mercantile Library of Baltimore .
Elm ar or Elm e r, S teph e n , li ve'd principally i n Faraham , in Surrey,
264 ELMAR ENGELB RECHTSEN .
where he died abo ut 1 795 . He painted still-life , such as dead game ,fruit
,and flowers . His picture s are see n in old-fashi oned collections
and are executed with spiri ted fidelity .
Els tra cke , R e gi n ald,or R e n o ld. An English engraver of about
1 620.He eng raved some portrai ts which are priz ed for thei r con
ne c tio n with hi story , more than for their meri ts as engrav ings . Whenhe did not sign his plates with his ful l name , he used hi s in iti al s ,R . E.
Elz h e im e r, A dam ,born at Frankfort (15 74 He studied
first under Philip U ll'
e nhach ,then went to Rome , where he was called
I1 Tedesco. His pictures were ofte n pai nted on copper , which wasa disadvantage in regard to the “ qual ity (as artists say) of h iscolor. He h ad an i ntense love of nature , and after studying a v iew,wou ld go away and paint i t w ith marvellous exac tnes s, even to theshadows at th e t ime of day he chose to represent , and all without asketch . His pictures were always small, and exquisi te i n fini sh . Heloved to introduce figures , and many times repeated the Holy Family ” and Tobit and the Angel .” He was fond , too, o f effectiveli‘rh ts,
and sometimes gave moon and torch light i n the same work .
He married an Ital ian , and had a numerous family , and though wellpaid for hi s pictures , he spen t so much time on them that he becamei nvolved in debt and was thrown into prison . He di ed there , or verysoon after hi s l iberation . Rubens and the Chevali er Ge ndt assistedhim
, bu t in vain . Hi s work s became very valuable after hi s death,and the works of other pa inters were ofte n cal led by hi s name . Thereare about 60 engrav ings after the works of Elz h e im er. Some ofthese are by Hollar, and seve n by Count Go udt , who was also hi spupil . He is said to have etched severa l plates himself , but that of“ Tobit leading his Father i s the only authentic one . His Fligh tin to Egypt,
” in the Lo uvre , has been called hi s masterpiece . Otherimportant work s are , The Good Samaritan ,
” Louvre ; Paul andBarnabas, at Ly stra ;
” and ‘fChrist at Emmaus ,
”Stadel Insti tute .
Frankfort ; Flight into Egypt,” Munich Gall ; Repose i n Egypt , ”
and another Fli ght in to Egy pt , Vienna Gall . ; and the Tr1umphof Ps y che ,” Ufii z i Gall .Empo li , Ja c o po Chim e n ti da (1554 An imitator of An
drea del Sarto . His Madonnas were much adm ired. A picture ofS . Ivo , Florence Gall . , i s one of his bes t work s . He was so inj uredby falli ng from a scaffolding , that he could not pain t in fre sc o. Hewas so fond of good eat ing that he was cal led L ’Emp ilo , whi ch is tosay , a stew-pan .
Enge lb re ch tse n , Co rn e l i s , born at Leyden (14 68 Verylittle i s k nown of thi s old painter . The only picture known to be h isi s an altar-piec e i n the Town Hal l at Leyden . The centre ha s a picture of th e Crucifixion,
” the wings those of the Sac rifice of Abraham and the “ Li fting of the Braz en Serpe nt the predella has the
266 EVERD INGEN EYCK .
Ev erdin ge n , Alden v an ,born at Alkmaar (1 621 A fine
la ndscape pain ter. His Norwegian v iews are admi rable . Theypoetic
,with c lear sk ie s
,ro cky masse s , and tumbhng wate rfal ls, and
dark,lofty fi r-trees. IIe painte d storms at sea, but rarely . Hm co l
ori ng is occasionally to o heavy a brown. His pi cture s are i n theLouvre
,Berli n Mus
.
,and Munich Gall
,and i n many private collee
t ions.He was also a master in his handling of the etching point.
He left 106 etchings , which are knoWn , beside s 5 ? plates , which i l lus
trate th e poem of Reineke Fuchs .” The origi nal drawings for these
last are i n the Briti sh Mus . , as are al so some landscapes done i n In
dia i nk ,bistre , and sepia .
Ey ck, H ub ert Van ,born at th e smal l market town of Maasey ek
(about 1 366 Little is known of h is hi story beyond the factsthat he spent
,probably
,his middle life at Bruges , and his later years
at Ghent . That he effected a revolution i n pain ting , i s beyond a
doubt. By his strong inte llec tual power he breathed li fe into the
symbolic art which had preceded him . He repre sented Scriptural
scenes and characters , but he did i t through the medium of su ch people as he had seen in ac tual life . He gave hi s fi gure s the appearanceo f men about him . He represen ted nature as he saw it , and did nothesi tate to use architec tural backgrounds , or even to make well- furn ish ed rooms the sc ene s of his Annunciat ions and other sacredi nc idents . For al l the requirements of his brai n , the mediums heretofore used were i nadequate , and as ever, necessity being the motherof invention
,he made great improvements i n th e preparat ion and use
of colors . He used o il as a cement , and a new varni sh , which fromi ts brilliant freshness
,gave a reali ty of effect , never seen by his con
temporarie s . His greate st work was an Adoration of the Lamb ,”
executed for Judocu s Vy ts, and L isbe tta , hi s wife , for the decorati onof their funeral chapel in the ch . of S . Bavo , at Ghen t . This wasarranged with a centre piece and wings which could be closed . Theinside was divided i nto twelve different pic ture s , and the outside ofthe wings was al so painted . It i s no t known exactly how much o f
this gre at work Hubert did , for i t was finished by John Van Eyckafter his death ; but the pri ncipal fi gu res must have been by the elder,for they show a power which no work of John ’s approaches . L i ibke
says , Hubert is confirmed as an i nve ntor,by contemporary record s .
To no other was such a depth of thought imputed , combined withsuch abundance of ideas , and wi th such grand power of ch ara cte riz ation .
” The donors are represented on the outer wings i n a mas terlymanner. The larger panel s remai n i n their original place
, th e figu resof Adam and Eve are in the Mu s. at Brussels and six others are inthe Berli n M u s. There are but two other work s attributed to Hu
bert. One o f the se i s i n the Mu s. i n S. Trin idad,at Madrid , and
represents the Triumph of the Christian Church over the JewishSynago gue .
” This i s in th e form of the front of 3 Go thi c bui lding
EYCK.267
with arches and towers,and the whole picture i s made up of several
di fferent design s . The other represent s S . Jerome extracti ng aThorn from th e Paw of the Lion ,
” and i s in the Gall. at N aple s .
THE ANCHORITES. BY HUBERT VAN EYCK .
From th e Ghent Painting.
Ey ck, Jo h n Van (1 390 Brother and pupil o f Hubert.He lacked the power of his brother i n conception and design , andpreferred smaller works . But he finished with greater minutenessand nicety than Hubert, and was the founder of that school amonghi s countrymen , remarkable for deli cacy in detail and fini sh of exe
268 EYCK.
ANNUNCIATION. B Y J . VAN EYCK .
o utie n . There are a good number of the work s of thi s artist remaini ng . The following is a li s t of the more important ones i n chronolo gical order .
The Consecration of Thomas a Becket,” dated 1421 , i s i n the ce ll
o i the Duke of Devonshi re , at Chatsworth ; S. Franc is receivi ng theStigmata ,
”1 428- 29 , i s at the seat of Lord Heytesbury , i n “filt
shire ; the wings of the Adoration o f th e Lamb ,” executed by Jan
Van Eyck , Berli n Mus . ; the Virgin and Child ,” at Ince Hall ,
near Liverpool , i nscribed , Completam a nno dom in i mo cccxxxn ,
per Joha nnem (1c Eyck, B ragis,” with the motto
, A ls ich Cha n ,
” or,As wel l as I can ; the Virgin suckl ing the Child
,
” Stadel lusti tu te , Frankfort , called the Madon na di Lucca ; portrait of aman , National Gal l . with the above motto , and inscribed Johés (Ie
Eyckme fcc it a fi o MCCCC33 , Oct . 21 also in N ational Gall . , portra its o i himself and wife
,signed, “ Jo ha nne s de Eyckfu it his 14 34
thi s i s one of the very best , and perhaps the best, o f hi s works . VanMander says that the sis ter o f Charle s V.
,the Governess o f the
N etherlands bestowed a post of 100 guldens yearly upon a barber towhom th i s picture belonged . The Virgin and Child
,with S . Barbara,
Burleigh House ; another Virgi n and Ch i ld , with the donor, Louvre ;a Madonna and Child, with several sain ts and the donor, signed
270 FAB RIANO FAGE.
Child in the A cad . of Venice ; Adoration of th e Magi ,” Acad . of
Arts ,Florence ; so me side panels of a picture i n th e ch . of S . N iccolo
di 1a d’Arno , Florence ; another panel in the same church repre sen ting the Father sending the dove or Holy Ghost down to the Virgi nand Saviour ; a Virgin and Child purchased by Mr. James Jackson Jarr es a mutilated remnant of a Madonna ” in the Cath . o f
Florence ; i n th e (“asa Mo r
'it h i Fabriano , the Coronation of theVirgi n and S . Franci s re ce u mg the Stigmata , formerly mak ingthe two sides of a standard ; a Virgi n seated on a c ushion with theChild on her lap . Pia Casa della M i sericordia, Pisa ; an e n th 1 o ned
Madonna with saints , Berli n Mus . ; and a few others , some of whichare. i n private collect ions .Pa b u llu s ,
called also Amuli us , was a Roman painter , distingu ishedfor his decorations of the Golden House of N ero .
” One of hi swork s there was a picture of M ine rva , which was always looking atthe beholder
,from whatever poin t observed . Pli ny says he painted
bu t a few hours a da y , and so valued hi s dignity , that he would notlay aside his toga even when employed upon scafi o ldings, or amongmachinery
,and call s him gra va
’
s cl seve rus, z'
demqu eflo ridus.
”
Pa ch e tti , Pi e tro , born at Mantua (1535‘ He went to
Rome duri ng th e t ime of Gregory XIII. , where hi s portraits were somuch admired that every person of distinction des ired to be paintedby h im . He was al so an engraver . Bart sch mention s two prints byhim
,which have been c laimed by N iccolo van Aelst . One i s a
Holy Fam i ly,
" after Raphael , and the other Chri s t beari ng hisCross .Pa c in i . Pi e tro , born at Bologna (1 560 Pupi l of Ann ibale
Carracc i , of whom i t i s said that th e master became j ealous . Fac ini
later establ ished an Acad. of his own . But he had l ittle real meri tbeyond that of color. In thi s he was truly admirable , and resembledTin toretto. Some of his work s are in th e churches of Bologna .
There are al so some pri nts attributed to Fac i n i .F a e n z a , Gi o . da . In Faenz a there i s a Madonna and Child with
Angels and Sai nts , executed by thi s painter in 1506 . I t i s in theGymnasium (convent of the Serv iti), and is a worthy specimen ofthat Umbrian school which preceded Raphae l .Pa e s , Pe te r v a n de r. Se e Lely .
Page , R ay m o nd de la , bo rn at Toulou se (1648 Celebra ted for his drawings with the pen . They are l i ttle more than outl ine s, but are admirable for their grace and Spirit . It i s said that hevis i ted Carlo Maratti i n his s tudio, and was offered a pale tte andbrushes . De la Faga decli ned them , saying he d id not paint. Maratti declared himself ple a sed at that , and said that if he could paintas well as he could draw , he should himself abandon the brush . Heal so etc hed some designs of his own , and others have been engravedby Audran , Ver meule n , e tc .
FAITHORNE FANTUZZL 27 1
Pa i th o rn e , W i lli am , .the Elder , born in London ;
died 1 69 1 . An eminent engraver. His best work swere h is portraits . These are executed with th e graver
almost entirely , and are admirable . His plates are numerous, andsome which are scarce are very valuable .
F alc o n e , A n i e llo , born at N aple s (1 600 Pupil of Ribera,
called Spagno le tto . The first painter noted for battle pieces . Theschool whi ch arose from the influence of thi s master was connectedwith hi story
,for under Masaniel lo i t was organ iz ed as the Com
pagn i a della M e rle ,” and took part in the i nsurrection . Aniello was
the teacher of Salvator Rosa . His drawing was correct both i nfigures and horses ; he gave much animation to hi s design s , and hi scolor was effec tive . His easel pictu res were good, and h is work s arewel l es teemed . After the death of Masaniel lo , Falcone went toFrance , and Salvator to Rome . There are a large number of e ngr a vings attributed to thi s painter .F a lc o n e t , fi ti e nn e M a u ri c e , born at Paris (1 7 16 Pupil
of Lemoine . He became an eminent sculptor,and was appoin ted
Professor and Rec to r of the Royal Acad . He was inv ited to St .Petersburg by Catheri ne H.
, and executed a bronz e equestrian statueof Peter the Great . After his return to Paris i n 1 7 78 , he devotedhimself to l i terary pursuits . His most important work s in Paris wereexecuted for the e h . of S . Roch and that of the Inval ide s .Pa le n s , K are l v a n , born at Antwerp (1 684 An imitator
of Wo u ve rm a ns, and a reputable painter . The smoothness of h istouch takes from the spirit of hi s picture s . There i s a work of hi sin the Berli n Gal l ., representing fig ures and animal s i n a landscape ,and a “ Departure of a party of Fale o n e rs, i n the Dresden Gall .Pa n e lli , V i rg ilio . .A Florentine goldsmith who prac ti sed hi s art
i n Italy and Spain . He executed, i n 1 646 , the great chandel ier whichis s till suspended from the dome of the Pantheon of the Escurial .This was made at Genoa, and has twenty-four burners , with manyornaments . He also executed the
,throne for th e Madonna del Sa
grari o i n th e Toledo Cath .
{ 4 3 Pan t uz z i or F o n tu z z i , A n t o n i o . Said tohave been born at Viterbo about 1 520. Therei s much disagreement among the highest auth o ri tie s regarding thi s engraver. Some say
that he and Antonio da Trento are the same artist . His plates arechiefly after Primaticcio
,and are scarce . The following are the
principal onesSilenu s supported by two Bacchante and surrounded by Satyrs ;
afte r H R osso . 1 543.
Di spute of the Muses with the Pierides ; afi er Prima ticcz'
o .
Alexander and Ro xana ; after the same c ircular.Festival given to Th ale stris by Alexander afte r the same . 1543.
272 PANTUZZI FERNANDEZ.
Jupi te r directing M inerva to d1sm iss Venus , Cupid , and Psyche ;afler the sam e ; oval . 1 543 .
Titan reposing on th e Bosom of the Ocean ; B ologna invento r .
1 544 .
The four Cardinal Virtues .Pa rin a t o ,Pa o lo (1526 A great ornamen tal painter . Kug
ler cal ls him the worthies t predecessor of Paul Veronese , whom b e re
sembled.His “ Pagan Sacrifice ” at Vienna i s a fine picture ; hi s
masterpiece i s in the ch . of S. Giorgio at Verona , and was executedi n his seventy-ninth year . I t repre sents the Mi racle of the L e a ve sand Fishes ;
” there are many figures in troduced , and among themare portraits of his own family . I t i s i nscribed , M DCI V. Pa u lus
F arinu tus rIe Ube rto fe cit ca'a tis suce Lxx 1x . There i s no doubt that
some o f the work s of thi s pai nter are cal led those of Veronese . Farinato and his wife died the same day .
Pa rri ngt o n , Jo seph (1 742 An Engli sh painter, pupil ofR . Wi l son . He was a good painter of park scenery .
F asso lo B e rn ardin o ,born at Pavia. A picture of the Virgin
and Child i n the Louvre , i s i nscribed“ B e rna rdin as F axo lus de
Papia fa c ieba t a nno It i s so much in the style of Leonardo daVinc i that i t i s believed that Fasse le must have be e n his pupil .F a t to re , 11 . Se e Penni .Peke , R o b e rt . A11 early colonial pain ter. One of his remaini ng
works i s dated 1 746 . It i s said that “ he was taken prisoner andcarried to Spain ,
” and there learned to pai nt . Upon h is return hesettled at N ewport
,R . I.
, as a portrai t painter. A portrai t of thewife of Governor Wanton , pai nted by him ,
i s i n the Redwo odLibrary .
Pe rg, Pa ul Fran c is , born at Vienna (1689 Pai nter oflandscape s with arch itec tural adornments and figure s . His worksare often seen i n England, where he l ived abo ut twenty years beforehis death . Most of hi s small pic tures are on copper . His sk ie s aresilvery hi s figures are generally engaged in merry-mak ing , and hishorses and donkeys are wel l done . He occasionally painted seapieces , but his landscapes are hi s be st works . He was much accustemed to introduce an obel i sk into his pictures ; frequently with 110
apparen t meaning .
F e rn a nde z , A n to n i o , de A ri as, born at Madrid ; d ied 1 684 .
Pupil of Pedro de las Cuevas . He was an excellent colori s t and exe cu ted with great rapidity . He was one of the most noted Span ishartis ts of his time . In the Queen of Spain’s Gal l . there i s a pic tureby him of the Phari se es questioning Chris t concerning the TributeMoney.
”
F e rn an de z , Va sc o , born at Viseu, 1 552. But l i ttle i s k nown ofthi s Portuguese artis t . He is popularly known as Gran-Vasco t .Coun t Raczynski , i n h is Dictionnai re Histo rico -Arti stique du
274 FERRAR I FIESOLE.
i shod, and his colori ng bri ll ian t but wanting in harmony . He is ,however
,afte r Da Vinc i , one of th e very be st M ilanese pai nters .
His work s are very numerous, both in fresco and o il s . An early workof great meri t i s a Group lamenting over the Dead Christ , Royal
Gall.
,Turin . A Martyrdom of S . Catherine ,
” i n the Brera , Milan ,together wi th a Visi tat ion in the Solly Col l . , and a Madonnai n th e Cath . of Vercelli , are among hi s best easel-pictures . In theBrera th ere are several frescoe s formerly i n S Maria della Pace .
His most extensive and best works are at Varallo, whi ch was th epilgrim shrine of Piedmont . He al so painted in the convent of th eM inori te s ; in S . Mari a di Loreto , near Varal lo ; i n S . Paolo , at Vercell i ; i n S . Christoforo ; in the ch . of Saronno , near M ilan ; and hi slast work was a Scourging of Christ ,
” i n S . Maria delle Graz ie atMi lan . Thi s i s dated 1 542
,and is powerful and spirited .
Pe rri , Ciro , born at Rome (1 634 Pupil of Pie tro (l a Cortona, and o ne of his best imitators . He excelled most in his stud ieso f chi ldre n , infant angel s , or amo rin i . His color was very agreeable .
Among hi s finest work s are hi s frescoe s i n th e Pitti Pal . , at Florence,and at S . Maria Maggiore , at Bergamo . His work s are in some ofthe churches at Rome .
Pe ru c c i , A ndre a di Pi e ro , born 1 465 . He was an architect andsc ulptor whose first work s were do ne i n Naples , from which city hewent to F iesole and executed the high-al tar i n the Duomo . Anothersim i lar work , m ade for S. Girolamo of Fi e so le , i s now in the SouthKensington Mus. Some of his sculptures are in the Cath . of Florence , and in the ch . of S . Fel ic ita. His work s are somewhat pleasing , but he was not above mediocri ty . His cbej ld
’aeu vre was the
bapti smal n iche in the Cath . of Pi sto ja , i n which the figure of Ch ri s tis fine ,
'
and th e adoring angel s beautiful .Pe se le ,M a rti n . An imitator of Albert Altdorfer. There are pic
ture s of his at N uremberg,and i n the Sch le i s sheim and Munich gal
lerie s . That in the latter represents the siege of Ro me under Porse nna , and was pain ted about 1530.
Pe ti , D o m e n ic o , born at Rome (1 589 Pupil of Ludov icoCardi . He painted small pictures , and many of the se illu strated th e
N ew Testamen t parables . His coloring i s powerfu l , and his headsfull of expression . A mourning figure which i s cal led a “ Magdalenin the Louvre , and Melancholy
,
” i n the Acad . of Venice are exce lle nt . His work s are not at al l numerous . .There are a number inFlorence , and several in the Dre sden Gall.Fi am m in go . I] . Se e Duqu e sn o y .
H amm in go . It i s very diffi cul t to di stingu i sh th e arti sts calledb y thi s name in Italian writing s . Zan i mentions 64 such ,
and thereare undoubte dly more .
Fi e so le .Pra Gi o . da , called Angel ico and Il Beato ; bo rn at Viechio , in the prov ince of Mugello (1 88 7 In 1 407
,with hi s
FIESOLE. 275
brother Benedet to,he became a novice in the Dominican convent of
Fiesole . He had been chr i stened Gu ido , but now took the name of
Giovanni . At thi s t ime the convent at Fiesole had no nov itiate , andthe brothers were sent to Cortona to the care of the master of novices
.This explain s the fac t that the earl ie st work s of Angelico are
at Cortona. It i s believed that he returned to Fiesole in 14 18 , wherehe Spent eighteen years . In 1436 hi s order received the monasteryof S . Marco , i n F lorence, where Angelico executed many works ; herehe remained u ntil called to Rome by the Pope , i n 1446 . Wi th theexception of a fe w months in Orv ie to , he remained i n Rome until hisdeath
,and was buried in the ch . of the Minerva. The title of the
Angel ic could scarcely be more fittingly applied than in the ease ofthi s holy man . His l i fe was one of simple piety . He would paintonly saintly subjects
,and would receive no pay. He commenced a
work with earnest prayer,and would never change hi s design , b e
lieving that he was div inely assis ted , and any change would thus besacrilegi ous . He excelled al l others in depic ting rel igious sentiment.His work s were fini shed with exquisite care , and there i s a harmonyboth in composition and color in all he did . His draperie s gave dig~
mi ty and charac ter to his figures , and , i n short, “ every part contributed to that uni ty of tenderness , inspiration , and religious feel ing ,which mark his pictures , and which are such as no one man had eversucceeded in accomplishing . Of human anxietie s and struggle s hewas so entirely ignorant, that he failed to depic t them well , and thehatred of Christ in hi s enemies i s but feebly expressed when attemptedby Angel ico . This i s noticeable in hi s representation s of the Crucifixio n , o f the persecutions and martyrdoms of saints , etc . The An
nu nc ia tio n ,
” and the Crowning of the Virgin were favori te andoft-repeated subjec ts of his , as Wa s al so the Last Judgment . ” Hepainted a great number of smal l panel pictures . The best ones arein the Acad . of Florence . Those whi ch were formerly u pon thepresses for th e s ilver of the SS . Annunz iata at Florence are veryfine . At S . Domenico in Perugia , there are many of his work s, andanother col lection of his smal l picture s i s i n the Uffiz i , where a Coro na tio n of the Virgin deserves especial attention . In the Vaticanthere i s a predella i llu strati ng the life of S . N icholas of Bari , whichwell di splays his power of representing what might be called sem i
f/o n re subj e c ts . At the Stadel Insti tute , Frankfort , there i s a fine e nthroned Madonna , and in truth , these small works are seen i n manyEuropean collec tions . Of hi s larger work s I wil l mention those athis own convent in F lorence a Deposition from the Cross
,
” i n theAcad . of Florence ; the doo rs of a large tabernacle in the Ufl
‘i z i ; a
Coronation of th e Virgin ,” i n the Louvre ; frescoes i n the chapel
of the Madonna di S . Briz io in the Cath . of Orvieto ; and lastly, twochapel s in the Vatican which are greatly res tored . Th e pictures inthe monastery of S . Marco are in better preservation . While in
276 FIESOLE FILOCAMO.
co no xar to x o r THE v rN . BY FRA ANGELICO .
In th e Acad. of Flo rence.
Rome the Pope desired to make Angeli co Archbishop of Florence ,but he re fused the honor , and recommended Fra Antonio of h is orderfor th e office . The Pepe acted upon hi s suggestion , and the goodqualitie s of Antonio proved th e wisdom of Angel ico .
Fi e so le .M i n o da (M OO A sculptor whose work s are inF lorence and Rome , and are remarkable for their ornamental dec
'
orations rather than fo r the figures .P igin o . Am b ro gio , born at M ilan , 1 590. A pupil of Gio . Paolo
Lomaz z o , and a successful imitator of M ichael Angelo . His work sare more remarkable for the elegance and correc t drawing o f a fewfigure s than for the numbers repre sented . Some of hi s best we rk sare in the churches of M ilan .
Fili ppi , S e b asti an o , called al so Gratella, born at Ferrara (1 532After studying under Cam ille F il ippi , hi s father , he entered
th e school of Michael Angelo , at Rome, and became one of hi s bestdisciple s . He was called Gratella on accoun t of hi s squaring l argework s when reducing them to a smaller siz e . This he learned ofMichael Angelo . His be st work s are i n the churches of hi s nativec ity .
Pilo c am o , A n t o n i o and Pa o lo . N ative s of Messina, who afterattending the school of Carlo Maratti at Rome
,establ ished an Acad .
at Messina . They worked together both in oil and fresco, and bothdied of the plague in 1 743. Their principal work s are i n the churchesof Messina..
278 FIORENTINO FLEMAEL .
nothing really known of him or his work s , and all that i s said of himmust be ta ken as a pleasant ta le whi ch lack s ev idence of truthfuln ess .
Fi o ri. M ari o di . Se e N uz z i .Fi sh e r, A lv an ,
born at N eedham , Mass ; died 18 63. A portrai tpai nter . i l is l ikeness of Spurzh e im i s a val uable pic ture . He had
good success in painting children with dogs , rabbits, e tc .
Flaxm an , Jo hn , born at York (1 755 Hi s father kept aplaster-cast shop in London , and the son wen t to that c ity e arly i nl ife . He commenced drawing and modelling very young, and gaine dhis first priz e for a model , when eleven years and five months old.
At thirteen he received a se cond priz e , and was admitted to theRoyal Acad . ,
at fourteen . I n his youth , he painted a few picture s inoil . In 1 782 he married Miss Denman , and five years later went toItaly . He remained there seven years , and was a close student of theantique
,and an incessan t worker . While there , he executed a large
group for Lord Bristol , representing the Fury of Athamas ,” from the
Metamorphoses of Ovid,and a sma ller one of Cephalus and Aurora,
"
for Mr. l i e pe . It was also in Rome that he made the designs fromHomer
, JEsehylus, and Dante , which have now a world-wide reputation . In 1 794 he returned to England , where he was constantly employed on important work s unti l hi s death . It i s not poss ible to giv ean entire li st of hi s works in the space al lotted him here , but many ofhi s sepulchral monuments are seen in the cathedral s and churche s ofEngland . In Glasgow are his statue s of Mr. Pitt and Sir JohnMoore , i n bronze , and in Edinburgh that o f Robert Burn s . He execu ted many work s for the East Indies , one of whi ch was not qui tecompleted when he died . One of his best, perhaps the best of hisworks in England , i s the group of the Archangel Michael andSatan .
” Thi s wa s one of his late st work s , and was made for the Earlof Egremont , who had al so a l ife-s iz e Apol lo
,
” which is ve i y beautiful . He was elected Associate of the Royal Acad . , i n 1 79 7 , Academ ic ia n i n 1 800, and Professor of Sculpture i n 1 8 10. His lectur e s i nthe Acad . have been publi shed . He was sin gularly pure i n heart andl ife , and characteri z ed by a cheerful and attractive manner, whi chmade h im the be loved friend of old and young . The very last workhe did , was to make designs fo r the exterior embell i shments ofBuckingham Pal . , which would have bee n executed partly by him ,
and entirely under his d irection , had he l ived . The friez e s on th e
front of Coven t Garden Theatre were all designed by Flaxm an ,and
one of them , and the figure o f “ Comedy ,” were executed by him .
His wi fe possessed an intell igence of mind and love for art , whichenabled her to appreciate and assist the studie s and labors of herhusband , and her death , i n 1 820
,was a grief from which he never
recovered .
Fle m a e l, B e rth o le t, born at L i ege (1 6 14 Pupil of Gerard Do uffe t . He visited I taly , and on hi s return was much em
FLEMAEL FLORIS . 279
ployed,and gai ned a good reputation in Pari s . The Chancellor
Segu ie r employed hi m at Versail les, and he painted i n the Carmeliteand Augustin churches . He went to L iege , but was i nv ited agai nto Paris
,where he was employed in the Tui lerie s . He was made a
professor i n the Roya l Acad . and every inducement was offered h imto remain i n France . But he returned to h i s beloved Liege
,and was
employed i n embell ishin g i ts churches . His work s show the influenceof the French school . He loved to make the foreground figuresespecially fine
,and fini shed them with great care , but hi s color was
feeble,and there i s little feel ing in his work s . One of hi s pictures
,
representing Pe lopidas arming aga ins t the L acedaam o nian s,”is i n
the Dresden Gal l .Fli n ck, G e v a e rt , born in Cleve s (16 15 He was , after
Eekhout , the scholar , most li ke their great master , Rembrandt . Hi s
chief occupation was portrait pai nting, but he succeeded wel l i n genresubjects
,and sometimes painted hi storical pictures . He was also a
successful imitator of Muril lo . He settled in Amsterdam , and re
ce ived the freedom of the c ity in 1 652. He made a fine collection ofdrawings and engrav ings from the best masters, and casts from an
tique sculpture . It was sold for about flo ri ns. In th e newHote l de Vil le of Amsterdam is hi s picture of the Regents,
” da ted1 642; i n the Am sterdam Gall.
, hi s picture of the Archers i s remarkable for its fine portraits ; i n the same Gal l . i s Isaac bless ingJacob,
” one of hi s few historical pictures ; in the Berl in Mus. , theExpul sion of Hagar ; and i n the Munich Gall . , a genre pic ture ofthe Guard Roo m .
” At the time of hi s death , he had finished thesketches for twelve large pic tures , which the Burgomasters of Amste rdam had commissioned him to paint .Flo ri ge ri o , S e b asti an o , born at Udine . Flo uri sh ed about 1 533.
Pupil of Gio . Belli ni , and an imitator of Giorgione . His fre scoes atUdine have peri shed, but some of his oil-picture s rem ain in thechurches there , and two Madonnas with Sai nts, i n the Venice Acad . ,
are hi s work s . His color was pale and cold , but hi s figures are welldrawn
,and the composition i s arranged after the antique manner .
Flo ri s , Fran s , born at Antwerp , real name Frans de Vri e ndt
(1 520 Pupil of Lambert Lombard. He Opened a school i nAntwerp , which was much frequented . He had great facil ity of execu tio n and power of invention , but there i s much want of grace andsentiment i n his pictures, and he knew too li ttle of drawing to be a finepainter . His l ife was very wild , and his in temperate habits preven tedhi s attaining the fame and fortune which th e patronage and favorof hi s friends placed before h im . His chef-d
’aeu vre i s i n the Ant
we rpMu s. , and represents the Fall of the Angel s .” Other work s
of hi s are i n the same place, and a picture of Vulcan showing Venusand Mars , whom he has in a net , to the Gods , i s i n the Berlin Mu s.
While thi s di splays the mastery of his hand , i t is very tasteless ; i t i sdated 1 54 7 .
280 FOGOLINO FONTANA.
Po go lin o , M arc e llo . A Frinlan who flouri shed about 1525 . Hespent hi s youth at Vicenz a, where some of hi s works rema i n . Hi spictures are more inter e s ti ng as i llustrations of the style of his t imea nd coun try , than for any meri t of the ir own . In the Berlin Mu s. ,
there i s a Virgin and Sai nts by him , and in th e Acad. of Ven ice ,3 Madonna and Saints which has be en attributed to BernardinoLic in io. He al so pain ted in the churche s of Pordenone and Trent ,where his picture s may sti l l be seen .
Po lo , G i o v ann i , born at Bassano (1 764 An eminent eu
graver. He studied in the school of Volpato , but later he madeRa phae l Mo rghe n hi s model . His S . Andrew,
” after Domenichino,
is very highly e steemed , and i s considered hi s chef-d’
aeuvre by many.The Madonna de’ Candelabri of Raphae l and the Mater Dolorosa ” of Sa sso fe ra to were engraved by Folo . His style was be stsuite d to large subj e c ts , and hi s plate s are after the work s of the be stm aste rs , namely, Ra phael, M . Angelo, Guido , Titian , Poussi n , Thorwaldse n , Canova , e tc .
Po n ta n a, Do m e n i c o . A famous archi tec t, whose li fe was wri tte n by M il iz ia , and who is e specially i n terest ing to al l who v isi t Rome,on ac count of his havi ng removed the Egyptian obeli sk from its ahci ent po sit ion to the Square of S . Peter’s . This was done i n 1586,
and was a memorable occasion in Ro me . After great preparations ,the morning came when the obelisk was to be raised . Fo ntana re
ce i ved the blessing of the Pope , who a l so told him that fai lure wouldcost him his head. The workmen received the Holy Eucharist. Theconcourse of spectators was imm ense , the priests , soldi e rs, and people,high and low , were crowded in the s tree ts and on the housetops.When the obe li sk was rai sed , the guns of S . Angelo were . al l discharged
,and joy was un iversal , and when , a few. months later, the
removal was completed , and the obeli sk was placed on its pedes tal ,the pe ople carried Fonta na on the ir shoulders in a triumphal pro ce ss ion , with drums and trumpets . Fontana was made a nobleman anda Knight of the Golden Spur ; he had a pension of 2000 crowns ,wh ich descended to hi s heirs ; te n k nighthoods ; 5000 crowns readymoney
,and all the mate ri al s he h ad u sed , which were valued at
crowns . Two bronz e medal s of him were struck , and on th ebase of the obel i sk , a Latin inscription was cut to perpetuate hi sname and honor .Po n ta n a , Pro spe ro , born at Bologna (15 12 He h ad a
fine mind , good invention , and many req uisi te s for a good art ist, buthe often pa in ted so hastily and care lessly , tha t hi s work s were veryimperfe c t . His picture s are still seen in Bologna . He al so pai nte dportrai ts , and was distinguished i n that branch of art at Rome in thetim e of Julius III and later .Po n ta n a . L avi n i a , born at Bologna (1552 Daughte r ofthe precedin g , whom she excelle d.
-Her portrai ts were excellent,
282 FORMENT FRANCESCA .
altar-pie ce of alabaste r, for the Cath . of the Pil lar .” This workoccupied Fe rm e n t nearly n ine years . It represents the Assump
tion of the Virgi n , the N ativity , and the Purification . In 1520 hebegan a retablo for the high-altar o f the Cath . of Huesca. This o ccupied thirteen years . I t i s of alaba s ter , and represents the Deathand Passion of Christ .” The Empero r , Charles V.
, i nv ited him toenter hi s service, but he died soon after . He left a large estate .
His school never numbered less than twelve scholars .F o ss e , Ch arle s de la , born at Pari s (1 640 He was ad
m ired for hi s coloring, which he acqui red from the study of Venetianart. He was much employed on the churche s and palaces of Pari s ,Versai l les
,etc . He visited England , and ornamented the mansion s
o f some of the nobles . Hi s design was in correct and inelegant , andhi s color
,which was good , was much i nferior to that of Titian or
Vandyck .
F o u c qu e t, Je an . Flouri shed 1 46 1—1 4 85 . He was a miniaturi st,
i l lumi nator, and painter t o Louis XI. A Boccaccio which he i llum ih ated , i s at Munich, and po rtions of a Boo k of Hours , al so by h im ,
belong to the ce ll . of M . Brentano Laroche , at Frankfort . Thereis a Virg in and Chi ld in the Gall . at Antwerp , attributed to him .
The Virgin i s sa id to be a portrait of Agnes Sore], the beautiful mistre ss o f Charle s VII . This picture i s pale and flat .F o uq ui ere s , Po c qu i e r, or F o u cqu i e r, Jam e s, born at Antwerp
(1580 Pupil of Mompe rt and Jan Breughel . He was afine landscape painter , and was employed i n the Louvre by Loui sXIII. That k ing made him a knight, and this, with other flatteringattentions , rendered him so vai n that he became unendurable .
Nicholas Poussin , who was employed at the Louvre at the same t imewith Fouqui
‘
eres , left Pari s on account of his insolence and overbearing conduct . His drawing was good and hi s pe nci l free . His colorwas somewhat cold , though fresh and clear . He chose picturesquescenes , and hi s wagons , figures , etc .
, were well put in .
Fra go n ard, Je an -H o n o ré, born at Grasse (1 732 Hepai nted historical subjec ts, conversation s , and bacchanal s with conside rable success . l Some rather stiff portrait s are attributed to him,
and he al so executed several etchings from his own designs,and those
of other masters .Fran c e sca , P i e tro de lla , born at Borgo S . Sepolcro . He is di s
t ingu ish ed for havi ng advanced the study of perspective . Some ofhi s frescoe s remain i n hi s native place ; i n S . Francesco , at Rimini ,and in S . Francesco, at Arez z o . In the N ational Gall . there i s aprofile port rai t i n tempera , attributed to him . In the Ufli z i thereare portraits of Federigo di Montefel tro and h is w ife, by his hand .
He i s said to have been the teacher of S ignorelli and Pietro Peru gi no.He was li ving in 1494 .
1 Four fine picture s , by Fragonard, be long ing to Mr. Henry Le e , were burnedin the great fire in Ro u e n , N o vember 9 , 1872.
FRANCESCHINI FRANCIA . 283
Fran c e sch i n i , B aldassa re , called Il Volterrane , born at Vol te rra
(1 6 1 1 He was most di stinguished as a fresco pai nter,but
his o il pictures were very commendable . His co rre cm e ss of designwas remarkable ; his knowledge of foreshortening perfect ; his colorharmonious ; and hi s figures spirited . Hi s works both in fresco andoi l may be se en in F lorence and Volterra.Fra n c e schi n i , M arc a n to n i o , born at Bologna (1 648
Carlo Cignan i was hi s ch ief teacher , and so fond of him that he gavehi m attentions and priv i lege s beyond all hi s other pupils . He excelled as a ma chin ist. His composi tions were copious but withoutconfusion . Hi s in ventive powers were large , and he had fac ility ofexecution . Many o f his works are at Bologna. Hi s easel pictureswere good ; his angel s were especially beautiful .Fran c i ab i gi o or F ran c i a B igi o , real name , Francesco di Cristofano
(1 482 Pupil of Mariotto Albe rt ine lli . He was a friend ofAndrea del Sarto , and resembled him i n his manner of painting . In1 5 1 3. Franc ia Bigi o was employed at the Serv i in Florence , and it issaid was assoc iated w i th Del Sarto . He painte d in the court of theServi , a picture of
‘the Marriage of the Virgin . Just before i t wasfinished
,a day observed with e special solemnity by the Serv ite s came
round,and the monks removed the screen s whi ch were before the pic
ture . Franc ia Bigio was so angry at thi s th at he took a hammer anddid much inj ury to th e Virgin’s head , and to other po rtion s of hi swork
,and moreover, he could never be persuaded to restore i t ,
neither would other art is ts do so , and the inj ur ie s remain to thi s day .
In 1 5 18—1 9, he worked at the Scalz o, and in 1 521 , together with DelSarto , at the Medici Pa]. i n Poggio a Cajane . He was always areputable painter
,but he was not a man of great gen ius , and there
fore could not equal many others . During the later years of his life,he painted with great rapidity , and took every order that was offeredhim . Several of h i s frescoe s remain , and a number of portraits byhis hand
,are i n various collect ion s in Europe . The Bath of Bath
sheba,
” at Dresden , was painted bu t two year s before his deathOne of his por trai ts is at Wi ndsor Castle, and another at S tansteadHouse .Fran c ia , Fran c e sc o , real name Francesco di Marco Ra ibo lin i ,
bo rn at Bologna (1450 As a goldsmith , he was first dit i ngu ish ed, and w as steward of goldsmith s in 1 483 . He was alsomaster of th e mint to th e Bentivogl io , and to Jul ius II. at Bo logna.
I t is impossible to say exactly when he began to paint,but his earliest
known work i s a Madonna surrounded by six saints , dated 1 490 or1 4 94 . This i s one of the treasures of the Bologna Pinac o th ek. Hisfirst pictures are Umbrian i n style , and much resemble those ofPerugino, which i s easi ly accounted for by the fact that the work s ofthat ma ster were taken to Bologna near th e close of the i 5th century.
Later i n l i fe , Francia became Raphaelesque in manner, and hi s pic
284 FRANCIA.
tures have been attributed to both these masters whom he imi tated .
His most striking characterist ic is a te nder and agreeable expressionof deep rel igious feeling . i l i s figures express calmness more than ac
t ion ; his color i s warm ,and his finish del ic ate and careful . Hi s only
remaini ng frescoe s are i n the oratory of S . Ce cdi a , at Bologna , andreprese nt th e marriage and entombmen t of that sa i n t. An al tarpie ce in the Bentivogl io chapel in S . Giacomo Magg i ore , representi ngthe enthroned Ma donna , with sain ts and angel s, i s very beauti ful .The color i s espec ial ly fine . Various other work s of his are in B o
MADONNA . BY FR . ra cm .
Dresden .
logna ; in Munich is a Virgi n adoring th e Infan t Je sus , which i svery attractive ; in th e Brera , another enthroned Madonna ; manyportraits , hal f length Madonnas , and Holy Famil ies are seen invarious European gal leri es. All have the same oval face s
,and soft
,
dark eyes ; the same calm and thoughtful expression , and are alwayspleas ing . He retai ned hi s ful l powers a t the time of his death .
When the S. Cecil ia of Raphael was finished,he sent i t to Francia
and requested him to care for it and see i t properly hung i n i ts pla ce .
He did so , and soon a fter di ed , i t has been sai d , bec ause of his dis
286 FRAN CO FREDI .
to nic . Ba rt sch mention s m ore than 100 plate s by him . His draw ingis often i ncorrect
,but he showed great love for the antique , and re
spect for the tradition s of the past , i n the choice of his subjects . Heworked entirely with the graver , and marked hi s plate s B . F. V. F.
,
for B a tista F ra nco Vene ta sfec it.Fra nco is . There are three painters by this name, Lucas , Peter,
and S imon . The first two were father and son , and born at Mechlin ;the latter was a native of Tours . They are of no e special importa nce .Fran co is , Je an Ch arle s, born at N ancy (1 7 1 7—1 786 7) The in
vente r of the engraving called th e Chalk s tyle , which repre sentscrayon drawings . He received a pen sion of 600 li vres, for thi s iave nt io n . He also executed some portraits wi th the graver .
Frase r , Ch arle s, born at Charle ston , S. C . (1 782 A verysuccessful portrait pai nter. In 1 85 7 hi s work s were exhi bi ted i nCharle ston
,and numbered 313 m i ni ature s and 1 39 landscapes and
other compositions.Fra te llin i , Gi o v an n a , born at Florence (1 666 Her talents
attracted the atte ntion of the Grand Duchess Victo ria , who providedher with masters . Sh e painted i n oil , miniature , and crayons , andexcelled i n th e latter . Her reputation spread all over Ital y , and shepainted the portrai ts of many noble s and eminent persons . In theDu e al Gall ., Florence , there i s a portrai t of hersel f engaged in painting that of her son , which i s one of her be st work s .Fra z e e . Jo h n , born in Rahway , N . J 1 790. A sculptor in spite
of many hindrances , fo r in hi s youth there was no brightness butth at of hi s mother
’
s love ; and i t was not unt il 1 824 that he was ableto execute hi s first bust. This was a portrai t o f John We ll s , andwas placed in Grace Church , N ew York city , and i s , according to Dunlap
,the first marble portrait from a native hand . At this time he
had Opened a marble-yard on B roadway , with Launitz , and i t wasthere that Crawford first practi se d in statuary . After thi s Fraz eem ade bust s of several notable men , and in 1 83 1 that of John Jay , forwh ich Congres s made
"an appropri ation .
Fre di , B arto lo di , born at Siena about 1 330. He was assoc iatedwith Andrea Vanni , i n 1 353. In 1 36 1 he was employed by th e
government of Siena, and in 1362 went to S . Gimignano , where heremai ned several years . After hi s ret urn to Siena he was honoredwith some publ ic offi ces . He was the founder of the noble house ofth e Barto l i B attilo ri . Had h is reputat ion depended alone on h isreal artistic meri t , he would not ha ve occupied a leadi ng position .
Hi s color was hard , and hi s picture s very flat ; and he was excelledby many artists of hi s day in Pisa and Siena, while he could no t be
mentioned be side those of Florence . Hi s remai ning work s are somepic tures i n S . France sco of Montalcino ; an Adora tion of the Magi ,
”
in the Acad . of Si ena , and another i n the Rambo ux Coll . at Cologne ; and a Virgi n giv ing the Girdle to S. Thomas ,
” in th e ch.
FREDI FUNGA' I. 287
of S. Maria, at Bettona, near Assis i . His Descent from the Cross,”
in the ch . of S. France sco, i s dated 1 382.
Frem in e t ,M art in , born in Pari s (1 56 7 He studied sometime in Italy, and on his re turn was made painter to Henri IV . , andalso to his succe ssor
,Louis XIII . He was much employed at Fo n
taineble au . A picture i n the L ouvre , representing Mercury admoni shi ng ZEne as,
” i s a good example of his work .
Fre y , Jam e s, born at Lucerne (1 681 An eminent e n
graver,and better known by his Ital ian name of Giacomo Frey . He
studied i n the school of Carlo Maratt i, at Rome . He left a largenumber of fine plates after the work s of some of the best Itali anmas ters .Fre y , Jo hn Pe t e r de , born at Amsterdam , 1 7 70. He became a
dist inguished engraver,though he could only u se hi s left hand. His
prin tsO
after Rembrandt, F li nk , and G. Dow are much esteemed, e s
pe cially the“ Anatomical L ecture , the “ Family of Tobias ,
” thePresentation i n the Temple
,
” and the Ship-builder and hi sWife .”
Pris i u s , S im o n , bo rn at L e uwarde , i n Friesland, abou t 1 590. Aneminent engraver
,and the first who brought etching to perfection .
His print s are scarce and much valued. He sometimes marked hisplate s S . F . fec it, and frequentlyfec it only .
Fru i ti e rs Ph i li p, born at Antwerp (1 625 He first pai n tedhi storical subjects i n oil , but changed to di stemper and miniature .
He was very celebrated for hi s water-color portraits, and so muchadmired by Rubens that b e employ ed him to pain t himself and family. He al so made some etchings , among which the portrai t ofQueen Hedwig Eleanor , of Sweden , i s d istingui shed for its excellence .
Fu e ssli , Jo hn Caspar, born at Zurich (1 706 A good portrait painter, and the author of th e Lives of the Swiss Pain ters,
” forwhich work he designed and engraved the portraits and v ignettes .F i i ge r, H e n ri , born at Heilbronn (1 751 He was appointed
Direc tor of the Imperial Gall . at Vienna, in 1806 . His works in thatColl . are not h i s best . German writers considered him one of themost eminent arti sts of his t ime .
Fu lt o n , R o b e rt , born i n Lancaster County , Penn . (1 765It i s wel l known that thi s great mechanic ian was al so an artist. Butvery few of his work s remain . There i s in Phi ladelphia a portraitby h im of Mr. Plum ste ad
’s sister ; i t belongs to her family . Ful ton
executed the first panorama ever exhibited i n Paris . His love forart was very great , and he wrote from London to urge the people ofPhiladelphia to buy West
’s pictures as the nucleus of a Gall . , andbought himself the Lear ” and Ophelia,
” and gave them to th eN ew York assoc iation of arti sts . There i s a pri nt from one of hi spicture s representing Louis XVI . i n prison , with his family.
F unga i , B e rn ardi n o , born at Siena . Flourished about 1512.
288 FUNGAI -FUSEL I.
There are numerous work s attributed to thi s arti s t i n guide-books
and catalogue s . They are all lifele ss , badly drawn , and confused i narrangement . S everal of these are i n the churches and Acad . of
Siena . They are also seen in various European galleriPu ri n i , Fran c e sc o ,
born at Florence (1 604 Pupil of hi sfather
,and afterwards of Passignano and Rosel l i . He became 'a
pries t in 1 640, but continued to paint until his death . He has beencalled the Gu ide and Albano of Florence . His heads are sometimesvery powerful ; hi s face shadows are deep brown . His pastoral sub
je cts are half Spanish i n appearance . His be st work s are easel pictures
,and are much e steemed . Hi s women and children are elegant
and del icate,and he excelled i n the repre sentation of nymphs and
kindred subj ects .Fu rn ess , W i lli am He nry , Jr, bo rn at Philadelphia (1827
A succe ssful painter of portrai ts . He studied at D ii sse ldo rf, andafter hi s re turn to America e stabli shed himself i n Boston . His picture s are i n the possession of the familie s for whom they werepainted, and are much esteemed.
F u se li or Fi i ssli , He nry , born at Zurich (1 74 1 He was cdu ca ted for th e church , and took holy orders , but i n 1 763 , hav ing adi fli culty with a magistrate of Zurich , he went to England , where hel ived until his death, with the exception of eight years passed i nItaly . He intended to devote himself to li terature , but by advice ofSir Joshua Reynolds , who had seen his drawings, he became anartis t . As a pa inter he was entirely original , and remarkable for hi swonderful imaginations and fantastic conception s of hi s subjects . Hehad a good knowledge of anatomy , which i s fully shown in his pictur e s . His best work s are his Milton Gal l . , and eight picturespainted for Re ydell ’s Shakespeare Gall . These are all extravagantand incorrec t , but extraordinary in design . As a writer and critico f art , he rank s high, but i s not free from the same extravagance i nhis intellec tual effort s which characteriz es hi s paintings . He heldthe offices of Professor of Painting , and Keeper of th e Royal Acad .
He del ivered twelve lec tures i n all . He was very witty and sarcasti c , and spared none who came in his way ; still he was liked by thestudents, for they knew that he endeavored to bu i ld up the best inte re sts of the Acad. He had a passionate temper
,and was sometimes
overcome by depression of spirits when hi s wife was accu stomed tomake him angry , as a fit of pa ssm n restored hi s cheerfulness . Hewas very learned , and could speak eight languages . When not employed i n painting , he took up the pen ; and when eighty yea rs olddeclared himse lf to have been happy in the fact that he had alwaysbeen occupied in something that he li ked . There are many sha rpand witty sayi ngs of his recorded , and hi s li fe , publ ished by hi sexecutor , John Knowles , i s very interes t ing . From hi s choice ofstrange subjec ts, his fellow-arti s ts called him pa inter-in-ordi nary to
290 GADDI GAINS B OROUGH.
Tafi , and a worker in mosaic s . He made a fortune which was thefoundation of the position hi s family occupied lat-e r . Vasari speaksof man y of hi s work s, bo th paintings and mosaic s, but the onlyremain ing ones that can be attributed to him are some mosai c s in theportico of S . Maria Maggiore , at Ro me, executed in 1308 , and
possibly others in the cathedral s of F lorence and Pi sa, and i n theBaptistery at Florence .
Gaddi , Tadde o , born at Florence (1300—1 366 So n of thepreceding . He was held at th e bapti smal fon t by Giotto , and be camethe favorite disciple of that great master. His pic tures are , i nge neral, i n th e style of Giotto . Vasari, who saw many of hi s work swh i ch are now destroyed, thought he excel led hi s in structo r. Hisworks still remaining are fre sco e s from the li fe of the Virgin , on thewal l s of the Giugn i (formerly the Baroncell i) chapel in Santa Croce,at Florence , and some smal ler panel pictures in the Florentine Acad .
and the Berl in Mu s. There i s much truth and feeli ng in the fre scoes ,and the smal l pic tures are beauti fully executed . His countenancesare less charac teristic than those of Giotto , and hi s entire mannermore mechanical
,the almost unavoidable resul t of hav i ng been the
assi stant of his master , for more than twenty-four years . When hewas asked to name the greates t painter in Italy , he repli ed , Art h asfallen very low since the death of Giotto , and i t w as the misfortuneof Taddeo and others who fol lowed Giotto, to s tudy hi s work s andpractise hi s rule s, rather than to draw their inspiration from
.
nature ,and reproduce her more perfect model s . Taddeo was also an architeet , and made th e plan s for the Ponte Vecchio and Ponte a SantaTrin ita. i n 1 336
, and was employed at Orsanm ich e le and the Cam
pa u ile .
Gaddi , A gn o lo . So n of the preceding . Time of bi rth notknown . Died 1396 . The pictures of Agnolo are sometimes impo singat a distance , but do not bear close examinat ion . A finely drawnhead is often spo iled by disregard to the detail s of the f eatures ; hi shands and feet are bad , and the folds of the flesh are indicated byline s . His color i s clear and transparen t
,and h i s rel ief better than
Taddeo’s . The be s t preserved works of thi s master are i n thechapel of the Holy Gi rdle in the Cath . of Prato
,and in the choir o f
Santa Croce , at Florence . The latte r are a series i l lus trating thehistory o f the Holy Cross , and are full of allegorical allusions:Ga e ta , S c ipio n e da . Se e Pulz o ne .
Ga in sb o ro u gh , Th o m as , bo rn at Sudburv , i n Suffolk (1 727Pupil of Franci s Hayman . He became very eminent as a portra i tpai nter, and his landscape s are much esteemed , while his fancy picture s are al so excellen t. He settled i n London i n 1 7 74 . It i s sa idthat he never pu t his name on any picture . When he died , he had56 pai ntings and 1 48 drawings . The latter are much valued by conno isse urs and collec tors. Severa l of hi s fine landscape s are i n th e
GAINSB OROUGH GAL L I. 29 1
N ational Gall . , and the excelle n t portrai ts of Mrs. Siddons and Dr .Ralph Shomberg are also there . In th e Edinburgh Gall. there i s afine l ikeness of the Hon . Mrs. Graham . Some of his bes t picturesof genre subjec ts are , the Shephe rd Boy in a Shower ; the Woodman and Dog in a S torm ; the Cottage Door ; and the “ CottageGirl with Dog and Pitcher. His pic tures command high prices
,
one having been sold in 186 7 for £ 1 800. Many of hi s works havebeen engraved .
G alan in o , called Baldassare Allo isi , bo rn at Bologna (1 5 78Pupil of the Carracci , and one of the ables t arti s ts of their .
school . He was very busy i n Rome i n painting portrai ts of themost il l u strious men o f the t ime of Urban VIII. His larger work swere for the churches of Bologna
,and the great altar o
pie ce fo r th e
eh . of Gesu e Maria, at Rome .
G a la ss i , G ala sso , born at Ferrara, 1 380. But few of his work sremain , and the se are i n the churches of Bologna . It ha s been saidthat he learned the use of oil colors from Van derWeyden , but allh i s known paintings are frescoes .G ala t o n . A Greek painter who probably li ved under the earlier
Ptol emies . He executed a picture probably intended to ridicule theAlexandrian epic poets . It represented Homer vomiting , and otherpoets gathering up what fell from him .
Ga le stru z z i , G i o . B a ti s ta . Of his paintingsl i ttl e i s known , but he was th e friend of Della Bel la ,whose manner he imitated in engrav ing , and acquireda good reputation . His plates are numerou s , and
some of them are rare . He flourished about the middle of th e 1 7thcentury .
Ga lle . Ph i lip, born at Ha erlem , 1 53 7 . The firstof a fami ly of engravers consisting of Theodore ,1 560, and Cornelius the Elder, 1 5 70 (sons of Philip) ,and Cornel ius th e Younger , 1 600. Cornelius the
Elder excel led the others , and after studying in Rome establ ishedhimself i n Antwerp as an engraver and print-sel ler . He left a conside rable number of plate s , which are well esteemed .
G a llego s , F e rn a ndo , born at Salamanea, probably about 1 4 75 .
He followed th e manner of Van der Weyden and Memling . He hasbeen cal led a pupil o f Albert Durer , and hi s work s are said to resemble those of that master . His best picture i s 3. Madonna, i n thechapel of S. Clement , i n Salamanea .
G alli , G i o . M a ri a , called Bibiena from his birthplace (1625The first of a family who di stinguished themselves in art . He was apupi l of Albano , whose gracefulness he successfully imitated . Someof hi s finest work s are i n the churche s of Bologna .
G a lli , F erdi n ando , called Bibiena, born at Bologna (1 65 7— 1So n of the preceding , h e was very eminent as an ornamen tal and
292 GALL I GARZI.
decorat ive painter,and was sought by all th e sovere ign s of Europe .
He served th e dukes of Parm a and Mi lan , and went to Vienna byinv itation of the Emperor Charle s VI . He arranged publ ic festival swith much magnificence , and made great improvements i n the decorat ion s and il lusive effec t of scenic decorations. He also painte dmany architectural and perspective v iews, which are i n the gallerie sof Ita ly and are well esteemed . He publi shed a work on archi tecture . He had three Sons , Alessandro, Antonio , and Giuseppe , whobecame di st inguished as decorative artis ts at several Europeancourts .Ga lli , Fran c es c o . called Bibiena , born at Bologna (1 659
Brother of the preceding,to whom he was inferior. He painted the
same clas s of subjec ts , and was inv ited to Spain and appoin ted principal arch i tect to Philip V.
Ga rb o , R afi a e llin o de l, born at Florence (14 76 Pupil ofFi li ppino Lippi . His earl ier work s are ch aracteriz ed by ami abil ity ,and an elegant tenderness of feeli ng . His work s in the Berl in Mus.
especially di splay this . His Resurrect ion ,” i n the F lorentine
Acad .
,shows the same dramatic power which his master h ad. Later
i n li fe , when he atte mpted to follow M . Angelo and Ra phael , he wasless admi rable , as may be seen i n hi s ceil ing pictures in the cha pel ofS . Thomas Aquinas i n S . Maria SopraMi nerv a at Rome . His work sare al so seen i n th e Lo uvre , Dresden Gal l . , Ufli z i , Acad . of Venice,Mus. o f Naples , and in some private collec tions .Gargi u o li , Do m e n i c o , called M icco Spadaro, born at Naples
(1 6 12 Pupil of Salvator Rosa , and painted landscape s andsmal l figures . His work s i n the Studj Gall . at N aples are very intere sting as hi storical representation s of the events of h is time . Oneserie s delineates the whole tragedy of Masan iello, and the horrors ofthe plague of 1 656 form the subjects of others .Ga ro fa lo was called by this name from his custom of pai n ting a
gilliflo w e r i n the corner of hi s pictures , but hi s real name was Benve nuto Tisic . Born at Ferrara (148 1 He executed some fre scoe s i n Ferrara which caused him to be considered the head of theFerrare se school , but he i s be st k now n b v hi s ease l pictures , whichare i n various galleries , espec ially in Rome . An Entombment ,
” atthe Borghese Pal . , i s h is most celebrated large work , and another,very sim i lar, i s in the Studj Gall . at Naples . The Doria Gal l . , th eAcad . of Venice , and the Engli sh N ational Gall . , have fine spec imensof his works . His picture s at Ferrara were pain ted after his returnfrom Rome , and show the effec t of his study there . His color wasgood , and hi s pure , positive t int s have not faded, and equal i n thi sre spec t the works of the early Venet ian arti sts . He was blind n i neyears before his death .
G arz i , L udo vi c o , born at Pi sto ja (1638 —l 721) . A favo ri tepupi l of Andrea Sacchi , and a rival of Carlo Maratti . He was em .
294 GELDER GERARD.
his work s are not numerous in publ ic gal leries . The AmsterdamMu s.
has a portrai t of Pe ter the Gr e at , and the Dresden Gall , aman ’s po rtra it and an Ecce I l omo , b y De Gelder.
Ge l e e , Cla ude . Se e Lorraine .
Ge n ga , Gi ro lam o ,born at Urbino (1 4 76 Pupil of Luca
S ignorelli and Pietro Perugi no , and fe llow-pupil of Raphael . Few
of his work s are known,as he pain ted much in conjunc tion with
other mas t e rs,and was al so employed as an architect, rather than
painter,by th e Duke of Urbi no .
G e n n a ri , B e n e de tt o ,born at Cento (1 633 N ephew and
pupil of Guerc ino, whose s tyle he imi tated so perfec tly , that thecopies which he made from the master
‘
s work s could scarcely bedistinguished from the originals . He painted some historical picturesfor the churche s of Bologna
,Padua
,and Cento, and in the reign of
Charles II . went to England and was appointed painter to theKing
,i n which office he was confirmed by James II. His principal
work s i n England , were portrai ts . Cesare Gennari , brother ofBenedetto
,and Lorenz o , probably of the same family , were also
pai nters .Ge n o e ls , A b ra ham , born at Antwerp (1 640 One
of the best landscape painters o f h is country. In France ,he w a s employed by L e Brun, to paint the backgrounds toh is Battle s of Alexander the Great . ” His drawing is cor
rec t,his touch spirited , hi s color clear , and his figures i n the antique
style . His works are rare . The Amsterdam Gall . has one , a nd
there i s another i n th e Brunswick Gal l . He is al so distinguishedfor his etchings . Bartsch enumerate s seventy-three , and V
Vc igcl
gives thirty-one more . In Rome , he was called Archimedes, on ac
count o f his mathematical knowledge , and he sometimes sign s hi se tchings wi th that name .
Ge n ti le sch i , real name Oraz io Lomi, born at Pisa (1563He pa inted in several Roman palaces i n conjunction with AgostinoTassi . He al so painted historical subjects at Turi n and Genoa .
He was i nvi te d to England by Charle s 1. Several of his picture sare now at Marlborough House . Vandy ck painted his portrai t, whichwas engraved by Vo rste rm an . Gentile schi
,Artemisia (1590
was the daughter of the above , and accompanied him to England ,
where she painted both portrait s and other picture s, but she passedmost of her l ife i n Bologna and N aple s . Sh e was th e frie nd of Guido,and was much admired . Sh e excelled her father in portrai ts .
_
In
the Florence Gall . , there i s a “ Judith , painted b v her . Gentileschi ,Francesco, brother of the preceding , was al so an artis t , and res idedchi efly at Genoa , where he painted for several churches .Ge rard, Fra nco is , born at Rome (1 7 70 The best French
portrait pain ter of his time , and dist inguished al so for hi s large h isto rical pictures . His chef-cl’ce u vre of this k ind i s th e Entrance of
GERARD GHI B ERTI . 295
Henry IV . in to Par i s,at Versai lles . He was a great favori te wi th
N apoleon , and painted portraits of the Emperor , his wive s, and theKing of Rome . He was also principal painter to Louis XVIII .
,who
made him a baron .
Ge rard, M ark, born at Bruges . Pai nter , designer for glass-pain ti ng , and architec t . He was not an eminent artis t . but some portraits he pai nted in England are interes ting . Those of Queen Eli z abeth
,Lord Burleigh
,and L ord Essex are at Burleigh House .
Ge rard o f S . Jo h n . Van Mander says he was thus called fromthe monas tery of S . John , at Hae rlem , where he resided. Two panel sattributed to him are i n the Belvedere Gall . , at Vienna, and threepic tures whi ch form a triptych in the Pinakothek of Munich
,are also
called hi s . These works are far from excellent , and seem to belongto the 1 6th century .
Ge rard o f Gh e n t i s one of the painters said to have executed thece lebrated Grimani Breviary, i n the l ibrary of S . Mark , at Venice ;1 25 of the i l lumi nations are attributed to him . It has been said thathe was identical with Gerard Van der Meire .
Geri c a ult , Je a n L o u i s , born at Rouen (1 79 1 The chefd
’
azu zrre of th i s artist is his immense picture of the Wreck of theMedusa ,
” i n the Gall . of the Louvre .
G-e ss i , F ran c e sc o , born at Bologna (1588 A pupil andsuccessful imitator of Guido Reni . His early works are the best, forin later years he became a cold and languid manneri st . His picturesare in several churche s of Bologna .
Ge ssn e r , S o lo m o n , born at Zurich (1 734 A poet andartis t . He w a s an amateur painter , until he was thirty years old ,when he began to study landscape painting . He is known by hi se tch ings
,some of which he executed for his l iterary works , and
some for separate publication . They are all well finished andpleasing .
Ghe in or Gh e y n , Jam e s , theElder, born at A ntwerp (1 565
Pupil of Henry Go ltz iu s.
He became a sk ilful engraver , andhis plates are much esteemed . Some
of them a re scarce .
Gh e n t , Jus t us Va n . This old painter must have been bornabout 1400,
as he was a pupil o f Hubert Van Eyck . The only re
main ing w ork known to be his , i s i n the ch . of the Fratern ity ofCorpus Chri sti
,at Urbino . I t represents Chri st giving the Chalice
to the kneel i ng Apo stle s.
”and has many points of meri t . The por
trai ts i t contains are excellent .Ghi b e rti . L o re n z o , born at Florence (13 78 A goldsmith
and sculptor,he also painted some pictures at Rimini , whither he
fled from the pla gue i n 1398 . He is best known by his bronz e gate s
296 GHIB ERTI .
to the Bapti stery of Florence , which Michae l Ange lo thoughtthv to be the gates of Paradise ,
” and which have never been surpassed in some r e spects . There was much controversy as to whoshould obtain th e honor of making these gate s , and after Ghibert i r e
ce ived it , he spent twenty years upon the first, and as much moretime upon the las t . It i s easy to se e i n them the mark s of the goldsmith’s minute and finished manner ; but Ghiberti i ntroduced a new
feature in baa-rel ief when he attempted to represent di stance inbackgroun d. In this he of course fai led , but in beauti fu l ornamentation , and pe rfect form and finish of al l minor parts
,he has never
been surpassed . Ghiberti al so made th ree s tatue s for th e ch . of Orsanm ich e le ; two has-reliefs for the Cath . o f Siena, and the Sarcophagus of S . Ze no bius. i n S . Maria del Fiore
,of F lorence .
All theseworks sti ll re ma in , but the sarcophagus and the gate s are the most
298 GHIRLANDAIO.
relation to th e pic ture , to the chorus in a Greek tragedy . He laidhis scenes in th e streets of c ities known to us , hi s archi tecture andcostumes were fam i l iar, but he d id not run into the fan tas tic , andhis work s are never unpicturesque . His study of the antique is espec ially apparen t in his draperies ; In the technical i ti es of fresco-painting he excelled
,and his works were highly finished . His remaining
fre scoes a re those in the ch . and refec tory of Ognis santi , Florence ,dated 1 480 ; i n the Palaz z o Vecchio , and Palaz z o Pubblico, F lorence
,148 1—85 ; i n the Sixtine Chape l , Rome , only th e “ Call ing of
Peter and Andrew remains ; i n the Chapel of S . Fina , at S . Gi
mignano ; in the Sasse tt i Chapel , i n S . Trin i ta, Florence , and thechoir of S . M . Nove lla same city . His smaller work s are anAdoration of the Magi ,
” i n the Uffiz i ; two pic ture s in th e Acad . ofF lorence, i n one of which , an Adoration of the Shepherds, an an
tique sarcophagus serves as the manger ;‘ a Visitation ,
” in theLouvre ; s ix pictures in the Berlin Mus . , and others in th e Dre sden .
Munich,and N ational gallerie s ; while a few more are in o ther publ ic
and in some private col lection s . Ghirlandaio was the m aster of Michae l Angelo . Very li ttle i s k nown of the mosaic s which he e xe
cu ted, although he called mosaic work painting for eterni ty .
”
Ghi rlan da i o , R i do lfo , born at Florence (1 483 So n ofDomenico . The work s of this master may be classed in three divi sions : those o f hi s early t ime , his middle and best works , and hi slater and more mechanical manner. The firs t are charac te riz ed bythin , stiff figures
,hard enamel
,and th ick sub stance of color , which
may be seen in an Annunciation ,” i n the Abbe y of the Mo n to li ve to ,
outside Florence . His middle and best manner was largely i nflue nced by his as sociation with other artists, a nd the s tudy of theirwork s . I t has been said that he studied with Fra Bartolommeo andwas the i n timate friend of Raphael . It i s t rue that the latter des iredItido lfo to go to Rome to work wi th hi m in 1 508 , and about thistime Ridolfo excel led all Flo re ntine artist s in oil-painting, as hisfather in hi s day had excelled i n mural decorations . To thi s timebe long his N ativity,
” Berl in Mus.,and another in the Es terhazy
Col l . , at Vienna ; a female portrai t i n the Pitti ; the M iracle and th eBurial of S . Za no b ius, Ufl
‘i z i ; and various others in churches and
gallerie s , in some of which he employed th e assis tance of his pupilM ichele di Ridolfo . There was an old precept among shopkeepers,that an art is t , if he kept a shop , should execute all orders broughthim. no matter how small . Domenico believed this
,and his son prae
tised i t . He did much merely mechanical work from 15 15 to 154 1 forthe publ ic occasions , both of joy and sorrow ,
i n which the Mediciwere the principal actors. Thi s h ad a tendency to i nj ure h is manner , for he hastily executed scenes for play s , banners to be carried inprocessions . and gaudy triumphal arches . Then , too , he had a go odfortune , fifteen chi ldren , and was growing old , i ndeed
,he suffered
GHIRLANDAIO GIB SON .299
so much from gout that he was wheeled about i n a cha ir for sometime before his death ; stil l he did not resign his profession , but remained a silen t partner
,as i t were
,in hi s own busines s, and as late
as 1 543 undertook a serie s of frescoes fo r the monastery of the An
gel i . where his brother Bartolommeo was i n orders . R idolfo surv ivedmost of his contemporarie s except M ichael Angelo .
Gh i s i . This i s the name of a Mantuan family of engravers .Gi o . Battista Ghisi , called Mantuano , was the eldest, and flouri shedabout the middle of the l 6th century. He was a pai n ter , sculptor,architect
,and engraver
,i n which latter profession , he is bes t
k nown . He is said to have been a pupil of Marc-Antonio Raimondi
,but his drawing is incorrect and hi s prints wanti ng in harmony.
Giorgio Ghisi , born 1 524 , son of the preceding, wasa much more eminen t engraver , and h is works aremuch esteemed by collectors . F ine impressions of
hi s prints are scarce . Adamo and DianaGhisi were the brother and sister of Giorgio,and were i nstru cted'
by him . Diana was thebe st arti st
,and executed some plate s of great meri t. They were all
called Mantuano .
Ghi s o lfi , G i o ., born at Mi lan (1 623 He studied underseveral masters
,the be st of them bei ng Salvator Rosa . His pi e
tures abound in M i lan , Geneva , N aples , Rome , and are well represented in England . He painted some hi storical subjects
,but i s best
k nown bydark picture s of ruins, corridors i n perspective , and courtyards paved with marbles . His w orks are i n the choices t collections .Ghe z z i , Cav a li e re P i e r L e o n e . Ch icfly known by hi s e tchi ngs
and his caricatures,whi ch are numerous i n Roman collec tions .
Gi am b e rti Se e San Gallo.
G i am b o n o , M i ch e le . An old painter and mosaist of the middleof the 1 5th ce ntu rv . An altar-piece in the Acad . of Venice
,s igned
by him , represents Christ with S . Bernardino and other saint s . AtS . Marco , i n the wagon roof of the Madonna de ’Masco li , there i s amosaic with hi s name , and at Padua , i n th e Coll . of Conte Riva
,
an exqui si tely finished Virgin and Child,
” i n scribed M icha el Johan nes B o no ,
ve ne tas pi nxit.” The Berli n Mu s. Catalogue call s N o .
1 1 54 a Giam bo no . I t i s the Assumption of S . Magdalen .
”
G ib b o n , Grin dli ng. A sculptor of the reign of Charle s II.Some of his remaining monumental works are seen in th e churche sof England , but his wood-carving i s most w o rthv of notice . Hisbirds , flowers , foliage , and imitations of lace are remarkable for fineand elaborate execution . Some o f
'
the best of these are at HamptonCou rt, Windsor Castle , Chatsworth , S . Paul ’s Cath . , and S . James’
e h ., Piccadilly. He died in 1 721 .
Gi b so n , R i ch ard (1 6 15 usually called the Dwarf,was
only three fee t ten inches in height , and was married i n the presence
300 GIB SON .
of Charles I. ,whose page he was , to Anne Shepherd , who was ex
tly h i s own height .'
Ihey had nine ch ildren . who li ved and wereof a proper siz e . Vandyck pain t e d the portraits of this remarkablecouple
.The King observed the talents of Gibson , and placed him
with Cle yn for instruc tion . He made a reputation i n water-colorpaint ing. He painted a miniature of the “ Parable of the Lo stSheep ,
” which th e King valued and gave to his medall i s t Vanderdoo rt for safe keeping . W
'
hen Charles desired to have i t, Vander
do o rt h ad forgotten where h e had put it , and became so nervousabout it
,that he han g ed himself ; after his death it was found . A
drawing of Queen Henrie tta,by Gibson , i s at Hampton Court . He
was sent to Hol land to instruct the Pri nces s Mary in drawi ng, andal so was honored by be ing the teacher of Queen Anne .
G ib so n , Jo hn ,born near Conway , North Wales , 1 790; died at
Rome,1866 . When n ine years old , his parents wen t to Liverpool
with the i ntention of emigrat ing to the United S tate s . but thi s planwas abandoned
,and Gibson sent to school i n Liverpool . Before this
he had been in th e habit of drawing whatever he saw that pleasedhim . He now began to study th e print s i n the sh0p windows , andsold his l ittl e draw ings to h is fel low-pupils . He attrac ted the attent ion of a print-seller
,who lent him some studies and casts from the
antique . At fourteen he was apprenticed to a cabinet maker, but atth e end o f a year, he persuaded his employer to change his inden tures
,and was bound to a wood-carver . He soon made
.the ac
quaintance of Messrs . Francis, who had marble works, and afte r muchtro uble and negotiation with his master, he was agai n apprenticed tothe occupation which he had determined to follow. In modell ing ,drawing , and working in marble , he was truly happy , and made mostrapid improvement . After a few months he fell under the notice ofWil l iam Rosc oe , who became his friend and patron . From this timeunti l he was twenty-seven years old
,he remained i n Liverpool and
executed many busts , ha s-rel iefs , etc . He had improved hi s o ppo rtun i tie s , but th e y were smal l , and he greatly de sired to travel . In1 8 1 7 he went to London with a few letters of introduction
,and o h
tai ned several commissions . In September of th e same year he leftEngland for Ro me , where he arrived i n October . By means of aletter , he was presented to Canova , who took h im under hi s pro te ction and introduced him into his Acad .
, where he had an opportuni tyto draw from li fe . He had al so the advantage of associating withart ists, and li stening to conversations on art , i n which the mosttalen ted sculptors, such as Canova and T horwaldsen , were engaged.
In 1 8 1 9 he received hi s first commission from the Duke of Devonshire , whi ch was for a group of Mars and Cupid . From this t ime , headvanced steadily i n hi s profession , and was fully employed. Heli ved twenty-seven years in Rome , spending his summers principallyat Innsbruck . In 1 844 he went to Liverpool to superintend the plac
302 GIB SON GIMIGNANI.
and with ever new pleasure,avoiding ev il, and , with a calm soul .
making images,not fo r worship , but for th e love of the beaut iful .
The beaut iful ele vates us above the crowd in this world ; the ideal .
h i o h e r , yes higher stil l , to celest ial beauty , the fountain of al l . So c
r ate s said that outward be a u tv was th e sign of i nward ; in the l ife ofa man
,as in an image , every part should be beautiful .
”
The tribute sof respec t which were shown him , he thoroughly enjoyed ; and tho seof which any man might be proud , he received with a simplici ty ofself-respec t which added a higher worth to them . The fol lowing
are a portion of his work sMars and Cupid ; Chatsworth .
Psyche borne by Zephyrs ; Palaz z o To rlo n ia , Rome , and S .
I’c te rsbu rgh .
Hylas surpri sed by Nymphs ; National Gall .
Sleeping Shepherd Boy ; Mr. Lennox , N ew York .
Cupid disguised as a Shepherd ; often repeated ; Mr . Appleton ,Boston .
N arci ssus ; Royal Acad .
Portraits of the Queen ; Buck ingham Pal. and Osborne .
Sir Robert Peel : Westminster Abbey .
George S tephenson ; S . George ’s Hall , Liverpool .
Eighteen portrai t-busts , among which are those of Mrs. Jame sonand S ir Charle s L . Eastlake .
S ixteen bassi-rel iev i , mostly of mythological subjects , and s ix te enmonumental re liev i ; a large part of the las t are i n L ive rpdo l Cemete ry Chapel .Gillra y , Jam e s , born at. Lanark (1 75 7 This celebrated
caricaturist began l ife as a goldsmith , th e n ,ran away with a stroll ing
company of players, and at las t wen t through a course of study a t theRoyal Acad . His firs t caricatures were do ne about 1 7 79 , and heworked dil igently in thi s department of art until 1 8 1 1 . He left morethan 1 200 of these prints . He seiz ed upon every circumstance ofpoli tic s and manners which could be turned to rid icule , and in thi sart has had no rival . His intemperate habi ts u ndermined his heal th .
and induced an i nsan ity several years previous to his death . Therea re a few engravings of Gi llray
’s of subject s not caricatured,of which
the impressions are rare .
G i lpin , S aw re y , born at Carl i sle (1 733 An animal andlandscape painter, who painted whole pictures by h imself , but wasalso accustomed to work in conj unction w ith Barret , who painted thelandscapes for Gilpin’s an imals
,wh i ch the latter repaid by painti ng
animal s i n the picture s of Barret.G im i gn a n i , Gi a c in t o , born at Pisto ja (1 6 1 1 A disci ple
of Pietro da Cortona . He assisted Carlo Ma ratti , at th e Lateran .
i n Rome . A pic ture of hi s in the Due al Gal l . , at Florence , h asbeen attri buted to Guerc ino . His work s are a l so at the Palaz zo N ic
GIMIGNANI GIORDANO. 303
colin i,Florence ; i n S . Giovann i at Pisto ja , and in other churche s of
Italy.
G io rdan o , L uc a , born at Naples (1 632 Pupil of Ribera ,called Il Spagno le tto . He went to Rome while stil l young, and wa semployed by Pietro da Cortona. His fac ili ty of execution was marvellons . He made copies from variou s masters , and his style became amixture o fal l . This was greatly to his disadvantage . Hi s father
,who
had always been very poor, followed him to Rome , urged him to hastefor the sake of money, and was accustomed to repeat to him Luca .
fa presto, by which appel lat ion he i s k nown . In 1 690 h e was inv ited to Spain , where he executed a vast amount of work for Charle sH.
,i n the Escorial and elsewhere . He returned to Naples with
much weal th and a great reputation . His work s are very numerous ,and varied i n style . They are i n al l l arge galleries . Perhaps hismasterpiece i s the Expulsion of the Fallen Angels ,” i n the Belvedere
,Vienna , signed Jo rda na s, F . 1 666 . Giorda no pa i nted equally
well i n oil and fresco,and is at times remarkable for beauty , glow of
color , and dramatic effect , but sacrificed so much to hasty finish thati t i s painful to see what he has done and feel how much less i t is thanwhat he might have done . He also left some very spirited etchings ,executed with free and masterly touch .
ENGRAVINGS A FTER LUCA G I OR DANO .
Engraver , AVELIN E , Peter . The Death of Seneca .
Engra ver , B EA UVAR LET , James Firmin . Lot and hisSusanna and the Elders . Perseus combating Phineus.Galatea . Judgment of Pari s . Rape of Europa . Rapebines .Engra ver , DEN N EL , Louis . Triumph of Galatea .
Engra ver , EA R L OM ,Richard . Galatea. Judgment of Paris .
Engra ve r , EREDI , Benedetto . Death of Lucretia .
F rom h is own designs, engra ved by h im self.
El i j ah call ing down F ire on the Priests of-Baal .
Virgin and Child .
SS . Joseph and John .
Penitent Magdalene .
The W'
oman taken in Adul tery.
Chri st in the Temple with the Doc tors .S. Anne received into Heaven by the Virgi n .
Engra ve r, MAN N L or MAENN L , Jacob . Martyrdom of S . Bartholomew . Philosopher meditating on a Skull . A Geometric ian .
Engra ver , RAVENET , Simon Francis . Sopho nisba receiv ing theN uptial Present .l u ng/ra ver, SORN IQUE, Dominick . The Rape of the Sabines .Engrave r , VAS SEUR , John Charle s Le .
-Apollo and Daphne .
304 GIORDANO GIORGIONE.
Engra ve r, ‘VAGN PZR , Joseph . Meet ing of Jacob and Rachel .Rebecca receiving th e presents from El iez er .
Engra ve r , ZL‘
CCHI, Lorenz o. David with the Head of Goliath .
G i o rgi o n e ,real name Giorgio B a rbare lli , bo rn at Ca stel franco
(14 7 7 Th e first Venetian who cast o ff the B e lline squ e ruleand handled brush and colors freel y . Grimm says , His outl inesdisappear into something almost unessent ial . As when l iving beingsapproach us , we only se e colors and movement , so i n his pictures ;there i s none of th e fixed , statue-like appearance ; the l iv ing , movingcharac ter alone seems produced by magic .
” Thi s artist h ad greatpersonal beauty , and a dign ified deportment . Giorgione mean sGeorge th e Great , and he acquired this name on account of his ta l l ,noble figure . He had also an inte nse love of beauty ; he was a goo dlute player, and composed songs which he sung ; in short, his naturewas ful l of harmony and sentiment . This shows itself plai nly i n hiswork s
,andMrs. Jameson says, “ If Raphael be the Shakespeare , then
Giorgione may be styled the Byron of pain ting.
” Very l ittle i s k nownof his life . The Venetian tradi tions give the following : He wasfond of pleasure , but never‘ profliga te , a nd his love of his art wouldnot al low him long to neglect i t . Pietro L u z z o , a painter known asMorto da Feltri , l ived in the same house with Giorgione , where wasa l so a girl whom he passionately loved . He made Morto hi s co nfi
dant,of which he took advan tage to seduce a nd carr y o ff th e girl .
Giorgione never recovered from th e double grief caused by the fa ithlessness of his mi stress and his friend , and sank into a despondentstate of mind
,i n which he died . Morto fled from Venice
,entered
the army,and was killed at the battle of Zara , 1 5 1 9 . Giorgione was
much employed i n decorative pai nting , and worked with Titian onthe Fo ndacho dei Tedeschi , at Venice . He had great influence uponTitian . If any of the fre scoes of Giorgione remain i n Venice , theyare but parts of pic ture s . The dampness of the c limate , fire s , andth e effect of t ime have e ifaced them . His pic ture s are rare , and i ti s difficult to give a li st of them ,
for there have been so many differe nce s of opinion among the be s t j udges , concern ing the genuinenessof those assigned to him , that few remain upon which no doubt hasbeen thrown . He painted bu t few historical subjects . Among thework s acknowledged as his , th e first place should be given to anal tar-piece in the ch . at Castelfranco . It represents the Virgin andChild between SS . Franci s and L iberale . A study in oi l for thefigure of S . Liberale i s i n the N ational Gal l . This altar-piece wasexecuted before 1 504 . In the Belvedere Gall . at Vienna , there i s apicture called the Chaldean Sage s ,
” i n which a company of astro nom e rs study the heavens . In the Ma nfrin i Pal . , Venice , i s theso -cal led Family of Giorgione .
” Be the subjec t what i t may,i t i s
an exquisite picture in which the pai nte r succeeded in throwing greatinterest in to a s imple and natural arrangement of common obj ect s .
306 GIOTTINO GIO'I‘TO.
Gi o tt i n o . Vasari call s th e name of this painter Tommaso diS tefano called Gio ttino , and sa y s he was born in 1 324 . The onlywork remaining of those assigned to h im i s the chapel of S . Sil
ve stro i n Santa Croce in Florence , i n which i s a series of picturesi llustrating the legend of S . Sylvester . These are wel l composed , thedrawing i s firm
,the movement anima ted , the heads indiv idual , and
the color warm and clear . There are other pic tures at Assisi andin Florence
,i n the same manner as these , but not known to be by
the same master .Gi o tt o di B o rdo n e , born at Vespignano (1276 I t i s a
cu stom to cal l Cimabue the father of modern painti ng , and i t i s truei n the sense that he discovered the geni us of Giotto and placed himwhere i t could benefi t the world . Cimabue’s pictures are i n theByz antine manner , but Giotto drew hi s inspiration from nature, andseems almost an opposite to Cimabue rather than a follower of his .When tending hi s flock , Giotto was accustomed to draw on the large ,flat stones, and while thus e mployed , Cimabue came upon him ,
wasfi lled with admiration of hi s work , and obtained th e con sent of hisfather to his taking him to be his pupil . Giotto became a painter
,
sc ulptor , and architect . His principal work s were his fresco pain tings , which were i n most of the large c ities of Italy . The Bel ltower of Santa Maria del Fiore i s hi s most famous archi tecturalmonument . He did not l ive to see i t fini shed
,but he left a perfect
model fo r i t , wh i ch was largely , though not ent irely fo l lowed i n itsconstruction ; for before i t was completed th e Gothic pyramidal spirewhich he had used was no longer admired , a nd had , i n fact, com e tobe regarded with contempt . But the main construction , the s torie s ,th e windows, th e sculptured ornamen ts are his plan , and “ form amatchles s whole .
”Giotto was th e friend of Dan te , and i t i s most
reasonable to bel ieve that much of what appears original i n the conceptio n and treatment
“of hi s subjects was derived from his intercoursewith the great poe t , and the ideas he received from him . Dante ’sportrait , which he painted on th e wal l of th e palace of th e Podesta atFlorence, and which has been restored to the world, i s one of h i smost famous work s , and in spi te of it s de struction and restoration i ti s full of wondrous power. t i s smal l pictures there are twenty i nthe F lorentine Acad . , two i n Berl in , and four others i n private collections , which orig inal ly formed a series of twe n ty f-s ix
,i l lus trative
of the l ives of Christ and S . Franci s i n reference to each other ; orrepre sen ting circumstances i n the two l ives which seem to have a certain l ikene ss in them . Fo r exemple , opposite to th e Incredul ity ofS . Thomas,” i n the Life of Chri st, he places a picture of S . Franci son a bier , while a piou s disciple examines th e mark s of the St igmata .
‘
A div ided al tar-piece i s i n the Brera of M i lan and the Gal l . of B 0logna . Some pictures on wood are i n the Sacristy of S . Peter's atRo me , and in the vestibule of that basi li ca i s h is mosaic , cal led the
GIOTTO . 307
Navicella . This has been changed from its original place , andhas be en often inj ured and restored
,until it i s probable that
. no partof the original work remains , but the design i s that of Giotto . Hislarge fresc oe s were i n serie s . T hose in the Carmine at Florence weredestroyed by fire in 1 7 7 1 , but there are engravings o f them . In thech . of Santa Croce, a Coronation of the Virgin ,
” and the “ Las tSupper ,
" i n the refectory,sti l l remain . I n Padua , i n the chapel of
the Madonna dell’ Arena, he painted the Life of the Virgin in fortytwo d ifferent pic ture s . In the lower ch . at Assi si , he repre sentedscenes from the Life of S . Francis . In the Incoronata at Naples hepainted the Seven Sacraments, which are very wel l prese rved .
Hi s sculptures and rel iefs, both upon the bel l-tower, and i n th e
facade of the Duomo , were al so arranged in cycle s . In order to form
FIGURE OF JOHN ABOUT THKO‘V H IMSELF ON THE BODY OF CHRIST.
B Y G IOTTO.
From the pai nting in S. Maria del l’Arena, Padua .
a correc t j udgment of the works of Giotto , one must always keep inmind the time i n which he li ved , and the opportunities he had forstudy. Then it wil l be felt that he was eminent i n hi s compos ition , design , and color , and that he gave a wonderful impetus to arti n various direc tions . So me o f his fol lowers devote d themselves toform , some to color, some to rel ief, and thus each branch progressed,until i n Raphael the different parts were agai n united in a compara tive ly perfect manner. The work s o f Giotto were so numerous thatit would be impossible in such an account as thi s to even mentionall of them , but it should not be forgotten that one of his m ostoriginal conceptions was that of the crucifix . Before h im there hadbe en two representations. In one Chri st was erec t and al ive on thecross , held by the nail s . In the other every effort was made to depict simple physical agony
,the effect being that of vulgar real ism
only. Giotto made more perfect anatomical proportions, and gave up
308 GIOTTO GIRARDON .
the dreadful co n to rtio ri s while he still i ndicated pain ; he gave theexpression of suffering to the head , and to the face tenderness, abne
ga tio n , and heavenly resignation . In truth i t would be a diffi cul tta sk to paint a be tter type o f cruc ifix than that of this master . Two
o f his cruc ifixe s are i n S . Marco , and i n the Gondi Din i chapel , inOgni ssanti
,at F lorence ; another at S . Fel ici ta i s al so ascribed to
him,but wi th less certain ty . At the t ime of his death , Giotto had
been archi tec t and maste r o f S . Maria del F iore two years . He w asburied there
,and afterward s a monument was erected to him upon
which his portrai t was carved by Benedet to da Maiano . There i smuch of interest in the l ife of Giotto , and i t i s to be regretted thatno more i s known of it. He l ived i n stormy times , when Guelf and
Ghibel l ine hate d and persecuted each other, t imes in which Dantemade enemies ; but Giotto, though free from mental slavery , independen t
,and j udging for himse lf, seems to have been so poised
towards al l humanity as to have impressed himself upon h is surroundings
,rather than to have s tirred up any bitternes s . His con
temporarie s acquiesced in hi s succe s s and fame , and hi s successorshave enlarged i t. Giotto was personally so ugly that his friends al lj oked about it
,but he was charming in conversation , witty , and
withal modest . He would not accept e ven the t itle of Magister ,”
al though in his day such honors were much coveted . There arevarious jokes and wittic isms attributed to h im , such as the fol lowing.
The king of N aple s asked him to paint his k i ngdom , and he drew asaddled ass smel li ng at another pack-saddle at his fee t . When th e
king asked him to explain , he said ,
“ S imply that the ass , yourk ingdom
,not satisfied with one royal saddle , i s a lways snuffi ng
around for another . There has been a s tory oft repeated , that inorder to pai nt hi s crucifi xes so well , he persuaded a m an to bebound to a cross for an hour for him to study, and that when he hadhim there he stabbe d him , and thus succeeded i n mak ing hi s finereprese ntation of the subjec t . His picture pleased the Pope so well ,that he would have i t for h is own chapel
,but when Giotto told him
al l the truth , and showed h im the dead man,the Pope threatened
him with death . Then Giotto brushed the pic ture over so that i tseemed to be erase d, which the Pope so regretted that he promisedforgiveness if i t were done again . Giotto exac ted the promi se inwriting, and then removed the wash with a wet sponge , and thecrucifix was as perfec t as before , and , according to trad ition , i s thatfrom which a ll famous cruc ifixe s were afterwards drawn . Giottoh ad a wife and eight children
,of whom nothing is known but that
France sco becam e a painter.Gi rardo n , Franco is . born at Troye s (1630 A reputable
sculptor who was assiste d in hi s s tudie s by Chancel lor Segu i e r.
Louis XIV. gave him a pension while he studied in Rome, and many
commissions afte r hi s return . He was finally advanced i n offi ce
3 10 GLOVER GOMEZ .
pic tu re s are highly finished,and become tediou s i f large , but hi s
small work s are pleasing , especially those cool i n color. His rockyscenery i s pretty
,and his v iews wel l selected .
Gly c o n . The Athenian who execu ted the Farne se Herculesi n the Mu s. at Naples . It represen ts Hercule s re sting on hi s c lubafter one of h is labors . The right hand is modern . It i s bel ieved tobe a copy of th e Herac le s of Lysippus, of which there are severalimitations
,but none so fine as thi s. It was found i n th e Baths of
Caracalla.Go b b o , P i e tro Pa o lo B o n z i , called I] (1580 The hunch
back of Cortona,and known as ll Gobbo da’ Frutti on account of hi s
pic ture s of fruit,i n which he exce l led . His work s are in th e finest
collections . He ornamented several Ro man palaces i n fresco .
Go e b o uw or Go b a u , A n th o ny , born at Antwerp (1625I l i s be st pictures are merry-mak ings , and subj ects l ike those of Ten iers . He al so painted landscape s , sea-ports , and battle-fie lds afterthe conflic t ; the latter with such truth as to reach the horrible . Ilispicture s are much admired in h is own country .
Go e s , Hu go Van de r, born at Bru ges (1 405 —1480 It i s saidthat h e was a scholar of Jan Van Eyck , and a distingui shed painte r .Many of h is ,
wo rks peri shed by the hands of the Dutch and FlemishIconoc lasts . About fifty pic ture s are now attributed to him , but
there is l i ttle certainty about many of them . A large altar-piece i nthe choir of S . Maria Nuova , at Florence , i s undoubtedly hi s work ,and a portrai t of his i s i n the Pitti Pal . The Mun ich Gall. has aS . John in the Wi lderne ss,” signed H . V. D. Goe s , 14 72. I t i s
delicate ly finished . There are no others that can be positively givento him . He retired , late in li fe, to the conven t of Rooden , nearBrussel s
,where he died.
Go ltz i u s , He inri ch (1558 A distinguished e u
graver . He left a great many plates — more than 500.
The se which imitated Albert Dii re r and Lucas VanLeyden are th e most succe ssful . His own portrai t. i s a masterpiece o f engraving. He v isi ted Italy and became enamored of thework s of M ichae l Angelo
,and in h i s attempts to imitate him , he
made some very distorted pictures. Late i n l ife b e commenced topaint , but hi s works were fe w and much inferior to his plates . HisCircumcision ,
" i n the manner of Durer , and hi s Adoration of theKings ,
” i n that of Lucas Van Leyden , are very celebrated engravings,and indeed , all his plates are much esteemed by intel l igent collec tors .Some of his pain tings are i n the Imperial Gal l . at Vienna .
Go m e z , S e b asti an , was th e mulatto slave o f Muri llo , and practised pai nting secre tly , unti l at length he so perfec ted himself, thathe ventured one day , to pain t the head of a Virgi n whi ch his maste rhad sketched and left on hi s easel . Muril lo promoted Gomez , andwas happy in the thought that he had made him a painter. His
GOMEZ GOYA . 31 1
picture s were ful l of faults,but his color was much l ike that of h is
master. In the Mu s. o f Sev i lle , there are two pictures by Gomez ,representing SS . Anne and Joseph , and the Virgin appearing to S.
Do m in ic . He (l ied soon after his master , i n 1 682.
Go ndo la ch , M a tth aus . Thi s painter se ttled in Augsburg , anddied in 1 653 . He married the widow of Joseph Heinz , and succe eded that arti st i n the favor o f Rudolph II . He painted small pictures on copper in the manner of Heinz , some of which are in theGall . of Vienna .
Go o d, T. S . Painted very pretty smal l i nteriors with fi gures , andother similar subjects .Go o ], Jo h n Va n , born at th e Hague (1 685 He painted
landscape s and an imals indifferently wel l , and was a writer on a rt.
Go rtz i u s , Gu aldo rp, cal led Gcldo rp, born at Louvai n (1 553Pupi l o f Frans Franck , th e Elder, and Frans Fourbus, the
Elder . He set tled i n Cologne , and a few o f his work s are preservedthere . His portrai ts are better than his hi storical pic tures .G o ssa e rt . Se e Mabuse .
G o u dt , He n ry , Co u n t de , born at Utrecht, 1 585 . This amateurengraver was a Count of the Palatinate, and the be nefactor of AdamEl sheimer. He bought some of th e work s of the latter , and engravedthem i n a manner quite h is own . They are powerful i n effect, correc t i n drawing
,and some of them are very beautiful . Some of hi s
prints are scarce .
Go u j o n , Je an . French sculptor. He was much employed in thetime of Franc i s I . He was al so an architect and medal engraver.He made a me dal for Catherine de ’Medic i which is curious and rare .He peri shed in the massac re of S . Bartholomew , being shot while ona scaffold carving a ri/ievo at the Louvre . Many of his work s arepreserved i n d ifferent parts of France . In th e Ma sc
'
e des MonumentsFrancais , there are some has-rel iefs, which are good spec imens of hisstyle .
G o y a y L u c i e n te s, Fran c isc o , born at Fuente de Todos, 1 746 ;died at Bordeaux , 1828 . S tudied some years in Rome and returnedto Madrid , where he attracted the attention of Mengs . He becamea favorite i n fashionable socie ty , and l ived i n good style at a fine v illanear Madrid . Charles IV. appointed him painter in ordinary
,i n
1 78 9 . He painted pic tures of rel igiou s subjects,and portrai ts ; and
found continual employment among the nobil ity. But hi s chief exce lle nce was that of a satiri s t with the pencil . He m ay be cal led theHogarth o f Spai n . He parodied the religious pictures , and paintedpries ts i n the form o f asse s or apes , and was never weary of mak ingthe Jeronymite and Franciscan friars ridiculou s . He painted withdashing boldness , and as often used a sponge or st ick as the brush .
He sometimes executed an entire piece with his pale tte -knife , andput i n th e deli cate tou ches of sentiment with hi s thumb . He was
3 12 GOYA GRAFF .
sk ilful i n the use o f the graver , and publ ished e ighty pri nts whi chhe called Capricho s . These attai ned great celebrity . They weresatir ical representations of the Span ish customs of law , physic , thepulpit
, th e cloi ster , etc . He was al so th e author of a series ofsketches of the French Invasion , i n which he repre sented i n th e mostexaggerated manner the hanging of c itiz ens , the shooting o f prisoners ,and sack ing of convents . Besides these , he publ ished thirty-threeprint s of scenes in the Bull-Ring ; and etchings of some of the work sof Velasquez .
In th e Gall . of th e Queen of Spain are the portrait sof Charle s IV. and his Queen , by Goya. The N ational Mus . has apic ture of two dark-eyed Spanish ladies , with fans and manti llas ;and the Louvre a full length portrai t of the Duchess o f Alba .
Go y e n , Ja n Van ,born at Leyden (15 96 The work s of
thi s landscape painter are not o f great merit , but he is worthy ofnotice as havi ng introduced a new manner of treating nature amongthe arti sts of his country, which was afterward s very generallyadopted . His characteri stic s were truthfulness and a light and e a sv
pencill ing .
Go z z o li , B e n o z z o . Real name Benoz z o di Lese di Sandro . Apupil and assistan t of Fra Angel ico (1424— 1496 Remarkable forthe great amount of work he did , and the number of his pictures remaining
,rather than for wonderful talents . He had an influence
upon Umbrian art which adds to h is importance . “i s industry wasmarvel lous
,and he excelled in a sort of aptitude which enabled him to
seiz e and appl y different ideas and elements collected from the worksof various masters . He also possessed a somewhat extravagan t fancy.
He painted for churches in various c itie s of Ital y , and many of hiswork s rema i n , but the mos t important are those i n the Campo Santoat Pisa . These were twenty-four i n number, and are in good preservation
,with th e except ion of two or three . He was oc cupied sixteen
years in thi s work . The Pisans presented him with a tomb directlyunder these pictures , where his own work s were an appropriate monum e nt . He seems to have had an overpoweri ng sense of beau ty . Hewas th e first to represent backgrounds rich with citie s , rivers , tree s,bold rock s , and cultivated fields . He introduced all k inds of animalswherever he had room . If hi s scene i s i nterior or archi tec tural , i t i sof the richest k ind , and his color added to the richness, as did also thegilding and embroidery which often exceeded goo d taste . Hissmal ler works are rare . In the Louvre i s
'
a pic ture of S . ThomasAquinas ; i t i s the most va l uable of his panel pai n tings . The Acad .
of Pisa has two of his work s , and the N ational Gall . two , an e n~
throned Virgin and Child,” and the Rape of Helen .
” It was acustom with this artis t to i ntroduce the portraits of hi s friends intohis pictures, and some of them are excellen t .Graft
“
,An to n 1 736 He resided at Augsburg and Dresden,and was one of the be st portrai t pain t ers of his time . He had an ap
314 GRANACCI GREEB ER .
Grana c c i , Fra n c esc o , born at Florence (1469 A fellowpupi l wi th M ichae l Angelo in th e atel ier o f the Ghi rl anda i. Hisfondness for M ichael Angelo was great and endured for many years.In 1 489 Lo renz o de ’ Medic i de sire d to have some pupils trai ned forsculptors
,and consulte d Domenico Ghi rlandaio upon the subject .
Granac ci and Michael Angelo were selec t ed by the latter as hi s be stpupil s
,and placed under i nstruc tion . Granacc i soon proved himse lf
be t ter fitte d fo r a draughtsman , and was constantly employed byLorenzo in the festiv i ti es with which he was accus tomed to am usethe Florentines . He was a. good-tempered . congen ia l man , andalways ready to acknowledge and admire superiority i n others . Hewas assoc ia ted wi th the be st maste rs of his age . For many years hi sstyle showed hi s devotion to Michael Angelo , and an attempt to imita te him ; later he studied and imi ta ted Raphael , and sometimes seemsal so to have Fra Bartolommeo for hi s model . In 1508 , when Michae lAngelo sent to Florence for ar ti s ts to assi st him in th e S ix t ine chapel
,
Granacc i was prominent among those who went to Rome . But theexperiment fai led , and when the great master was convinced tha t hecould not employ assi s ta nts, he locked th e door s of the chape l andhis house against them , and they returned to Florence . This wassevere treatment fo r an old friend lik e Gra nacc i , and from tha t timehe ceased to show in hi s works his a l legiance to Michae l Angelo .
His remaining picture s are seen i n the var ious Florentine collecti on s,at Berl in , Munich , and i n a few Engli sh galleries .Gran di , B rc o le , called Ercole da Ferrara , born at Ferrara (1491
l’upil of Lorenz o Costa , and an unimpo rta nt pai nter.Grandi . B rc o le R o b e rt i . According to Crowe and Cavalcase lle ,
th is Grandi was a pupil of Mantegna , and th e pai n ter of th e Garga ne lli frescoe s at Bologna , whi ch Vasari says were much prai sed byM ichael Angelo . There are work s attributed to him in the DresdenGal l . , the Liverpool Institution , and the Gal l . of Modena .
Gran e t , Franco is M a uri c e . born at A ix (1 7 75 A finea rchi tectural pai nter. He l ived much at Ro me . He was a memberof the Inst i tute . This i s the hi ghest honor for men of cul ture inFrance , and but fourteen pain te rs are admitted i n the divi sion of theBeaux Arts . His interiors are remarkable for their effec ts o f lightand shade . He left hi s large fortune to found an Art Mus . i n hi snative town One of his pictures i s i n .th e Ro yal Col l . of Engla nd ,and cost £800 sterl i ng . The Interior of the eh . o f S . Francis
, at
Assisi ,” i s a fine spe cimen of hi s style
,and is i n the Louvre
.
Gra z i an i , B rc o le , bo rn at Bologna (1 688 A reputablearti s t, whose ass iduity was such that th e number of hi s works was
sim ply prodigious . Many of them remain in th e churches and publicedi fices of B olo gna and Pi acenz a .
Gre b b e r, Pi e te r .(13 , born at Hae rlem (1590- 1 656 Pupil of
Henry Go ltz i us. He was older tha n Rembrandt,but he adopted hi s
GREEB ER GREENOUGH. 3 15
style . His work s are i n the col lections of Holland, especially atHa e rlem . He left several engrav ings . An etchi ng of Christ andthe Woman of Samaria i s very spirited .
Grefi'
, Je ro m e . An engraver of Frankfort who flo uri sh ed abo ut 1 520. He copied the wood-cuts of AlbertDurer
,and hi s set after those o f that arti st of the
Apocalypse of S . John , are very finely executed,
and the same siz e o f the originals . He was a l so called Jerome vonFranckfo rt .
Gre e n , Va le n tin e , born in Warwickshire (1 739—1 Aneminent mez z otin t engraver. In hi s l ine he has rarely bee n equalled .
The number of his work s is large , nearly 400. They embrace sub
je c ts o f almost every k ind .
Gre e n o ugh , Ho ra ti o , born i n Boston, U . S . A . (1 805His tas te for the life of a sculptor was apparent while he was stilla mere ch ild . He h ad a fine intellec t , and entered Harvard Universi ty at sixteen . During hi s college li fe he was constantly in famil iarin tercourse w ith Washington Allston . He went to Italy j ust beforethe end of his col legiate course . Before this he had made the planfor the exterior o f Bunker Hil l Monume nt which was accepte d . Herose rapidly to his place among sculptor s. He was the firs t American who executed a group in marble . Thi s was done for our novc l i s t , Cooper , and was exhibited i n America. It was called theChanting Cherubs
,
” and was , no doubt , the means of his re ce ivi ng the commission for the s tatue of Washington for the Capitolhi s group called The Rescue is al so at the Capi tol
,and is i ntended
to illu strate the struggle between the Anglo-Saxon race s and theAborigines . His ideal subje ctsnve re very beautiful , and speak moreful ly of th e qual ity of the mind whi ch conceived them than wordscould po ssibly do . His Medora ,
” il lustrating Byron ’s descriptionof th e Corsair’s bride , i s one o f his most charming works. He h ada favorite greyhound , and a representation of i t was for years inthe l ibrary of Edward Everett , who was hi s faithful friend andadmirer . He lived many years at Florence . In 185 1 he returnedto America. Enthusiasti c for art , a consistent republican pol itically ,a cul tured scholar and wri ter , a large-hearted man and friend, b eantic ipated a h appy l ife here . But his health soon failed . I t wasthen that he wrote , I am arrived at that m ezz o del camm in , thathalf-way house , where a man sees , or thinks h e sees , both ways . Ifmy head is not white , i t i s whiten ing. I be gin to love to si t aloneto look upon the sk ie s, the water , and the soft green — the face ofthe mighty mother ! I fee l that she thus sweetly smile s on me , moresweetly than formerly , because she means to cal l me home to herown bosom . I would not pass away and not leave a s ign that I , forone , bo rn by the grace of God i n thi s land , found l ife a cheerfulthi ng, and not that sad and dreadful task with whose prospec t they
3 16 GREENOUGH ORIHOU .
scared my youth .
” His last summer was spen t at Newport , i n del ightful soc ial intercourse with his family and friends , and there hedied . December 18 ,Gre u z e , Je an -B apti st e , born at Tournu s, near Macon (1 725
Pupil of Gro mdo n . A portrait and genre painter. Heespec ially excel led in painting beauti fu l women and lovely ch ildren .
l l i s works now command enormous prices . A Young Mother andher Children at Buckingham Pal . i s a fine work of his
,and th e
Louvre has several of his most noted picture s . In some respects hewas a very able art ist , but he was also mannered ; and his m ostbeautiful female heads are affec ted and sometimes extravagant . I l i smost pleasing subjects are his single heads of y oung girl s and chil(lre n . His color i s very agreeable , and while he never painted thinly,but with considerable impasto , his works are sometimes as del icatelyfin ished as if done on i vory. He pai n ted some male portraits whichpossess considerable meri t .G ri e n or Gri in . Se e B aldung.
Gri fi i e r, Je a n , born at Amsterdam (1 656- 1 720 Pupil o f
Roland B ogman , and i t i s bel ieved al so of Phil ip \Vo u vcrm ans. Hewas
,however , an imitator of Herm an n Saftle ve n . His
.
works areattractive
,picturesque i n design , tender i n execut ion , and del icate i n
finish . They may be seen i n th e Amsterdam Mu s., the Dresden
Gal l ., and Berl in Mus . His son , Robert Gri ffie r, was born i n London
,where his father resided for some years (1 688 His
pic ture s are chiefly Rhine v iews , and are much esteemed in Hol la nd .
Gri m aldi , G i o . F ran c e sc o , called Il Bolognese , born at Bologna
(1606 A disc iple of the Carracci . His landscape s are grandand imposing, and sometimes very finely colored ; but they are notequal i n excellence , nor uniform in style , fo r some of his work s aremore l ike Poussin than l ike the Carracci ; and his figures are sometimes classical , and again i n the homely s tyle of the Dutch pai nters .He was of a generous disposition , and the followi ng story is told ofhim . A Sic il ian nobleman , who had been ex iled from his country ,l i ved with hi s daughter , i n great poverty , directly opposite to Grimaldi in Rome . He pitied them and desired to assi s t them wi thoutmortifying the ir pride . He went therefore after dark and knockedat the ir door, and when i t was opened threw i n a wel l fi lled purse ,and ran away . This he repeated unti l the nobleman caught him inthe ac t , and overwhelmed him with thank s . Grimaldi then tookthe exile s to his own house and cared for them many years . Ase ri e s of Grimald i s work s i s i n th e Borghese Gall . , at Rome , and a
good picture by him is i n the Berl in Mus. Grimaldi was an e n
graver , and left some good e tchings, and al so many pen drawings ,some of whi ch Bartoloz z i has engraved .
Grim o u , Grim o ux, or Grim o u d, A le x i s , born in the Swiss cantonof Friburg (1 680 He i s said to have instruc te d himse lf by
318 GUARD I GUERCINO.
have countle ss figure s, gondolas, etc ., all of which show a certain
raggedness of execution , while h is sharp touches of li ght and brightcolors give spiri t and sparkli ng cfl
'
e ct. Many of his sk ie s are toosombr e to be agreeable .
Gu e rc i n o . So called from having a squint ; real name Gio . Fra nce sco Barbieri . Born at Cento, near B ologna (1590 Hemay be said to have been largely self-ta u frh t . He was fa ithful tonature
,and h is work s are l ife-l ike and bri lliant i n color
,but some
times very heavy ia the shadows o f the flesh . His earlier work s havea power wh ich he afterward s lost, and hi s later style i s e ffem ina tc
and shallow . In the Vi l la L udo visi at Rome , there i s an Auroraby hi m ; i n the Spada Pal . , a picture of the Las t Moments ofDido ; and in the Capitol the famous S . Petronilla ,” i n which theSaint i s be ing raised from her tomb to be shown to Flaccu s, her hetrothed . In Bologna Gal l . , a S . Wil l iam o f Aquitaine
,
” and the“ Virgin appearing to S . Bruno
,
”a re remarkable ; his work s are
seen in almost al l large European gal leries . A small Dead Chri st ,”
i n the N ational Gal l . , i s a specimen of his better style . His work sare very numerou s , are much esteemed , and command good pri ces .He al so left an immense number o f drawi ngs, many of which wereengraved by Bartoloz z i . He painted 25
_
O large picture s besides hisfre scoe s and numerous smal ler works
,many of which are in private
col lections .
ENGRAVINGS A FTER GUERCINO .
Engra ver, B LOEMAERT, Cornel ius . S. Peter rai sing Tabi tha fromthe Dead ; be st plate of th is master.Engra ver, CARMONA , Emanuel Salvador . Angel s appearing to
Magdalene .
Engra ver, CONEGO , Domen ico. The Prod igal So n . Ri naldo andArmida .
Engra ve r , DOR lGN Y , Sir N icholas . S . Petron il la .
Engra ve r , DUNKA RTON , Robert. Chris t at Emmaus . Four sub
j e c ts from the Life of Joseph .
Engra rer , EAR LOM , Richard . Holy Family . VirginEngra ver , FA LCK , Jeremiah . Concert of Music .
Engra ve r , THEY , James . D eath of S . Petronil la.
F rom h is own Designs.
S . Anthony of Pa dua ; half le ngth. Jo a n Fr.
S . John ; same mark .
S . Peter ; Joa n E. B a rbieri , f .
S . Jerome with a Cru cifix ; same mark .
Bust of a Ma n with a Cap and Beard.
Bust of a Woman .
Bust o f a Man i n Oriental Dre ss.
8 . Pm no xm nx. BY Gu a ncu o.
In the Capito l , Rom e .
322 HAANSB ERGEN HAL LER .
portraits princ ipally ; hi s other work s were small cabinet pic tures inthe style of Po e lembu r
g.
Ha ar l em , Co rn e li s Van . Se e Corne li sse r.
H a arlem , D e e ri ck Van . Se e Stu e rbo u t .
Ha cka e rt , Jan ,born at Amsterdam about 1 6 36 . Th e landscapes
o f thi s artis t are ve rv highly e steemed . He excelled i n his effec t ofsunshine , and the representat ion o f i t shini ng through tree s was hisforte . He fai led i n figures , and other arti sts suppl ied them for him .
His mountain v iews are attrac tive , but h is Dutch v iews are the best.His work s are in the Berlin , Dresden , Munich , and Amsterdam galle i-ic s, and a few good specimen s are i n England . He al so le ft sixetchings
,which are much inferior to his paintings i n executi on and
cxc eHe ncc .
B a c h e rt , Ja c o b Ph i li p, born at Pre nz low (1 73 7 This art ist resided many years at the court of N aple s u nder most fortunatec ircumstance s . He painted many beautiful v iews of Italian scenery ,which are well con sidered . He used both oil and water colors . Hisfinish i s extreme and careful , almos t as if hi s picture s were on ivory .
His outli ne s are very sharp and prec ise , and his colors brillian t . Hisforegrounds have many smal l object s finished with great labor.These detrac t from the force o f his work . He left a great numberof drawings i n bistre and sepia .
Ha ge n , Jan Van de r, born at the Hague (1 635 Thelandscapes by this artist have suffered from deterioration of color
,
caused by his use of Haarlem blue , which was i n vogue i n hi sday. They are well composed . He frequently represented a riveri n which the houses and trees on th e bank were reflec ted , and menand animals gave animation to the scene . In the new Town Hall ofAmsterdam , there i s one of h is bes t work s , and another i s i n theMus . of the same ci ty . N o s. 1 88 and 189 i n the Louvre are al sohis .Ha i n z e lm an n , Eli a s , born at Augsburg (1 640 An e n
graver who studied with Franci s Poil ly and followed hi s manner.His portraits are his best plate s, and have much meri t.Halde nw a n g, Chri s ti an , born at Durlach (1 7 79 An emi
nent landscape engraver .Halle r , Jo h n , born at Inn sbruck (1 792 After l imited
study he entered th e Royal Acad . at Munich,where he soon
attrac ted the attention of the Crown Prince Lou is to his sk il l i nmodell ing . In 18 1 7 he received the commission for the colossalstatues i n th e n iches on the front of the Glyptothek . He execu tedal so a Child on a Dolphin ” i n sandstone
,and the caryat ides for
th e Ro yal box in the Royal Court and National Theatre . He thenreceived the commission for the statuary for the gable end of th eGlyptothek . This was to be done i n Rome . He went there andfirst finished two of the figures for th e front , made several busts and
HAL LER HAMILTON . 323
a small model fo r the gable end , but hi s heal th compelled him to re
turn home . Th e'
th e atre had been burned, and he again made th ecaryatide s, several bu st s of notable men , and three of the figures forthe gable
,when hi s health entirely fail ed , and he died in his thi rty
fifth year. He was a sculptor of great promise , and the works whichhe executed do h im much honor.Ha ls , Fran s , born at Mechlin (1584 Ve rv l i ttle i s known
of the l ife of th i s art i st , except that it was a merry one, and that hewas fond of drinking and good l iv ing . It i s said that Carl vanMander
,the Elder, was hi s master . His picture s are very unequal .
He is really of great im portance i n the Dutch school , for he was th efirst to i n troduce the free , bold treatmen t which later art ists m orefully deve loped. His fac ili ty of execution w as wonderful. He wasmuch accusto med to pain t laughing or gri nning faces . These arepleasi ng i n his fancy subjects , but quite the contrary i n portraits .His mode of l ife often exhausted hi s means , and he pain ted h u rriedlvto repleni sh his pur se . He painted large pictures of archers and civicguards . The best of these may be seen at Ha e rlem , in the Hotel deVil le ; and are spirited , energet ic , warm i n color , and happy in i ndividual ism . In an apartment of the Oude Man Huy s, a b en e vo le n t i nstitution , there are two other fine works of thi s class .The Munich Gal l . has an excel len t specimen of his family grou ps .His single portrait s are rare (li fe-siz e) , and hi s smal l, ge nre l ikework s sti ll more so . The Berl in Mu s. has two small portrai ts . Foranecdote of Hals , see Vandyck .
Ham i lt o n ,Ph i li p F e rdi n an d Vo n , born at Bru ssel s (1 664—1 7
A descendant of James Hamilton , who , i n Cromwell’s time
,went
from Scot land to Germany . Phi l ip Ferdinand was the best painterof th e many artist s of thi s name . His subj ects were those of th echase . His picture s may be be st observed in th e Vienna Gal l .T here i s one al so i n the Gal l. of Munich . Johann Georg VonHamilton , born at Brussel s (1 666 Brother of the preceding .
A painter of animal s of no great excel lence Hi s pictures are also atMunich and Vienna .
Ham i lt o n , G av i n , died 1 79 7 . Of Scotch descent , he re sidedmany years in Italy , and i s more noticeable for h is collections of ant iqu i tie s and his interest i n th e progress of art, than as a pa inter.He was a fini shed scholar . His subjects were class ical
,and by good
attention to costume and proprieties of deta il,he attained a respecta
ble place among the artists of his day . He publ ished a very i nteresti ng work
,with the purpose of showing the advancement of art , from
the days of Da Vinc i to those of the Carracci,with the title of the
Schola Itali ca Pictures.
”
Ham i lt o n , W i lli am , born in London , of Scotch parentage (1 751He resided some years i n Rome . After hi s return to Eng
land,he was engaged largely in the illustrat ion of book s . His
colored drawings were very fine .
324 HANNEMAN HEAD .
Han n em an , A dri an ,born at the Hague (1 6 1 1 He went
to England during the reign of Charle s I., and became an imitator
of Vandyck. There i s a portrait of Charles i n the Vienna Gall.,painted by Hanneman .
Hardin g,Ch e ste r (1 792 Born in N ew England ; hi s fam i lyremoved to Pennsylvania while he was stil l a boy . He commencedhis artistic career as a sign painter , but rose to the profession of portrai t painting wi th wonderful rapidity . He went to England , wherehe received much k indness from Lesl ie and Lawrence , and pain ted
th e portraits of several men of note . His portrait of Dan iel We b
ster is much esteemed,as well as other work s of hi s. His l ife was
full of adventure,and he wrote a sketch of i t for his children under
the ti tle of “ My Ego tisto graphy .
” It has been printed but notpubl ished .
H a rlo w , Ge o rge He n ry , born i n London (1 78 7 A goodportrai t painter . Pupil of Lawrence . He painte d some historicalsubjects of which the most celebrated i s the Trial of Queen Catherine
,
” the princ ipal figurcs being portrait s of the Kemble family .
Wh en i n Rome he made a copy of Raphael ’s Transfiguration ,” i n
eighteen day s . Through the i nfluence of Canova he was made amember of the Acad . of S . Luke .
Hartm an n , Jo h ann Jac o b , born i n Bohemia . Flourished about1 7 1 6 . In the Vienna Gall . are four landscape s by him ,
which repre
sent the Four Seasons .Ha y do n , B enj am in R o b e rt , born at Plymouth, England (1 786
This painter had an ambition to be con sidered the. source ofprogress to the art of h is country . He had inordin ate van ity, andbecam e disaffected with people and th i ngs, so that his life had muchof unhappiness . On the other hand he found some appreciative andfaithful frie nds, and from them received great k indness and assi stance , His principal works were Dentatus
,
”th e “ Judgment of
Solomon,” Christ’s Entry i nto Jerusalem
,
” the Rai sing of L azarus
,
” Nero watching th e Burning of Rome,
” the Bani shm entof Aristides ,
” etc . Towards the close of his l ife he was overcomewith pecun iary diffi cultie s , and greatly disappointed in not obta i n ingan order to pain t a fresco i n the new House of Parliament , and atlength , losing all hope , he took his own l ife i n his studio, where hewas pai n ting a large picture of Alfred the Great and the first Engli sh Jury .
”
Haym an n , Fra n c i s , born at Exeter , England (1 708 The
best works of this artist are his small portrait s i n gen re style . Thedress of his period and th e antique furni ture harmoniz ed and rendered his interiors very picturesque . His coloring was clear , notbright , and his finish careful and correc t in every part . His perspe ct ive was good and the accessorie s wel l managed .
He ad, Guy . An Engl ish painter whose chief works were copies
326 HEERE B ELMONT.
Jun o po te ns sce ptris, e t mentis acum ine Pallas,Et ro se o Veneris fu lge t in o re de co r ;Adfu i t El i sabeth : Juno pe rcu lsa re fugit ;
Ohstupu it Pa l la s, e ru h i <q Venus .
His small portraits and miniature s were del icate and well painte d .
He i l, Dan i e l v an , born at Brusse l s (160 1 He paintedlandscape s
, b u t changed to the representation of co nflagra tio ns,town s on fire , and kindred subject s , i n whi ch the bril liancy of effectwas surpri sing . He also painted winter scene s very wel l. JohnB aptist lIe i l was brother to the preceding . Born 1 609 . He paintedhistory and portra it s
,and was much employed in the churches of his
nat ive Brussel s . His portraits were good and many of them re
main in the Low Countrie s . Leo van Hei l , the younger brother ofthe fo rego in o was more of an archi tect than painter . li c etched a
a ,
plate after Rubens for his own amusement .He i ns ,
He in si u s , or Ens , Gi o s e fi o , Flo urish ed about 1 660 andworked in Venice . He painted capricc i which were so admired asto obtain fo r h im the appointment of Cheval ier of the Order of theCross from Urban VIII. Some of his work s which were brought toEngland are very curious . He executed a few more serious pictuAn altar-piece by him in the Ognis santi i s v ery beautiful .He in tsch , Jo h ann Ge o rg. Lived in Prague , died 1 7 1 3. His
heads of women and children are especially beauti ful, full of grace ,and expressive of purity and sweetness . There are three remarkableworks of his i n Prague , namely : Chris t Disputing in the Temple
,
”
in the Estate s Gal l . ; a standing figure of the Virgin , painted i n 1 696for the ch . of the Karlshof ‘ and Chri st a fter the Temptation , withAngel s mini stering to Him , .
in the Straho w Convent .He i n z , Jo seph (about 1 565 Pupil of Van Achen . He
was a favorite of the Emperor Rodolph H.
, who sent him to Rome tostudy. He thus modified his manner formed under Van Achen
,and
painted several mythological subj ects for the Emperor . Some of hi ssmaller work s are better than hi s larger ones . His pic tures are seento the best advantage i n the Vienna Gall .He lm b re cke r, Th e o do re , born at Haarl em (1 624 Pupil
of Peter Grebhe r. He studied i n Rome , and only returned to Holland for a short time
,preferring to live i n
'
Rome . His best work sare hi s ease l pictures of markets, fairs , and Roman v iews with groupsof poor people , monks di stributing food , alms ; etc . He was muchemployed by th e Jesuits i n Rome, and painted some of hi s be st pietures for them .
He lm o n t, M a tth ew v an , born at Brussel s (1 653 Pupilof David Teniers . I l i s subjects were li ke his master’s
, fairs, markets,and scenes fro m peasan t l ife . In the Aremberg Gall . there i s a largeFair scene by him , with numerous figures . Louis XIV . admired h imve ry much , and some of his be st works were executed fo r that k ing .
HELMOXT HERNANDEZ .
Ili s sen , Segrcs James van Helmont (1 683 pain ted history.
His work s are well considered,and are seen in several churche s i n
Brussels .He lst, B a rth o lo m e w Van de r, born at Amsterdam (1 6 1 3
One of the most renowned Dutch portrai t painters . S ir JoshuaReynolds said of h i s picture pai n ted to celebrate the peace of \Vestphalia , and representing an Archery Festival , This i s perhaps thefirst picture of portrai ts i n the world, comprehending more of thosequalities which make a perfec t portrai t than any other I have everseen
.
” His princ ipal works are i n the Gall . , and th e new He te l deVille
,of Amsterdam . N o . 1 9 7, Louvre , i s a smal l replica of one of
hi s finest works,and i s considered superior to th e large picture, which
is in Amsterdam .
H em e sse n , Ja n Van (about 1 500 A pupil or imitator ofQuentin Massys . His pictures have l ittle meri t , are v ulgar and disagreeable i n expression , hard in outli ne , and ugly i n color. Theymay be seen in the Munich and Vienna galleries .Hem lin g, Han s . Se e Memli ng.
Hem ske rk, M artin . Real name Martin van Veen .
Born at Hem ske rk(1 498—1 5 The remaining work s ofth i s painter a re not numerous, neither are they such as to
cau se regret of this fac t . He attempted to imitate M ichae l Angelo.but hi s manner i s repulsive
,hard , and mannered . At one time hi s
pictures were very popular in Holland , and some stil l remain at Delftand Haarlem . There i s one of his works i n the Berli n Mu s.
, andanother i n the Vienna Gal l .Hem ske rk, Egb e rt . There were two painters by th is name,
father and son . They painted th e same subj ects , drunken scene s anddrol l s , i nteriors of Dutch ale-houses with boors and the u sual aecom
pan ime n ts. There i s some meri t i n their works,but they have been
so much surpassed by Teniers and others,tha t they are held i n sma l l
e steem . These arti sts flourished i n the middle of th e 1 7th century .
H e ndreks W y b ran d, born at Amsterdam (1 744 Hepainted a vari ety of subj ects , but his best works are flower pieces anddead game , resembli ng those of lVe e n ix . All hi s pictures have conside rable meri t, and are seen i n fine colle ctions . I n the AmsterdamMu s. there i s a v iew of Haarlem
,by Hendrik s.
H e rle n , Fre de ri ck, died 1 49 1 . Thi s art ist i s impo rtant from thefac t that he carried the art of the Van Eyck school into upper Germany. He was an imi tato r , and his works so much resemble those ofRo gier van der “r
eyde n ,that i t i s probable the latter was his mas ter.
His ch ief works are in the churches of Nordlingen and Rothenburg
(on the Tauber) .
He rn an de z , Gre go ri o , born at Pontevedra , 1 566 ; di ed'
a t Valladoli d, 1 636 . An eminent sculpto r i n the re ign of Philip III. Henever quitted Valladol id after he went there to study , except when
328 HERNANDEZ HERRERA.
he wen t to Vittori a to execute a high-al tar in th e ch . of S . Miguel,
and to Plascenc ia for the same purpose . B o sa rte called him thesculptor of re ligion .
”Stirling cal l s h is stvle tender and graceful,
and hi s work s full of devotional feeli ng , and says , “ They seem tohave be e n exec uted under the influence of the same pious inspirationwhich warmed th e fancy of Juni , and gu ided the penc i l of Factor .
”
Many of his work s are i n the Mu s. of Valladol id, where, of course ,they lose much of the effect which they had when in th e chapel s forwhich they were designed . Hernandez was devout i n character, andaccustomed to works of charity , and ofte n prov ided decent burial forthe poor . A large has-rel ief o f the “
B aptism o f Christ,”
no w i n theMus .
,i s one of the finest specimens of Spani sh sculpture . The last
twenty years of hi s l ife he passed in the house where Jun i h ad l ived .
At hi s death hi s body was embalmed and buried , accord i ng to hi s wi ll,i n the monastery of the Carmen , where , in the principal chapel , h isportrai t hung many years .He rp , Ge rard v an , 1 604 . Pupil of Rubens , he painted moderate
s iz ed genre subject s . He was a good draughtsman and colori st .A picture of “ Monk s di stributing Bread , by Van Herp, i s i n th eNational Gall . , and other work s of hi s are in the Berli n Mus . andAremberg Gall .H e rre ra , F ra n c i sc o de , the Elder , bo rn at Sev ille (1 5 76
Pupil of L u i s Fernandez , but he adopted not the styl e of any otherpai nter ; he was original , and probably th e most remarkable arti stwho studied in Andalusia only . He had no timidity, used largebrushes , la id on color i n masse s , and produced v igorous and effec tiveresult s . Hi s v iolent tcmpcr
'
dro ve away hi s children and pupil s . Hecould engrave on bronz e , and made false coins . “Wh e n hi s fo r
g
erie s were detected, he took refuge with the Jesu i ts . While i ntheir convent he painted the story of S . He rme ngi ld,
one of thepatron sai nt s of Sevil le . When Phil ip IV . saw it he gave him hisliberty . His picture of S . Basil i s i n the Mus . of Sev ille, and hisLast Judgment hangs i n its original place in the ch . of S . Ber
na rd . In 1 650 Herrera went to Madrid and found Velasquez , oneof h is ru naway pupils , i n great favor there .
He rre ra , Fran c i sc o de , th e Younger, born at Sev ille (1 622So n and pupi l of the preceding . He pas sed six years in
Italy and became a very fine painter . He w as as ill-tempered ashis father , and very j ealous . IIe sometimes pa inted hi s name onhis picture s on a repre se n ta tio n of a piece of paper torn by rats .These were intended to repre sent other art ists . At Sevi lle he wasappointed director of th e Acad . of whichMuri llo was pre s iden t . Thisdid not please him, and he wen t to Madrid . Stirl i ng says he wasmade Superintenden t of Royal \Vo rks, but died of chagr i n becau se hewas not made painter to Charle s II. , as h e had been to Phil ip IV .
Some of hi s bes t works are i n th e churches and convents of Madrid .
330 HIRE HOEFNAGEL .
Hi re , L a u re n t de la , Bo rn at Paris (1 606 Pai nter of hi s
to rica l subjec ts. His works are i n the Louvre , and (some of thebe st ) i n the ch . of the Carmelite s at Paris. His pictures are start li ng i n the brilliancy of their coloring , and he i ntroduced fragmentsof fine architec tural remain s
,large plants , and other obj ec ts , which
added to their e ffec t. Hi s drawing of the figure was corre c t , andoften graceful.Ho b b e m a , M i n de rt . Of the life of thi s celebrated pai n ter scarcely
m ore can be said than that he was l iv ing in 1 669 . He di v ide s wi thRuysdae l the honor of being the bes t Dutch landscape painter. Hi s
works long remained unappreciated, but now sell for enormous sum s,one having brought £4000. Many o f his best work s are i n Engla ndand in private collec tion s. The specimens seen i n Conti nental galleri e s are ordi nary , and he cannot be j udged by them . One of thebe st i s i n the Berli n Mus. The N ational and Dulwich gal leri es haveeach one of his works . The figures i n hi s pic ture s were often exe cu ted by Adrian Van de Velde , Ph i l ip Wo uve rm ans
, and otherdistinguished art is ts . Hi s color i s warmer and more golden thanRuysdacl
’s, and he is more fond of sunsh i ne . His impasto i s solid.
His foliage i s exqui site, and the representat ion of a varie ty of treesgive s varie ty of tone. His single tree s are le ss lofty and grand thanRuysda e l
’
s, but more individual. He often painted v illage s surrounded with trees
,and water-mill s sometimes make a prominent
feature . He represente d ruined castle s rarely ; whea t fields, meadows , and smal l pool s more frequently. His foregrounds are very fine
,
and he was able to fin i sh i n detai l without sacrific i ng general effect .Ho dge s ,W i l li am , born in Lo ndon (1 744- 1 79 Pupil of Wilson .
He accompanied Captain Cook around the world,and li ved so me
time i n India . His pictures embrac e v iews i n many different countries , and are well selec ted and picture sque .
Ho e ck, Jan v a n , born at Antwerp (1 598 After studyi ngwith Rubens he went to Rome ; he then painted much for FerdinandI I. at Vienna, and on his re turn to Antwerp was pri ncipal pain ter toth e Archduke Leopold . His Chris t o n the Cross
,
” i n th e Cath .
at Bruges, i s one of the best pictures i n Belgium . He painted bothhistory and portrai ts, and was a good coloris t and correc t draughtsman .
Ho e cke , R o b e rt v an , born at An twerp , 1 609 . He painted ba ttles , camps , troops , and mili tary sc enes . H is picture s are i n the Berl in and Vienna gallerie s . He drew well
,understood perspec ti ve , and
had a spir i te d to uch . He also etched a se t of plate s . These ares lightly done , but are sk ilful and pleasing.
Ho e fn age l, Jo o ri s , born at Antwerp (1 545 Pupil of HansB o l, whom he much excelled . He travel led much
,and made very
numerous drawings i n differe nt countrie s . These comprise everypossible variety of subj ec t. He decorated manuscripts i n the old
IIOEFNAGEL HOGARTII. 331
manner . A Roman missal illuminated by him i s i n the Imperial Library at Vienna; he labored on i t e ight years . He also illustrated abook with a ll kinds of animal s, birds , and fishes . One of h i s singlepiece s i s i n the Library at Brussel s . I li s works are in the spirit ofhi s time , and void of i ntere st in their design , but their exec ution andfinish are wonderfully pa instaking and sk ilful .Ho ekge e st , G . or C. N oth ing i s known of the hi story of thi s
artist . Two fine pic tures of the interior of the n e w ch . at Delft,
painted by hi m , are i n the Mus . at the Hague . They are equal tothe best art of his country .
Ho e t , Ge rard, born at Bommel (1 648 He first ass is tedhis father, who was a glass pai nter, then studied with Warnar VanRy se n . After various ups and downs , he settled in Utrecht, wherehe founded an academy of design , of whi ch he was di rector . Hispic tu res are very wel l e steemed , e spec ially the cabinet siz e s . Hisdesign i s correc t and h is color agreeable .
Hofla nd, Th o m as Chri st o ph e r, born i n Nottinghamshi re (1 7 7 7An excel lent landscape pai nter. He excelled in depict ing
s torm y sk ie s and seas . I t i s to be regretted that so few of hi swork s remai n .
Ho ga rth , W i lli am , born in London (1 69 7 The name ofthi s pai nter i s first i n the history of British art , and he rank s withth e eminent masters o f his c lass in all countr ie s . He was as eminentas a satiris t
,
‘ as he was as an artis t , for he presented the les sons tobe drawn from the foll ie s of hi s time , more powerfully with his brushtha n any wri ter could do with his pe n , or any preacher with his sermons
,even had he a thousand voices . In 1 7 1 2 Hogarth was ap
prenticed to a Silversmith , and in engrav i ng armorial be arings, thegrotesque creatures b e copied assisted to strengthen his natural loveand aptness for the ridiculous . After 1 7 1 8 he was much occupied inengrav ing for the booksellers . In 1 730 he married the daughter ofSir James Thornhill , withou t that pain ter
’s consent . At that timehe painted smal l genre subject s and portraits. In the latter department , he was quite successful , but hi s patron s di scovered what b ewel l knew , that he was better fi tted for something else . Soon afterhi s marriage , he commenced his famous series of the Harlot’s Progress .” When some of these w ere shown to his father- i n-law
,he de
clared that a man who could paint such pictures,could mainta in a
wife who had no portion . They were soon ful ly reconciled to eachother. Th e Harlot’s Progress
, .
thc Rake ’s Progress ,” and Mar
riage a la Mode were painted from 1 734 to 1 744 . The satire of thesework s is immense ; the costumes are excel lent , and the painti ng good .
He managed his interiors well ; he gave them breadth, and the fu rn iture and other acce ssorie s were exactly and strik ingly rendered without becoming too prominent . His works of thi s k ind are almostnumberless . N 0 plac e in society, no phase of l i fe escaped his brush .
332 .HOGARTII.
Lord Orford says , It would be suppressing the meri ts of his heart toconsider him only as a promoter of laughter . I thi nk I have shownthat his views were more generous and extensive . M irth colored hispic tures , but benevolence designed them . He smiled like Socrates
,
that men might not be offended at his lec ture s , and might learn tolaugh at their own fol lie s .” In 1 753 he publ ished a book calledThe Analysi s of Beauty .
” It i s a matter for congratulation,that
many of his works are in public gal leries where all the world may seethem , and that so many of hi s own plate s exis t , by mean s of whichth e lover of art can enj oy what the be st engravings of his work s by
MARR IAGE A LA MODE. BY HOGARTH.
In the National Gall .
other artists can never give . The fol lowing l ist comprise s the largestpart of hi s own engrav ingsPortrai t of himself with two figures and two Cupids . 1 720.
A print emblemat i cal o f the South Se a Bubble ; W. Hoga rth, inv.
e t so u /p . 1 721 .
Thirteen plates for Aubrey de la Mo traye’
s Travels in 1 723 .
Seven smal l pri nts for Apule ius’ Golden Ass .” 1 724 .
Fifteen Head-pieces for Beaver’s Mil i tary Punishmen ts of theAncients .”
Burlesque on Kent’s Altar-piece i n S . Clement’s . 1 725.
A Ma squerade invented for the use of ladies and gentlemen,by the
i ngenious Mr . Heidegger . 1 725.
334 HOGARTH HOL B EIN .
The Pool of Bethesda.
S igi smonda .
The Analvsis of Beauty ; two plates .
H o ge nb e rg. This is the. name of several engravers who flourishedduring th e last half of the l6th century. I t i s bel ieved that one ofthem executed the first portrai t that was engraved in England ; butthe honor i s a matte r of dispute between Remigius and Franc isHogenberg . They all engraved portraits and i l lustrations for book s .
The other names were John and Abraham .
Ho lb e in , H an s , called Old Holbein . There i s very l i ttl e k nownof th i s pai nter . In the Mu s. at Augsburg, there i s a pic ture dated1 4 5 9, inscri bed Hans Holben , C . A . ; attribute d to a painter who wasprobably the grandfather of Hans Holbe in , the Younger . Thi s picture h as li ttle interes t as a work of art , and repre se nts the Virgin ,li fe-siz e , seated on a bank , holding the Child . Another work bythi s same master i s dated 1 499, and h as some interesting facts conn e cted with i t . In 1 484 Pope Innocent VIII . granted certai n i ndu l
ge nce s to the nuns of S . Catherine , at Augsburg, prov iding that theyshould pay their devotions at the al tars of the seven ancie nt basi li casof Rome . But he al lowed that pic ture s of these churches should an
swer th e same purpose as th e churches themselve s . The nuns therefore
,whe n they rebuil t their convent in 1 4 96
, ordered a se rie s ofthese pictures which were to be so benefic ial to them . Old HansHolbe in represented that of S . Maria Maggiore . The picturei s of the average excellence of th e German arti sts of the 1 5 th century . The signature and date are on two bells ; on the first i s HansHo lba , the name being finished with in on the second
,and the date
1 499 . In the picture is a tomb-stone , on which i s an H . N othingwhatever of circumstance or fac t can be related with any certaintyof this artist, and many authors have even doubted hi s exis te nce .
H o lb e in , Ha n s , the Father, born about 1 459 , and probably theson of Mi chael Holbein , a leather dresser . There i s a panel pai ntingat Hampton Court , dated 1 5 1 2, called Holbein’s Father andMother ,
” be lieved to represen t thi s Hans Holbein the father , and
his wife . In the register of taxes for Augsburg , the name of HansHolbein , Maler , occurs eleven times between 1 4 94 and 15 1 6 . Th e
earl ie st k nown work by him i s 9. “ Madonna and Child with Angels.”
i n the Mori tz Capelle , at Nurnberg . There are three of hi s picturesi n th e Augsburg Gal l . , representing the Basilica of the Vatican ,
”
the Trinity .
" and a large picture in three part s containing theTransfiguration ,
” with the Feeding of th e Four Thousand on oneside , and the Casting out a Dev il on th e other . His picture s arenumerous in many churches and gal lerie s , such as Munich , Frankfort, Basle , and Schle issheim . But i n the Cath . of Augsburg, hi sabi li ty i s displayed at i ts best i n the four works pai nted in 1493 , forth e old Abbey of lVe ingarte n, i n Wii rtembe rg. These have bee n
HOL B EIN . 335
re stored and fi t ted up with rich , gi lt Gothi c carv ings, and placedover four altars i n the body of the Cath . He executed an immensenumber of pictures for churches and rel igious houses . When the sehouses were suppre ssed , h i s pic tures were scattered ; and his serialwork s are now separated . In one saloon of the Munich Pinakothek
,
there are sixteen work s on panel s, by thi s Holbein . The date of hi sdeath is not known . He was li ving i n 1 521
,and in 1 524 hi s name
was registered among the deceased artists .Ho lb e in , S i gm a nd, brother of the preceding, and also an artist.
But one painting with hi s signature i s known , al though others areassigned to h im . He was a bachelor
,and Hans Holbein
,the
Younger , with his si sters , inherited hi s property . His wi ll wasdated in 1 540. The time of his death i s not known .
H o lb e in , Am b ro s e . This arti st was either the brother or halfbrother of Hans Holbein, the Younger . He was admitted a memberof the guild of painters at Basle i n 1 5 1 7
,and i t i s supposed died
soon after . Four pictures attributed to him are in the Mus. atBasle . A picture i n the Belvedere Gall . i s also ascribed to him ,
andupo n some wood-cuts and drawings the monogram of an A . H . i sbel ieved to be hi s.
Ho lb e in , H an s, the Younger,born in Augsburg
, 1 494 o r ,1 495 ;
died i n London , 1 543 . A drawingof the year 1509 i s the earli est known work of thi s painter . Hewas instructed by hi s father and his reputed uncle , Hans Burgkmair . By the time he was fifteen h e o re ce ived i ndepe ndent commission s . The Augsburg Gall . has four compositions whi ch are hi searli est known works , about 1 5 10. In the same Gall . are pic turesextending to 1 5 16 i n which his advance i s remarkable . The prec iouspicture of his father and mother , dated 1 5 12
, has already beenreferred to . The Martyrdom of Sebastian ,
” i n the Pinakothek atMunich
,a very intere sting early production, could not have been
pain ted later than 1 5 1 6 . It i s a triptych five feet in height andseven i n width . The Execution of S . Sebastian i s the centrepicture . The right wing repre sents S . Barbara,
” and the left S .
Eli z abeth of Hungary giving Drink to the S ick .
” This last i s a finepicture and much superior to any work of Hans Holbein, the Father.In the Imhof Coll . , i n the Mu s. at Berl in, are three volumes ofthe early drawings of this pai nter, executed from 1 509 to 1 51 6 .
For his early years they are j ust such an il lustration as the Wi ndsor
portfol ios are of his l ater time . About 1 5 16 he removed to Basle . Thework s which have been ascribed to h im i n that c ity are innumerable .
In tru th, almost everything which was painted there has been , firstor last, credited to him , and it i s only at a comparatively recen t tincethat hi s work s have been separated from the mass . In England , too ,for a time , nearly every portra i t of the reign of Henry VIII .
336 HOLB EIN .
attributed to Holbein . In 15 1 7 he was called to Lucerne to de coratea house which was stil l i n exi stence i n 1 824 . The l ibrary ofLucerne ha s ske tche s of all th e compositions pain ted there . Healso executed works for the Augustines o f Lucerne and for thepari sh church in Altorf . He entered the guild of painters andtook up the rights of citiz enship at Bas le , i n 1 5 1 9 . I t was in thi syear that Charle s V . became Emperor of Ge rmany , and that Holbein formed hi s friendship with Boni face Amerbach . Holbein ’sportrait o f th e latt er
,dated thi s year, i s one of hi s very be st and
his very remarkable picture,now at Lisbon i n the Pal . of th e
Kingof Portugal
,called the Founta i n of Life ,
” was also paintedi n 15 1 9 . In 1521 Hans Holbein was commissioned by a council ofBasle to decorate the new Rath-house or Town Hall . These work s ,whi ch represented historical and Scriptural scenes, have been destroyed , and the Mus . of Basle possesse s very i ns igni ficant fragments.The ease l picture s which he painted at Basle ar e rare , and i t i s area sonable supposi tion that at thi s time he was ofte n employed as ahouse-decorator and a. designer for sta i ned glass and silver work ;i ndeed
,designs for these vari ous s tyle s of work are preserved i n th e
museum . Hi s more prominent picture s of thi s time are JacobMeier and his wi fe , 15 1 6 ; Adam and Eve , 15 1 7 ; portrai t of Dr .Amerbach
, 1 5 19 ; one of John Fw he n , the pri nter ; one of the celebra tedErasmus ; a l ife-siz e picture o f Chris t lying in the Tomb ,
”
1 521 ; th e very remarkable portrai ts of his wife and two children ,1 525 or 1526 ; and an exqu i site portrait of himself, a drawing inbody -color, pa in ted when he w as twenty-one . The years 1523 and1 524 are not accounted for . He probably made many drawings forstained glass , and prepared drawings for wood-cuts . In the ha l l ofdesigns , at Basle , there are ten sets of drawings for the Passion ofour Lord .
” His preparation for the Dance of Death must al sohave occupied much t ime . Among his friends at Basle, Froben , th eprinter
,and the celebrated Erasmus deserve especial mention . The
former employed him somewhat for book i llustrations , and he madeva rious portraits of both . That of Erasmus wri ting , at HamptonCourt , was a. fine work . The one of most reputation i s at LongfordCastle in Wi ltshire . One at Wi nd so r was pa in ted in 1 53 7 , and i t i ssaid that i n 1 525 , the year in which Luther married the nun , Catheri ne Bohra , Holbein painted both the se remarkable characters . Butthis needs confirmation . The charac ter of Holbein has be en represented i n a most unfavorable l ight . That he w as a drunkard , th e
number and qual ity of hi s works seem suffi c iently to contradict .Th e pro minent remaining charge against him is hi s separat ion fromh is wife . He married Eliz abeth Schmid , a widow,
with one sonnamed Franz . The pic ture called Holbe in ’s Wife and Children ,”
already mentioned , probably represents Franz , and Ph il ip , the so n ofHolbe i n . The mother is a coarse-looki ng, unattrac tive, middle-aged
338 HOLB EIN .
have be en painted a short time before he wen t to England . Holbein has been considered as the painter of the Dance of Death ,
”
both at Basle and B erne . The true authors of these pictures arenow known to have been Kluber and N icholas Man uel , but i t i sbelieved that llolbe i n made a set of design s fo r engrav ings of thi ssubject
,wh ich appear to have been firs t published at Lyons in 1 538,
although they must have be en prepared much earl ier . There wereforty-one cuts in all . His Old Testament cuts appeared at the sametime with the Dance of Death .
” These are al l as signed to th etime when he was i n Basle , on accoun t of the leisure he i s k nown tohave had . \Vant of employment i s the only rea son Erasmus gavefor his going to England . He arrived there at the close of 1 526 ,beari ng a le tter of introduction from Erasmus to Sir Thomas More ,who at once received h im with k indness . The principal painter i nEngla nd at that time was Luke Ho rne bo lt , who persuaded Holbeinto take up miniature pa i nting. 1 527 was th e year i n which He nrvVIII . fel l in love with Anne Boley n . This was the first year ofHolbe in ’s occupation i n England , but he does not appear to haveentered the King ’s serv ice until after 1 530. In th e mean time hepainted S ir Thomas More ’s family and friends , among whom wereArchbishop VVarham and Sir Henry Gilford
,both fine and important
pictures . In 1 528 he painted S ir T homas and John Godsalve , onthe same panel , now at Dre sden ; and the astronomer Kratz er, surrounded by hi s instruments , now ia the Louvre . It is not probablethat Holbe in ever pai nted Queen Catherine or Card inal Wolsey .
The pic ture s of More and hi s family are very numerous . The mostimposing one of Sir Thoma s i s that formerly owned by Mr. Farre r.
There i s a s tory connec ted wi th one o f the se portraits of Morewhich re lates that on the day of the death of the ex-cha ncellor ,after Henry VIII . h ad reproached Anne Boleyn , who had never forgiven More for refusing to be present at her wedding , she looked atthi s picture and exclaimed , Oh , me ! the man se ems to be sti llal ive 1 and
,se iz ing it , threw i t i nto th e street . Eventually it was
taken to Rome and was i n th e Palaz z o de'Cre sce nz i . W'o rnum saysof thi s , “ Though it may not be true
,i t i s not a bad story .
” I l olbe in returned to Basle i n 1 530, and completed th e frescoes i n th e
Town House . This being done he returned to England . l’Vh e n or
how he was firs t introduced to the King is not exact ly known . Thesuperb portrai t of George Gy z e n ,
at Berli n, was painted in 1 532.
In Ruskin’s description of thi s picture h e ca l ls i t i nexhaustible .
For the merchan ts o f the steel-yard Holbe in executed two picturescal led Riche s and Poverty .
” These were probably painted i n1 532, and perished at Wh itehal l i n 1 6 98 ; but i n the British Mu s.
there i s a drawing , considered the original of the“ Riche s
,
” andboth pic ture s are known by plate s . In 1532 Holbein was summonedto Basle by a counc i l of the city . He received thi s communication
,
HOLB EIN .339
i t i s believed,when at Calai s with the court on the occasion of the
celebrated meeti ng called the Fi eld of th e Clo th o f Gold . After1 533 Holbe in rarely dated his pictures , and there i s no authenticportrait by hi m of Anne Boleyn or her daughter , the Prince ss Eli z abeth . To this year belongs the picture calle d the Two Ambassadors
,supposed to represent S ir Thomas Wyatt and some learned
friend . They are standing by the s ide of a double table, one in. amagnificent dress
,the other in a doc tor’s cap and morning-gown .
I t i s not his most refined picture, but the larges t, and that on whichhe labored m ost. In 1 536 the fi ne portrait of S ir Richard Southwell,i n the U ffiz i Gal l ., was pai n ted . The portrait called Jane Seymour,in the Belvedere Gall . at Vienna , i s one of the fine . smal l halflengths that Holbei n often executed . The pic ture of Mr . Mo re tt ,
in the Dresden Gal l . , has until lately been attributed to Leonardo daVinc i . It i s
,i n truth
,one of th e finest of Holbe in’s work s . It i s
not k nown whom i t represents . Thomas M o re tt was a distingui shedj eweller who served Henry VIH.
, and w as a friend of Holbein , whoofte n worked co n amo re . The original drawing of th is picture wasdiscovered i n 1 860, and is now hung besi de the picture . The firstpayment made to Holbe in as i n the serv ice of the King occurred i n1 538 . After thi s time Holbein pain ted many po rtraits of the Royalfamily . In the same year he was sent to Brussels for th e purpose ofpainti ng a portrai t of the Duchess of M ilan , whom the King h adbeen recommended to make his fourth wife . Her ladyship allowedhim a sitting of three hours , i n which he made a sketch which hasbeen thought to be a small panel , with the head and hands o f theDuchess , now atWindsor . According to the laws of Basle a c itiz encould not enter the serv ice of a foreign sovereign without the consent of the counc i l . In the autumn of 1 538 he v isited his home andobtai ned permission for two years longer residence in England .
Great exertion s were made i n Basle to retai n him there , but atlength a document was made out permitting him to remain two yearslonger in England , upo n the condition that at the end of that timehe should settle in Basle, and should receive a pension for li fe offifty flo rins a year . Just as the two years expired his uncle S igmund died and left him property i n Berne
,and this was taken po s
se ssion of by Franz Schmid i n behalf of hi s mother . After thi stime there was no motive for Holbein to return to Basle ; but theofficial doc ument prepared and addressed by the counc il o f that c i tyto Henry VIU .
, i s most complimentary to the arti s t , and such anone as could scarcely have been written for a man of immoral charac ter . The King became very fond of Holbein and treated h im withmuch generosity. After 1 53 7 he had a painting-room in the Pal . atWh i tehall . In 1 539 he was sent to the Duchy of Cleve s to pain ta po rtrait o f Anne , dau ghter of the Du ke , who was married to theKing in 1 540. It i s believed that Holbein flattered thi s pictu re , for
340 HOLB EIN .
when the Ki ng came to se e th e l ady he l iked the picture muchbetter than the original , from whom he was divorced imm edia te lva fter marriage . W
'
alpole went so far as to say tha t Holbein , b yprac tisi ng the common flattery of hi s profess ion , was the immediatecause of the destruct ion of that great subj ec t (meaning Cromwel l) ,and of the disgrace that fel l on the Princess herself . ” The halflength pic ture of Anne , i n the Louvre , i s a homely face , but anagreeable one ; and the fac t of its being on parchment has i nducedmany to believe that i t i s the original picture , taken by Holbeinduring the marriage negot iation . Among th e other important picture s pain ted by Holbe in are th e portrait s o f the Duke of N o r
folk ; Sir Anthony De nnv and numerous picture s of HenryVIH.
,and his family i n groups, portraits , and miniatures . There
also remain various drawings of ornamental de signs , among whichthat for the Jane Seymour cut i s important . One of his la st work swas the portraits of the barber-su rgeon s , which repre se nts the Kinggranting a new charter to that soc iety . On the 7th of October
,1543,
Holbei n hastily prepared hi s wil l , on account of the plague which wasragi ng. He died betwee n the 7 th of October and the 29th of N ovemberof the same year , but of the c ircumstances of hi s death or burial nothing i s k nown . There i s an anecdote that at one t ime , when Holbei npassed through Strasburg , he v isi ted a dist inguished pain ter withou tmak ing himself known . He went next day when the arti st was out
,
and painted a fly upon the picture on the case ]. When the masterre turned he noticed the fly, and attempted to drive i t away. Hefound he could not do so, and when , on inquiry , he learned who hadbeen there , he sought Holbe in all through the ci ty ; but he hada lready left fo r England . t e n he was pai nting at t i te h all
there came to his studio one day a nobleman who forced himselfinto the room , although the artis t told him that he was engaged i npai nt ing the portrait of a lady for the King . Holbe i n was so angrythat b e se iz ed th e man and threw him down stairs . Wi thout waitingto see what had happened , b e rushed to the King and confessed whathe had done . The King bade him wait i n his apartment until helearned more of th e matter . Almost immediate ly the nobleman wasbrought m on a chair, much inj ure d in body and temper. He com ?
plai ned bitterly to the King, who made l ight of the matter , whenthe noblem an lost his temper and threatened to take the law i nto hi sown hands . This roused the anger of the King , who exclaimed,
No w you have no longer to dea l with Holbein , but with me , theKing . Do you think thi s man is of so littl e consideration wi th us ?
I tel l you , my lord , that out of se 1 en peasants I can , if I please , anyda y make se 1 cn earl s ; but out of seven earl s I could not make ones uch arti s t as Hans Holbein .
” The Earl besought his pardon,and
th e King warned him that if he attempted any v iolence on th e
pa i nt er , e 1ther h 1m se lf or through others, he Would treat i t as an
342 HOL LAR HONTHORST.
se nt by the k ing to make drawings of Tangier , but h is pay was only£ 100. He died in the depths of poverty ; th e bail iffs ev en went totake hi s bed , but he begged them to leave i t unti l he could die , whi chwas not long . His prints number nearly 2400. They are very muchsought by collectors and are very dear, e specially some which are
scarce . The price s given for these are enormous . His portraits andlandscape s ar e very fine
,as are al so hi s cos tume s of women , furs ,
shel ls , in sects , e tc .
Ho llo w ay , Th o m as (1 748 An Engl i sh engraver , principally known for his engravi ngs after th e cartoon s of Raphae l . Theire xecut ion i s very elaborate , but connoisseurs prefer the freer mannerof Dorigny . He engraved much for book s and magaz ines .
Ho ndeko e te r, M e lch i o r, bo rn at Utrecht (1 1336 He wasde sc ended from a noble family , his great-grandfather be i ng Marquisof Waterloo . Giles Ho ndeko e te r , hi s grandfather, and Gisbe rt , hi sfather
,were both artists . Melchior received hi s first i nstruction
from hi s father , after whose death he studied with Jan‘We e n ix , his
u ncle . He painted birds and animal s , al ive and dead . His l ivebir ds are his be st work s, and are very excellen t. Hi s drawing i sgood
,and he i s true to li fe . I t i s said that h e had a fine cock so wel l
trained that he would kee p any position his master wished , longenough to be painted . His pictures are in the Louvre , and al l thelarge German galleries . The Amsterdam Mus . has n ine , and th atof the Hague has four .Ho ndi u s , A b rah am , born at Rotterdam (1638 He lived
many years i n England . His favorite subj ects were dogs . He ac
quired a good reputation , but his pictures are Open to grave cri ti
c ism . His draw ing i s incorrec t and his color not pleas in g. His veryrare etchings do him more honor as an arti st tha n his picture s .There are ten of these .
Ho n th o rst, G e rard, born at Utrecht (1 592 Pupil o f
Abraham B lo e m ae rt . He went to Rome , and acqu ired the manner ofCaravaggio . His pic tu re s found favor i n Rome and on ac cou nt ofhi s fondness for painting night scenes he was called Gherardo dalleNotti . After his return to Holland he ope ned a school which waswell atte nded , and hi s reputation having reached Charle s I.
, thatk ing inv ited him to England . He only remained six m onths , butduring that time painted several historical pictures . He was al so hono rably employed by the King of Denmark and the Prince of Orange .
In hi s later years he pain ted many portrai ts . His wonderful fac i l i tyin the use of the bru sh enabled him to execute a large number ofworks , and the se are seen at the Louvre , i n Munich Gal l . , at th e newHfite l de Ville of Amsterdam , Berli n Mu s. , etc . They embrace subj eeta from sacred and profane hi story , mythology, allegory , and genredesigns .Ho n th o rst, W i llem . Flouri shed in the m iddle of the 1 7th cen
HONTHORST HORREMAN S . 343
tury. Brother of Gerard . Many of h is portraits are i n the Prussianroyal residence s
,and resemble the work s of his brother .
Ho o gh, Pe t e r de . Noth i ng i s known of the history of thi s pai nter .
His work s are dated from 1 658 to 1 6 70. He painted interiors andconversati ons , and was remarkable for his effect s of sunshi ne ; in fact,he may be considered the painter of full , c lear sunl ight . He oftenrepresented two rooms
,the figures being in the first, and the second
full of sun ; even the dus t in th e air c an almost be seen . In this noother master approaches him . His impasto i s excellent , and his touchvery del icate . His out-o f-door scenes are usually i n a court-y ard orgarden
,and are very picturesque . About 100 pic tures are known by
this master,and many of these are i n private collection s i n England .
The Louvre,Amsterdam
,and Munich galleries have spec imens , as
have al so the Van der Hoop Coll . , at Amsterdam , and th e LandauerB riide rh au s at Nuremberg .
Ho o gh e , R o m e y n de , born at th e Hagu e about 1 638 . An e n
graver of some merit . He left a considerable number of works , someof which are i n good estimation .
Ho o gstra e te n . There were three painters of thi s name . Thefather
,Theodore or Dirk
,painted land sc ape s and stil l- li fe . The son s
,
Samuel and John , painted a variety of subj ect s . Samuel was themost noted
,and was born at Dort (1 627 He painted ge nre
subj ects,marine v iews , animal s, and st il l-l ife . His touch was del i
cate,hi s color clear and agreeable , and he painted with great care
fulness . The Vienna and Hague galleries have attractive work s bythi s master .
Ho pfe r, Dav id, Je ro m e , and L am b e rt . Three engravers ofN urembe rg who flouri shed about the middle of th e l 6 th century.
They signed their plates with a hop-blossom between th e i n itial s (fortheir name means hop-plant) , and this was mistaken for a candlestick by some , and they were called the Masters of th e Candlestick .
Their plates are stiff and o f no great merit, but some of them arepriz ed on account of their rarity.
Ho ppn e r, Jo hn , born in London (1 759 A fine coloristand portrai t pa i nter . He also painted a few fancy subj ects
,of which
the Sleeping Nymph was one of the best . His state portraitswere e specially good , as he gave great richness to th e robe s, and managed them well . He loved to represent his lady si tters i n rustic costum e s. His landscape backgrounds are fine , and he was accustomedto employ his le isure i n maki ng chalk sketches , which were verybeautiful .B o rrem a n s , J o hn . There were two artists by this name , father
and son . Both died i n 1 759 . Th ey painted similar subjects , conversation pieces . The characters i n the picture s of the father wereusually peasants, while those of the son were from the higher walk sof l ife . Their works sometimes suggest a thought of Hogarth . They
344 HORREMANS IIOU B RAKEN .
are not uncommon in England,and are in the Antwerp Mus . , and
the Casse l and Dresden gallerie s .B a ski n g , Jo hn . The name of a father and son
,both miniaturi sts
of the reign of Charle s I . The work s of the father are very ex
qu isi te , those of the son not as fine . The father used a monogram,
the son the simple i n itial s J . H. The father died 1 664 .
Ho u b rake n , A rn o ld, born at Dort, 1 660. He pain ted po rti a i tsand small hi storical subjects , and wrote a biographical account of theDutch artis ts . He also made some etchings
,but i s more celebrated
as the father of the succeeding artis t, th a n
c
for his p ic tures.
Ho u b rake n , Ja c o b , born at Dort, 1 698 . This eminent engraverespecially excelled in portraits, of which he made a g1 eat nu
o
.mbe r
346 HUDSON IMOLA.
Hudso n , Th om a s, born i n Devonshire (1 701 A pupil ofRichardso n, and th e mas ter of S ir Joshua Reynolds , who so muchecl ipsed him
, asto almos t make us forget that Hudson was , after al l ,
a very good portrai t pai nter , and in some re spec ts i nvented th e
style which Reynolds and Gainsbo rough perfe c ted .
Hu y sm a n s, Co rn e li s ,bo rn at Antwerp (1 648 Pupil of
Artois,and sometimes cal led Huysmans of Mechlin , because he
settled th ere . His landscapes a re very excel lent , and are priz ed i nthe large European galleries , where they may be seen .
Hu y sm an s, Jam e s ,born at Antwerp (1 656 A good por
trait painter.He went to England i n the re ign of Charle s H.
, andwas much patroniz ed . His portraits re semble those of Lely .
Hu y sum , Van . There were five pai nters o f thi s name , a fatherand four sons ; but of the se , one alone merits spec ial not ice : JanVan Hu y sum ,
born at Amsterdam (1 682 He exce lled as a ‘
flower and fruit painter . In these picture s he introduced antiquevases
,ornamented with nymphs , amorini , etc . , exquis itely finished .
Somet i me s also birds’ nests with insec ts and dew-drops, all equallywel l done . His work s are i n many publ ic and private collec tions ,and are very valuable . He al so left a large ce ll. of fine drawings .
Ib b e ts o n , Ju li us Cae sar, born i n York shire ; died 1 8 1 7 . Apainter of landscape s . Some of his mountain v iews are his be stwork s . His farm-house scenes are also good, and he succeeded particu larly well i n pain ting pigs ; and by some i s thought to excel Morland in these animals . Ibb e tson al so pai nted a few small full-lengt hportra its . Most of his work s are of moderate s iz e .Ic ti nu s . This Grecian archi te ct designed the temple of Athene
,
cal led the Parthenon , buil t upon .the Acropol is of Athen s , and the
temple of Apollo Epicuri us, near Ph igalia, i n Arcadia . He w as acontempora ry of Pericles , and the Parthenon was fi n ished 438 n . C.
Ictinus w as al so the archite c t of the shrine at Eleusi s , within whichthe my s te rie s were celebrated . All these buildings were of Doriearchitecture , and the latter was so planned as to ac commo date a vastnumbe r of persons .Im b e rt , Jo s e ph Ga b ri e l, born at Marseille s (1666- 1 74 Pupil
of Charle s le Brun and Van der Meulen . At the age of thirty-fourhe became a Carthusian monk
,and his best works were pai nted for
his order ; espec ially for his own monastery at Villeneuve d’
Avigno n .
In the Carthusian e h . , at Marse ille s , there i s an altar-piece by him ,
which has been much admired,and i s e steemed hi s chef-(Pce uvre .
Im o la , In n o ce n zo Fran cu cc i da , born at Imola (1494- 1 549Pu pil of Franc ia. He be came an admirer and imitator of Raphael ;i ndeed , he copied whole figu res from the work s of that mas ter in to
IMOLA JAMESONE. 347
hi s own . Hi s work s are i n many galleries . The most important areat Bologna, and i n the Cath . of Fa e nz a .
In gh am , C. C., born at Dubl in , 1 796 . Before coming to America,
at the age of twenty-one,he had gained a pr iz e from the Dublin
Acad . His pictures were finished with exquisite care , which sometime s le ssened th eir spiri t and tru thfuln e s'. He was very industrious
,
and scarcely lost an hour of day light . He w as one of the foundersof the present N ational Acad . of Design .
Inm an , He nry , born at Utica , N . Y. (1 801 Pupil of Jarv is . He possessed a fi ne mind , and refined and scholarly taste s . Asa friend he was much beloved , and as a man much admired . In hispictures he was somewhat unequal, and when we regard his gen resubjec ts
,we feel that he never did the best of wh ich he was capa
ble,and can but regret that he did not devote himself to that class of
picture s . His portrait s were very much admired at one time,and
his income was good ; but hi s heal th fai led, he met with some reverses ,was absent in England for a time, and returned to find himself outof fashion
,and hi s place fi l led by others . He pai nted portraits of
various notable person s, some of which are i n the Boston Athenaeum ,
Independence Hal l, Philadelphia, City Hall , N ew York , and theCapitol at Albany. His gen re pictures are in private collections andembrace a variety of subjects , such as the Boyhood of Washington
,
the “ N ewsboy ,” the Awaking of Rip Van Wi nk le ,” “ Mumble
the-Peg,” etc .
, e tc .
Iri art e , Ign a c i o de , born at Az coitia , 1 620; died at Sev ille , 1 685 .
Pupi l of the Elder He rre ra , ,
a nd the friend of Murillo. He becamethe most celebrate d landscape pai nter of Andalusia. Muril lo was aecustomed to say that he painted by inspiration , and they sometimesengaged in joint work s , Iri arte painting the background , and Mu
ril lo the figures . At length they disagr eed about a serie s of pic turesof the Life of Dav id . Each in si sted that he should do hi s work last
,
and Murillo finally decided to paint all himself. The works of Iriarteare rare , and much e steemed . He has been called the SpanishClaude Lorraine , but his subjects were more akin to those ofSalvator Rosa . He loved to paint the wilderness , wild glens , andtumbling mountain streams . The Royal Gal l . at Madrid has three ,and the N ational Mus . one of his pictures . The Louvre has twoflower pieces , and a picture of Jacob’s Dream .
” At S. Petersburg,
i n the Hermitage, there is a landscape .
Jam e so n e , Ge o rge , born at Aberdeen (1 586 He was afellow-pupil with Vandyck under Rubens, and has been called theVandyck of Scotland . In 1 633 Charles I. v i si ted Edinburgh , andsa t for hi s portrai t to Jameso ne , with whom he was so much pleased ,
348 JAMESONE JARENUS .
that he pre sented hi m with a ring from his own finger . His be stpic tures are highly e steemed , and are executed wi th much deli cacy.
Jan e t , Franco i s . Se e Clouet .Jan se n , Co rn e l i u s . Some wri ters say he was born at Amsterdam,
but according to Sa ndra rt , London was his birth place , and hi s parents were Flemi sh (1 4390 He lived i n England many years ,and was very successful as a portrai t pain ter . Hi s feeling fo r naturewas refined
,hi s color warm and tender, and his composition gracefu l .
Many of his work s are i n the gallerie s of England . In 1 648 he wentto Holland , where he was constantly employed unt il hi s death .
Many of his pic tures are painted on board .
Jan se n s , A b rah am , born at Antwerp (156 7 Pupil ofJan Sne llinck; he also v i si ted Italy. He somewhat resembled Ruben s i n style
,but it has been proved that there is no foundation for
the accounts which have been given of th e enmity between these twomasters, or of the dissipat ion of Ja nse ns. The latter excelled i n representing artificial l ights
,and some o f his torchlight subj ects are very
fine . His work s are seen i n the churches of Flanders , and there arefine specimens i n the Antwerp and Vienna galleries .Ja n sse n s, Vi c to r Ho n o ri us, born at Brussels (1 664- 1 7 Th i s
artist painted a varie ty of subj ects , but i s best k nown by hi s conversa tio ns, or collections of gallants and ladie s , i n the peculiar costumesof hi s time . He was a good coloris t
,and his rich dresses and dra
pe rie s are very effective . I t i s a peculiari ty of his work s that hi sfigure s have the appearance of being very tall . He also executedseveral al tar-pieces for the churches of Brussel s and other c itie s .Jardin , K are l du , born at Amsterdam (1 625 The best
pupil of Berchem , but more nearly resembl ing Pau l Potter i n s tyle .
He went when quite young to Rome , and became so‘fo nd of Italy
that with the exception of eight years, he spen t the remainder of h islife there . His portrai ts are better than those of his master ; hisScri ptural and mythological subjec ts cannot be admired ; but hi s landscapes with an imals and figures are excellent . Many of his work sare very highly finished , and worked up in the smalle st detail s . Herepresented a summer sky after a storm with remarkable sk ill , andindeed , the sk ies of his pictures form one of his chief points of exce lle nce . The number of hi s work s i s not large ; 1 45 are mentionedby Smith . He lost much t ime in his devotion to pleasure . Hisworks a re best seen at the Louvre
,the Hag ue
,and in Amsterdam .
There are a lso excellen t specimens at Dresden, Munich , and Cassel ,
andEngland is rich i n hi s pai ntings . Very large price s are paid forthe pic tures of Du Jardin . He al so executed 52 etchings which
0 "
show the hand of a master. These . are not very rare,and repre sent
landscape s and an imals .Jare n u s . This pai n ter flourished late i n the 1 5th century
,at
Soe s t i n Westphali a . There i s a pic ture of his in th e Coll. of the
350 JOANES JORDAENS .
risim a .
” He was i nventive , and hi s colori ng was splendi d , but hiss tyle was severe and stiff, like h is character. Joanes e spec ial ly excelled i n pai nting the Sav iour . He seemed to have conce ived thevery Christ of Scripture, the real iz ation of th e v i sions of S . John , ort he poe try of Solomon . In these picture s maj esty and grace, s trengthand love
,were united. His be s t pictures o f Chri s t represent Him as
d ispensi ng the type s of hi s body and blood. He frequently introduceda c up
,which was bel ieved to have been that used by our Lord at his
La s t Supper . I t was of agate . and adorned wi th gold and gems .This cup i s k nown as the Holy Chalic e of Valencia, where i t i s treasu red i n the Cath . A picture of this k i nd i n the Mus. of Valenc ia i sperhaps hi s best . Th i s Mu s. has other work s of his , and others arei n the Cath . of the same c i ty , and in the Ro yal Gall . of Madrid . Inthe Q ueen of Spain
’s Gall . there i s a serie s of s ix pic tures by thi smaster
,i l lustrating the l ife of S . Stephen , and a Last Supper . ”
Another picture o f th e latter subj ect was pain ted for the ch. of S.
N icholas in Valencia, where i t remains. I t is one of his finest work sand more round and harmonious in des ign and color than most. of h ispictures are . In portraits , Joanes excelled . Perhaps his fines t oneremaining is that of Do n Lu i s de Ca ste lvy , i n th e Royal Gal l . ofMadrid. Stirl i ng say s , It might pass for a work of Raphael himself.” In th e Mu s. o f Valencia i s hi s S . Francis de Paula, and inthe Cath . one of S . Thomas o f Vi llanueva , and one of ArchbishopJuan de Ribera ; the former express ive of mildness , the latter ofgravity and thought, and both o f dignified superiority.Jo de . This was the name o f a family of F lemish engravers who
flourished for a century from 1 560. Arnold de Jode was the latest,
and was i n London i n 1 666 . Peter de Jode , the Younger , was thebest engraver of them all , but the works o f hi s father, Peter theElder , are wel l e steemed, and some of them are scarce .
Jo n gh , L i e v e de , born near Rotterdam (16 1 6 His princ ipal work was a Company of Archers
,
” for th e Salle des Princesat Rotterdam . I t i s an excellen t work
,and may be compare d wi th
those of Van der He lst.Jo rda e ns , Ja c o b , born at Antwerp (1 593 l’upil of Adam
Van N oo rt at the same time with Ruben s,he became the follower
and half as si stant of the latter. He married early i n life thedaughter of Va n N o o rt, and never v i sited Italy . He was a masterof great power . He painte d a varie ty of subjects. Many of hissacred pic tures are i n the churches of Flanders and Brabant
,but
they are not his bes t works . His bes t historical work i s i n th e Houseof the Wood near the Hagu e , and represents scenes from the l ife ofPri nce Frederick Henry of Orange . His bes t work s are po pularsubjects , which represent th e customs of the common people . Theseare full of humor , and sometimes degenerate into vulgarity , but arewell and powerfully pain ted . His pic tures vary very much ac cording
JORDAENS JUSTUS. 351
as he was intere sted or not i n his subjec t . His color was fine,his
impasto somewhat u nequal , but he excelled in depth of chiaro—scuro ,and a certain golden glow i n which he sometime s surpassed evenRubens .’ His pic tu re s are numerous and are seen in al l large European gallerie s .Jo u v e n e t , Je a n , born at Rouen (1 644 One of the best
French academic pain ters . He never v isi ted Italy . His greates twork was a Deposition from th e Cross ,
” now in the Louvre . Hepainted in o i l and fresco . He executed many work s for the principal churches of Pari s . At the t ime of his death, he had held theoffice of Re ctor of the Acad . of Painting , during ten years . He lostthe use of his right hand i n 1 7 1 3 , and his latest work s were done withthe left . His drawing was correc t , and he h ad great fac i l i ty of e xec u tio n ,
but hi s color cannot be praised .
Ju li e n , Pi e rre (1 73 1 French sculptor , and pupi l of Guill aume Co u sto n . He spe nt four years i n Rome , where he was muchadmired and constantly employed . He was not admitted to the RoyalAcad . until 1 7 79 . His statue of L a Fo nta i ne i s considered hi s chefd’oeu vre in that department of sculpture . His last work was a statue
of N icola s Poussin , executed for the Hall of th e Institute . He madesome very fine bas-re liefs for the castle of Rambouillet , and a statueof a woman bathing
,which rank s very hi gh among modern sculp
tures .Jun i , Ju an de . Flouri shed from the middle to the last of the 1 6th
century. WVa s the be st sculptor i n Spain at that time . Has sometimes been thought a F leming, but Bermudez bel ieves him to havebeen a native of Castile . His sty le seems to prove that he studied i nI taly . He hesi tated at no difficulty of atti tude
,and represented
power,energy, and strong emotion s , which made his work s a per
feet contrast to those of B e rregue te . His works remind one ofM ichael Angelo , perhaps more than those of any other modernsculptor. His sculptures which represent the Life of our Lord
,stil l
exis t i n the Cath . of Osma. They were done by the order of th eBishop o f Acosta, who is buried at Aranda de Duero , beneath amonument , al so the work of Jun i . The Mu s. of Valladol id has theEntombment o f Christ,
” made i n clay . It formerly adorned thechapel of the Franci scan convent . There i s no mention of the nameof Juni , later than 1 586 .
Ju stu s o f Padu a , as he is frequently called , was named Giusto diGio . Me n ab u o i , and was born i n Florence . He was m ade a ci tiz enof Padua , where he had settled , i n 1 3 75 , and died i n 1 400. Severaldifferent work s are attributed to h im , some of which are i n a veryimperfec t s tate . The N ational Gall . has a fine triptych signed byhim , and date d 1 36 7 . The chief subject i s the “ Coronation of theVirgin ; i t i s exquisitely finished in parts, especially the hands, andth e figure of the Virgin i s very graceful . He was not a pupil ofGiotto , but may be ranked among th e best of the Giotteschi .
352 JUSTUS KALF .
Jus tu s o f Gh e n t . There are several work s attribute d to this oldpainter
, bu t the only one posi tively known to be hi s, i s a representati on of the Last Supper ” i n S . Agatha, at Urbino. This was exeo uted i n 1468- 1 4 74 . Full accounts are preserved concerning thi swork in the registers of the convent . It i s probable that Justus wasemployed on account of his knowledge of the u se of oil s , and not because o f superiority over such men as were living in Italy in h is day .
Hi s manner was,however, good ; his composi tion was well arranged ,
his hands and feet accurately drawn and fairly proportioned , and thefigure s of the Apostles are more refined than was usual in his time .
The state of the picture scarcely warrants a j udgm ent of his color,
but altogether it may be safely sai d , that he well mai ntained the
reputation of Flemish art .Juv ara , Fi li ppo , born at Messina , 1 685 . Studied at Rome under
Fontana. He was employ ed at Turin by the King of Sard in ia,and
at Lisbon by the Ki ng of Portugal . He al so travel led i n France andEngland . Philip V. i nv ited him to Spai n and employed him first atS . I ldefonso , and afte rwards appointed him to rebui ld the Alcaz ar,which had been burned in 1 734 . Juvara was engaged in constructing a colossal model of thi s edifice , when he died , ia - 1 736 . Themodel was finished by Sachetti , whom Juvara had recommended onhi s death-bed . Thi s mode l may sti l l be seen at Buenretiro
,and i s
composed of enough t imber to build an ordinary house . It was,i n
the end , rejected , and another plan made b y Sache tti for th e ne w
palace , which is now the chief obj ec t to the eye of th e s tra nger appro ach ing Madrid .
Ju v e n a l, Pau l (1580 A painter of interiors . He was employed at N uremburg , Vienna , and Pre sburg.
K ab e l. Se e Cabel .K a ge r, Jo h ann M a th i as , born at Munich (1566 He
studied i n Rome , and became an eminen t painter . He was muchemployed by the Duke of Bavaria, and some of h is work s are i n th e
churche s of Munich . He removed to Augsburg,where '
he pain tedh is princ ipal work , the Last Judgment ,
” i n the Hall of the Senate .
His pic ture s are known from engrav ings by the Sade le rs, Kilians, andother engravers . Kager al so etched some plates from his own des1gns.
R al e ar . Se e Calcar .K a li , W i llem , born at Amsterdam (1 630 A painter o f
st il l-l ife. He espec ially excelled i n the representation of elegantvas es and porcelain vessel s. He sometimes painted k itchen pieces
,
wi th vegeta ble s and cook ing utensil s as prominent feature s . TheLouvre and the Amsterdam Mus . have one picture each by thi smaster.
354 kssssL KING.
(born 1 626) painted h is backgrounds very bright l ike Paul Brill, andhis son Ferdi nand (1 660—1 696) followed hi s s tyle , but did not equalhi s father. Another Ja n (died 1 708) painted in the manner of JacobRuysdael with much power, but h is work s are scarce . There w asal so N icholas (born who painted i n the style of Teniers , andTheodore (born an engraver whose plate s are etched withfreedom and Sp irit .K e t e l, Co rn e li s , born at Gouda (1548 A reputable por
trait painter. He went to England and painted Queen Eli z abe th ,and many other persons . He also pain te d the Company of Mark smen of Amsterdam
,and other groups .
K e ule n or Ge nle n , Jan so ns Van . Said to have been born inEngland of Dutch parents . He was a good portrait painter of th etime of Charles I. , and it i s probable that many po rtrai ts now in England
,and attributed to Vandyck , were by Van Keulen .
K e ux , Jo h n L e , born i n London (1 783 An eminent archite ctural engraver . He executed pla te s for many fine work s , amongwhich are N ea l e’s Westminster Abbey ; Britton ’s Architec tural Aotiqu i ti e s, Cathedral s , etc . ; and the firs t volume of N eale
’s Churches .K e y s e r, Th e o do r de . Flouri shed 1 625- 1 660. Very l ittle i s
known of him , but he left some good portrai ts , l arge and smal l .One of the latter is i n the National Gall. An Archery Company i sin the new Hote l de Ville at Ams terdam , and at th e Hague there isa fine work repre senting the Burgomasters of Amsterdam Deliberating upon the Reception of Mary de Medic i s,
” i n 1 638 .
K e y z e r.He nry de . A portrai t painte r whose works are i n theAmsterdam Mus .K i e ri n gs or Ci e rin cx , Jam e s, born at Utrecht (1580 A
painter of landscapes in whi ch Po e lemburgh was accustomed to paintthe figure s . He went to England
,and was employed by Charles I .
to make views of his country houses .K i li an . Zani mentions twenty engravers of thi s name. Lucas
Kilian was the first o f a family of them who flouri shed from 1 600 to1 750. He w as the pupil of Dominic Custos
,and also studied in Italy .
His son Wol fgang, and his grandson s Philip and Bartholomew ,were
also engravers ; and another , named Wol fgang Phil ip , and sti llanother, Philip Andrew , were of the same family . Lucas and Bartho lom e w were eminent , and their work s are much admired .
K i n g, Ch arles B ., born at Newport , Rhode Island . (l 786This arti st lived at Washington in the winter
,and his studio con
tai ned many po rtraits which are valuable as l ikenesses rather than aswork s of art . This i s especially true of some portrai ts of Ind ian s .He w as a lover of art , and donated several thousand dollars and somep ic ture s to Redwood Library , N ewport, and left a sum of mone y ,
thein terest of which is expended for musica l i nstruction in the publicschools of his native ci ty .
KISS KOB ELL . 355
-K i ss, A u gu stus, born at Pless (1 802 Educated at Berli n .
This sculptor executed a great number of busts , groups, figure s , andhas-reliefs in stone , bronz e , and plaste r. He also copied the work sof antiquity
,and those of the scu lptor Schi nkel, after whose designs
he made the reli efs for the gable ends of the ch . of S . N icholas, in
Potsdam . His firs t great work was the Amaz on Struggli ng w ith aPanther
,now in the Berli n Mus. This es tabli shed hi s reputation
everywhere . His other important statues are those of Frederick th eGreat , FrederickWill i am UL , and the gro up of S. M ichael and theDragon . His works are much admired , but he sometimes sacrificesgood taste to energy of ac tion .
Kle rok, He nry de , bo rn at Brusse l s, 1 5 70. Pupil of Marti n deVos . His pictures are seen in some of the chu rches of Brussels
,and
throughout the Low Countrie s . They have co nsiderable meri t .K lo m p, A lb e rt. Flo urish ed 1602—1 622. His landscapes are
sometimes mistaken for those of Paul Potter . One of these is i n theBrus se l s Gal l .K n e lle r, S ir Go dfre y , born at Lubeck (1646 A rival o f
Le ly i n portrai ture . He h ad the honor of pai nting eight crownedheads
,and an almost i nnumerable number of other persons . He
studi ed u nder Rembrandt , Bol , Carlo Maratti , and Bern ini . Hispictures are full of mannerism . There are two very di stinc t opinionsof hi s excellence , some admiring him very much , and others cri ticisi ng him with great severity . He painte d very rapidly and ofte nprostrated hi s talent for the sake of gai n , but hi s carefully fin ishedwork s show what he might have done
,had he re garded fame more
and money less . His design was correc t , and he was espec ial ly skilful i n painting the hai r . His groups of chi ldren are , perhaps , h isbe st work s , and some pictures in which he has represented his femalesitters as Madonnas, have cons iderable meri t . A monument to h ismemory was execute d by B y sbrach, and p laced in Westm i ns terAbbey .
K n e lle r, M art in , born at Stei nach in th e Tyrol ; died 1 804 .
Pupi l of Troger in Vi enna , and Raphael Mengs at Rome. He he
came one of the be st German hi storical pa i nters . He worked in bothoil and fresco. He excelled i n depic ti ng v iolent ac tion . His coloris be st in hi s frescoe s . His work s are i n the conven t of Ettal and inthat of Grie s in the Tyrol ; i n the Town Hall of Mun ich and in th e
Gall . of that c ity ; and i n the Vienna Gall . there'
i s a portrai t ofJoseph Rosa , a former director o f that gallery .
K o b e ll, F e rdi n and, born at Manheim (1 740 1 A good landscape painter and engraver. His etchi ngs number more than 230.
K o b e ll, W i lli am ,
D
born at Manheim (1 766—1 834 So n of theprec eding. He also painte d landscape s
,and engraved . His e tchi ngs
and aqua-t int engravings are much esteemed .
K o b ell , Franz , born at Manhei m (1 749 Said to ha ve ex
356 KOB ELL KRAFFT.
e cu ted more than pen ske tches and drawings of landscapesand bui ldings .K o b e ll , He ndrik, born at Rotterdam (1 75 1 A painter of
marine subjects which were well e steemed .
K o b e ll, Jan ,born at Utrecht (1 782 A son of th e preced
i ng, and a good painter o f animals . His picture s are much esteemed .
He a lso left a few etchi ngs and drawings . The latter are very valuable .
K o b e ll, Jan , Jr . , born at Ro t terdam (1800 Cousin ofthe preceding . A cattle and landscape painter. Hi s painti ngs anddrawings are very va luable .
K o n in ck, or Co n i n ck, Dav i d de , born at Antwerp (1 636Pupil of Jan Py t , and al so a pain ter of hunts , animal s , and k indredsubj ec ts . He was powerfu l i n color
,animated in conception
,and
masterly i n touch . Hi s work s are rare . There are two excellen tones i n the Amsterdam Mus.
K o ni n g , S alo m o n , born at Amsterdam (1 609—1 6 74 An im itator of th e manner of Rembrandt . He so closely fol lowed that m aste r that hi s pictures were often mistaken for h is , though there i s aninferiority man ifest to o ne experienced in j udgment. Koning pai nteda varic ty of subj ects , and hi s work s a re seen in some Engl ish galle ri e s, and th e B erli n Mus. He also etched some plate s which aredecidedly Rembrandtish in effect, and are executedwith a very l ightpoint .K o n in gh , Phi lip de , born at Amsterdam (16 1 9 One of
the best scholars of Rembrandt. He painted portraits and landscapes . The latter are espec ially fine , and very valuable from theirrari ty and excellence . Hi s finish and impasto are admirable ; hi scolor warm and clear
,and the sense of distance which he gives i s
very fine . His work s were adorned with figures by Lingelbach , andwith animal s by Dirk van Bergen . Some of his finest work s are inprivate Engl ish collection s . Th e Amsterdam , Hague , and Aremberg ga l lerie s have specimens ; the latter i s a chef-cl’aeu vre . In thePai nters ’ Gall . at F lorence there i s a fine portrait of himself.K raf t, A dam . An old sculptor of N urem be rg , bel ieved to have
be en born there about 1 430; he died at the ' Hospital of Schwabach'
i n 1 507 . His early history i s u nknown . His first work s in N urem
berg are th e gable over the entrance hall of th e Frauenkirche , 1 642,and th e Seven Stages (at which Christ fai nted under th e cross) , onth e way to the Johanni s Cemetery . The first gives no promise of h islater excellence , but th e l atter a re ful l of strong expre ss ion . The cityof N uremberg (especially the ch . o f S. Sebald) i s rich i n th e sculpture s of Krafft . He h ad great power of con ception , and while therewas a certain stoutness to hi s figure s which was coarse
,he gave a
touching expression to the face , and sometimes reached a depth o f
M hng amounting to i nspirati on . Tha t he cou ld well represent the
358 KUPETZKY LAGUERRE.
however,somewhat affected in design . Few of h is work s are see n
in public gallerie s . There are specimens in those of Vienna andBerlin . He was pain ter to the Emperor Joseph I. , and was i nvitedto England by George II . , but decli ned to go on accoun t of h isheal th .
L a er, Pi e te r v an , born at L aare n (16 13 He went toRome while s ti ll young , and was called there B amboccio , on accountof hi s singular form . He remained sixteen years i n Rome , and wasthe friend of Claude and the Pouss ins . He painted al l sorts o f sub
je c ts, but more espec ia lly peasants with their cattle . He also reprose nted peculiar effects of light and shade , such as moon li ght on oneside
, and a torch-l ight on th e o ther. His drawing was good , and thehands and feet sometimes finished with great deli cacy . His color i sat times clear
,but many of his pictures are dark and smoky . His
works are rare. They may be seen in the Louvre , Dresden , Vienna ,a nd Cas se l gallerie s . Those in the latter collection are fine Spec imens . Van Laer al so etched twenty pl ates , mostly of animals ; theyare wel l executed , but his horses are badly drawn .
L afo nd, Cha rle s N icho las R aph ae l, born at Pari s , 1 727. Pupi lof c nault. He i s well considered among modern French artists .His work s are numerous , and are seen in both public and privatecollect ions . Hi s subjects are various ; poe tical , Scriptural , and h isto rical.
L a fo ss e , Ch arle s de la , born at Pari s (1 636 Pupil of LeBrun .
,He distinguished h imse lf by his works at the Inval ides .”
He went to England, where he was wel l rece ived and employed . Hiseasel pictures are superior to his decorative works . He was Chancellor of th e French Acad . at the time of h is death .
L agre’
n ée , L o u i s Je an Fran c o is , born at Pari s (1 724 Pu
pil of Carl Vanloo . He obtained a priz e and was sent to Rome.
wi tha pension , when quite young. After hi s return to Paris h is reputation caused him to be appointed director of the Acad . of S . Petersburg . In 1 78 1 he was made direc tor of the French school at Rome ,and there executed hi s best work s , most of which have be en e n
graved . His subj ects are from sacred and profane history , and fromthe ancien t poets . Napoleon gave him the cross of th e Legion ofHonor , and at the time of his death he was Profe ssor-Rector of theSchool of F ine Arts , and honorary conservator and admini strato r ofthe Museum .
L a gu e rre , L o u is , born in Pari s (1663 Pupil of Le Brun .
He went to England and assi sted Verrie . They painted many hallsand stai rcase s . Pope mentions both these arti sts thus
Wh e re sprawl the saints o f Ve rri o and Laguerre .
"
LAIRESSE LAN INI . 359
L a ire sse , Ge rard de , born at L i ege (1 640 He has beencalled the Poussin of Belgium, and he was indeed an im itator ofN icco lo Pouss in , but he imitated h im from a di stance . His pic turesare frequently cold i n color , and when warm they are heavy . Hisexecution i s careful ; his heads are in imitation of the antique profile ,and somewhat monotonous ; his figures are affec ted and freq uentlytoo short . He was most unsuccessful i n Biblical subjec ts . His work smay be seen i n the Louvre
,Berlin , and Cassel galleries . He e tched
a large number of plates from hi s own design s , with spirit and freedom , and his lights are so arranged that the eye is immediately fixedon the principal figu re .
L am b e rt, Ge o rge (1 7 10 An Engl ish landscape painter .
Some of h is pictures were painted i n conj unct ion with Hogarth .
Some of hi s landscapes are small,bri lliant in color, and the trees are
agi tated by the wind.
L an a , L udo vi c o , born at Modena (159 7—1 64 He painted manyreli giou s subjects . His female figure s are fine , and h is landsc apebackgrounds very good . Hi s work s are be st studi ed i n his nativecity.
L an cre t , N ich o las, born at Pari s (1 690 An imitator ofWatteau in hi s choice of subjec ts . His peasants courting , his womenand chi ldren
,are al l well done , and hi s landscape s are pleasing. His
i nteriors are well managed , and the accessorie s not too prom inent .His handling i s more broad and free than that of most pain ters ofthi s class of pictures .Da ndi n i , Tadde o . The sculpto r of th e Fo ntana del la Tartarughe,
in Rome , executed in 1 585 .
L an fran c o , G i o . , born at Parma (158 1 One of the late stnoticeable pupil s of the Carra cci . His be st work s were cupola paintings
,and of these those of 8 . Andrea del la Valle i n Rome and the
Tesoro i n Naple s are the bes t . His greatest merit i s i n h i s color ;he is a mere ma chi n ist, i ntroducing abrupt lights and shades, u nne cessary foreshorten i ngs , faces without express ion , and groups arrangedentirely according to precepts rather than nature . And yet he wasone of the best of the painters of thi s class . “Then h is subj ec t allowed a merely natural i st ic conception , he . succeeded bes t . Amonghis finest work s are S . Loui s feeding th e Poor , i n the Acad . ofVen ice
,and the Liberation of S . Peter ,” i n the Colonna Pal . at
Ro me . His S. Ceci l ia ,” i n the Barberini Pal . , i s one of his worstproduction s . He al so executed a number of e tchings i n a masterlymanner .L an in i , B e rn ardi n o , born at Vercelli (about 1 508 Pupil
of Gaudenz io Ferrari and an imitator of Correggio . His chiefexcellence was i n his del icate chi aro-scuro. His best work s were hisfrescoes , and of these may be mentioned the S ibyls and other worksin the Cath . of Novara . One of his picture s i s in th e National Gal l. ,London . He was much employed at Mi lan .
360 LAPO LAWRENCE.
L apo , Arn o lfo (1 232 A Florentine archite ct . Hi s re
m aini ng work s atte st hi s sk il l . Among them are the Cath . of S .Ma
ria del Fiore at Florence ; the marble tribune i n S . Paolo at Rome,and the tomb of Card . Bruges in S . Domenico at Orv ie to .
L argi lli ére , N i ch o las ,born i n Par is (1 656 Pupil of An
tn i ne Go ube a u . He painte d a variety of subjec ts . He was receivedinto the French Acad . on account of hi s portrait of Charles le Brun ,which was engraved by Ede linck. He went twice to England , andwas for some time th e assi stant of Sir Peter Lely . He often pain tedlandscape s
,animals
,and sti l l-li fe , and used the se subjec ts as aces so
rie s to his figure pictures .L as in i o , 11 Co n t e Ca v ali e re Carlo , born at Trev igi , 1 75 7 . An
excellent mo dern engraver . He made many engrav ings for book s ,illustrating the work s of the old pai nters , such as L
’
Etru ria Pittrice ,”
the Remains of the Campo Santo at Pisa ,” and th e Sto ria della
Pi ttura Italiana .
”
L asn e , M ich a e l (1595 Thi s engraver was o ne of the firstof his co u ntrv (France) , who di s tingui she d themselve s as engravers .His work s are numerous .L a stm an . Pi e t e r, bo rn at Hae rlem (1562 He studi ed in
Rome,became fam ou s, and was summoned to Copenha gen to dec o
rate a church. His best points were v igorous color and great knowledge of chiaro-scuro . Rembrandt was once hi s pupil . He execute dsome etc hings from his own design s, which are now rare .
L a un i tz , Edw ard v o n de r (1 79 7 Disciple of Thorw aldsen . He was au earnes t student of the antique , which conduced to
th e formation of hi s noble style. The Guttenburg monument atFrankfort i s hi s most important work , and is one of the most valuable of a ll the publ ic monuments of Germany . The theatre of Frankfort w as decorated by hi m , and there are other s tatues of hi s i n thatc i tv.
L a uri , Fi li ppo , born at Rome (1 623 He pain ted a varietyof subjects
,and many of hi s work s have been engraved by English
engravers . Hi s bacchanal s are his bes t pic tures. He was on th e
whole a pleasing pai nter, and the figure s which he added to the landscapes of other arti sts were much admi red .
L aw re n c e , S i r Th o m as, born at Bri stol (1 769 This re
markable portrai t pai nter commenced hi s career as an arti st by making sketches in chalk when l i ttl e more than a baby , and when tenyears old was really a pai nter i n crayon s at Oxford . He u sed o il
colors at seventeen , and in 1 79 1 , though younger than the age re
quired by law, he was made an as soc iate of the Acad . After thedeath of Sir Joshua Re ynolds he was appointed painter to the King ,and w as but twenty-two when he pai nted portrai ts of th e Ki ng andQueen . He was elec ted a Royal Academic ian i n 1 794 , w as knighte din 1 8 15
, and be came the Pre sident of th e Acad. i n 1 820. He was
362 LELY LENAIN .
i n We stphalia (1 6 1 8 He went to England and bec ame th emost celebrated portrait painter after Vandyck . His “ Beauties atHampto n Court are too wel l k nown to require mention . He hasbeen ac cused of manneri sm in the treatment of the eye , but the ladie sof h is time affec ted th e appearance which he give s The sleepyeye tha t spoke the melting soul . ” His pictures of men are not equalto those of women . The backgrounds of m any of hi s work s werepainted by others . He was knighted by Charles II.
,and became
very rich . He painted a portrai t of Cromwell , who said to him ,
Mr. Lely , I desire you wil l u se all your sk ill to paint my picturetruly like me , and not flatter me at all ; but remark al l these roughnesses, pimples , warts, and everything as you see me , otherwise I wi llnever pay you a farthi ng for it .” There are a few historical picture s by Lely i n private collect ion s in England . He al so etched aplate of a Shepherd and Shepherdess . He was buried i n CoventGarden , where there is a monument to hi s memory , with hi s bust byGibbon .
L e m bke , Jo h an n Ph i lip, born at N uremberg (1 63 1 Apainter of m i li tary subject s . His color was clear and vigorous
, h is
conception spiri ted, and his execution free . His principal work s arein Stockholm , where he was summoned as court painter , but there i sa fine Sk irmish i n the Gall . at Vienna .
L em o in e , Prango is , born at Paris (168 8 One of thefines t decorative painters of France . He advanced rapidly in hisyouth , and became a professor of the Acad . i n 1 733 . He had vi si te dI taly i n 1 724 for the first t ime , and on hi s return , painted hi s
Apotheosi s o f Hercule s .” This work is i n oi l upon canvas,64 by
54 fee t in siz e . The clouds which form the base or ground of thepicture cost
,i t i s said
,franc s for ul tramarine . There are 1 42
figu res i n i t , and i t i s probably the most magnificent pzltura di m acrkina o f th e decorat ive peri od i n which i t was executed . It was fixedto the ceil ing of the Salon d’Hercule , at Versailles . On account ofit , Loui s XV. appointed M m o ine painter to the King, but did no t
give him all the ancien t honors of that offi ce . This fac t , togetherwith adverse cri tic ism s of other arti sts
,and the death o f his wife ,
brought on an insani ty , in whi ch he took his own l ife about tenmonths after the completi on of this great pic ture .
L e m pe reu r . Thi s the name of several French engravers , ofwhom Louis Simon (1 725) was the most eminent . He was a m em
ber of the Acad., and hi s plates are excellent i n their execution .
Hi s w i fe , Catherine El iz abeth, was al so a good engraver.L e n a in , L o ui s , A n to in e , and M a th i e u . These three brothers
are scarcely d istinguisha ble in the ir work s, fo r the sim ple name ofLe nai n i s common to all . They painted genre subj ects and were
good portrait pain te rs , e special ly in miniature . They were all members of the Acad . Louis and Antoine died 1 64 8
,and Mathieu in
1 6 77, at a great age . Their works are i n the Louvre .
LENS LEPRINCE. 363
L ens, A ndri e s Co rn e li s, born at Antwerp (1 739 Apainter of l i ttle merit
,as may be seen by hi s pictures i n the Antwerp
and Brussel s museums . But he may be remembered as havingscorned to be a member of S . Luke ’s Guild of Pai nters in Antwerp,a nd on his recommendation , this anc ient socie ty , to which Ruben sand Quentin Massys had belonged , was di ssolved .
L e o ch are s , sculptor of Athen s. F lourished abo u t 'B . 0 . 3 72- 338 .
His masterpiece was the Rape of Ganymede . Pliny says he madethe eagle appear sensible of the val ue of the treasure he was bearingand to whom he bore i t , so tha t he was careful not to wound theboy with his ta lons . The original was i n bronz e, but has been copiedon gems and i n marble frequently . The best ex isting one i s halfl i fe-siz e , of marble , i n the Museo Pio-Clementino . The one in thel ibrary of S . Marco, i n Venice , i s less wel l preserved . These are allimperfect
,but give an idea o f the refined sensuali ty and grace which
characterized Grecian art of thi s period . He al so made a statue o fAutolycus
,probably on account of his great beauty. There are
several other mythological subj ect s and some celebrated portraitstatues mentioned among the work s of L e o ch are s.
L e o n a rdo , Ju seppe (1 6 16 A Spanish painter of h is tori calsubjects . He was poisoned , i t i s supposed by hi s rival s . Some ofhis fines t work s are i n the Q ueen of Spain
’s Gal l .L e o n b run o , L o ren z o , born at Mantua , 1489 . An impo rtant ar
ti st i n hi s time . Most of hi s works are lost,but th ree remain at
Mantua, and are prai sed by Codde.
L e o n i or L i o n i , Cav a li e re O tta v i o , bo rn at Rome (about 1 5 75A very distingui shed portrait painter
,and president o f the
Acad . of S. Luke . He also painted al tar-pieces for several churchesof Rome . He etched about twenty plates in a style peculiar to himself, but very pleasing . The face s are dotted ; th e shadows are assisted with stroke s , and the draperies and hai r are of strokes . Leoniwas al so called Pado vinano , and Il Cav . Padovano
,on account o f h is
family,which was of Padua.
L e o pardo , Ale ssa ndro . Venetian sculptor . Flo u ri sh ed abo ut1 4 90. After the death of Vero cch io . Leopardo finished the statue ofBartolommeo Calle o ni , i n front of the ch . of S . Giovann i e Pao lo , Venice . Th e monument i n the choir of the same church
,to the memory
of the Doge Andrea Vendramin , i s al so the work of Leopardo, whowas employed with the Lombardi to decorate the chapel of Card . Zenoin S. Marco . He executed, lastly, the three bronz e standard-bearersi n th e square of S . Mark . He was at the head of a large atelier
,and
toge th er with hi s pupil s did many works .Ie prin c e , Je an B apti st e , born at Metz (1 733 Pupi l of
Boucher . Spent some years i n Russia. Painted landscapes and i nte rio rs. He was al so an engraver i n aqua
-tinta ,and publi shed the
Traité de la Gravure au Lavis . ”
364 LEPR INCE LEUTZE.
L e pri n c e , A . X av i e r, died 1 826 . Pain ted fai rs , fe st ivals , etc . , so
well that they have been placed i n th e best collecti on s .
L e sli e , Ch ar l e s R o b e rt . So n of American parents , bo rn inClerkenwell (1 794 He was early taken to Philadelphia , andwhen old enough was apprenticed to a book seller. In 1 8 1 1 b e re
turned to England and entered the Royal Acad . He had some i nstru c ti o ns from Allston and West . His first works were portrai ts
,
but later he pai nted a high class of genre subject s . His first important picture was Sir Roger de Coverley going to Church ,
” whichwas wel l received
,and repeated for th e Marquis o f L an sdowne .
There i s a repet ition of hi s Sancho Panz a and the Duchess ,” in
the N ational Gal l . In 1 826 he was elec ted to the Acad ., and seven
years later was appointed Professor of Drawing at West Point . Heremained there but a short time , and returned to England . Afterthis he did many work s excellen t i n everythi ng but color . He wasmade profes sor at the Royal Acad .
, and his lectures were publ i shedand called A Hand-book for young Painters .” He al so wroteth e Life of Constable .
” His work s are bes t seen i n the Sheepshank s Coll .L e thi ere , Gu i lla um e Gu i llo n (1 760 This artist had a
cult ivated mind,and made rapid advance i n art unti l he became
President of the Acad . at Rome . He chose such historical subj ect sas were associated with the overthrow of tyranny , and the establishment of l iberty . The Judgment of Brutus was much admired inFrance and England, ~wh e re i t was also exhibi ted . Lucien Bonaparte was hi s friend
,and took some of hi s work s to England , but
most of them remain i n France .
L e u , Th o m as de , born at Pari s about 1 562. An excel lent e u
graver .
L e u t z e , Em m a n u e l. born at Wi irtembcrg (18 1 6 Hisfather came to Ameri ca and settled i n Philadelphia. Emmanuel deve loped hi s artistic talents early , and in 184 1 had orders suffic ient towarrant his going to Europe . He became a pupil of Lessing at Du sse ldo rf, and soon acquired a name as a painter o f history . Hetravelled exten sively i n Europe , and married a German lady . In h i sworks we find the resul t of his admiration for Kaulbach . He hasbeen severel y critic ised , and has afforded much opportunity fo r j ustcri tici sm ; at the same time there i s great room for admiration i n theboldness of his manner
,hi s dramatic effects
,and his technical sk il l .
His industry was great , and his pictures are numerou s . The mostimportant are : \Ve ste rn Emigration ,
”in the Capitol at Washing
ton ; Columbus at the Council of Salamanca ;” “ Columbus i n
Chains ; Columbus before the Queen ,” and another of his recep
tion at Barcelona ; Landing of th e Norsemen in America ; Cromwel l and hi s Daughter ;
” the Inco no cla st ;” “ Henry VIII. and
Anne Bo leyn ; the Court o f, Q u e e u El iz abeth ; God iva ; and
366 LEYDEN .
of a Flemi sh to wn , and th e people seen there in the ea rly part of the1 6th century. Bartsch gi ve s a list of 1 74 of hi s prints ; the follow
ing are the principal ones .
TEhtPTATlON OF CHR IST. B Y LUCAS VAN LEYDEN.
A se t of s ix of the Creation and Fall of Adam and Eve . 1 529.
Adam and Eve driven from Eden . 1 5 10.
Cain and Abel . . 1524 .
Abraham and th e Angel s .Abraham se nding Hagar away ; an early work ; very rare .
The same subjec t , called The Little Hagar.Lot and his Daughters ; fine . 1 530.
Se t of five of the History of Joseph . 1 5 12.
Jephtha and his Daughter .Samson and Delilah .
Trium ph of David .
LEYDEN . 367
David praying,wi th an Angel appearing to h im. 1 520.
David playing the Harp before Sau l .Solomon worshipping Idol s . 15 14 .
Esther before Ahasuerus. 15 1 6
Susanna and the Elders ; a very early workSS . Joachim and Anne . 1 520.
The Annunci at ion .
The Visi tation .
Adorati on of the Magi ; very fine . 1 5 1 3.
Repose in Egy pt ; an early work .
The Baptism of Chri st ; many figuresTemptation of Christ. 15 18 .
Resurrection of Laz arus ; an early work .
Se t of fourteen of the Passion of Chr ist .Se t of n ine of same subject ; c ircular.Ecce Hom e ; very fine . 1 5 10.
The Cru c ifixi on ; one of the be st. 1 5 1 7.
Christ appearing to Magdalene. 1 51 9.
The Prodi gal So n ; fine .
Virgin and Chi ld with S. Anne . 1 5 1 6 .
Virg in and Child with Glory of Angel s .V irgin and Child seated at the Foo t of a Th ee .
Virgi n and Child in a Landscape , with two Angels ; very fine.1 523.
Holy Family,with S . John presenti ng an Apple .
Se t of thirteen of Chri st and the Disciple s .Se t of four ; the Evangeli sts . 1 51 8 .
SS . Peter and Paul ; half length . 1 5 1 7.
Convers ion of Saul. 1 509.
SS . Peter and Paul in a Landscape . 1 527.
S . Christopher bearing th e Infant Christ ; very fine . 1 521 .
S . John Bapti st in th e Desert . 15 1 3.
Decollation of S. John .
S . Jerome , with a Book , Skull , and Lion . 1 521 .
Martyrdom of S . Sebastian .
S . Anthony Hermit .Temptation of S . Anthony ; very fine . 1 509 .
S. Franci s receiv ing the Stigmata .
S. George and the Dragon .
S . Mary Magda lene i n the Pleasures of the World ; cal leddale ne ’s Dance ; very fine and extremely rare .
Mary Magdalene i n the Desert.S. Catherine ; half length . 1 520.
The Monk Sergius , wh o i s sleeping , killed by Mahomet ; very fine .
1 508 .
Se t of se ven ; the Cardinal Virtu es. 1 530.
368 LEYDEN L IB R I .
Death of Lucret ia,sometimes called The Death of Dido .
”
Pyramus and Thisbe . 15 1 4 .
Mars and Venus . 1 530.
Mi nerva seated ; said to be hi s las t plate , which he did not quitefinish .
The S tandard-bearer.A Young Man leading an Armed Company , l i stening to a Man who
i s Speaking ,with hi s Hat i n his Hand ; fine .
An Old Man putt in g the Wedding Ring on the Finger of a YoungWoman ; very fine etching rare .
An Old Woman with a Bunch of Grape s .Th e Music ians . 1 524 .
A Surgeon performing an Operation . 1 524 .
Th e Quack Doc tor . 1 523.
Th e Eulen spiegel ; very celebrated . 1 520.
Portrai t o fEmperor Maximil ian I. ; very fine and scarce . 1 520.
Portraits o f Lucas Van L e vde n , inscribed Efi gz’
es L u cca L e ide u s is
propri a ma nu ince'
dere .
A Young Man , half- length , with Cap and Feathers, holding aSkull ; thi s i s called his own portrai t , but doe s not resemble theothers .
WoodCu ts .
Th e Kings of Israel ; i n chiaro-scuro ; scarce .
I llustrious lVom e n of the Old T ;estament scarce.Four Large Tournaments ; scarce .
L ib e ra le . da Ve ro n a , born at Verona (1 451 He was firsta miniaturi s t , and the effect of this occupation was always v i sible i nhis manner of fini sh . He was an imitator of Jacopo Bel li ni . Anumber of his works remain and are in Verona , M i lan , Padua , theBerl in Mus.
,and Florence Gal l . They have no especial merit . His
miniatures are hi s best productions . Some of these are at Chiusi .L i b eri , Pi e tro , born at Padua (1605 Called L ibertine ,
from his love of painting nude Venuses . He i s considered by someas the best draughtsman of the Venetian school . He painted sometimes w ith a free and unlabored m anner , which he said was for th eintel ligent ; and sometimes with grea t labor and exactnes s, for the
ignorant , as he declared . He was the firs t President of the Acad .
at Venice , where some o fhis great work s are s ti l l pre served .
L i b r i , G i ro lam o da i , born at Verona (14 74 In th e Ilisto ry o f Painting in N orth Italy ,
” i t i s said of thi s arti st , Beginningas a mi niaturi st , emulating i n succession the Ma ntegne squ e of Carotoand Morone , and the modern Veronese of Morando , he ascends to ahigh place amongst th e profes sors o f paint ing i n the north ; andthroughout hi s long c areer he never inc urs the reproach of being aplagiari s t or a se rv ile copyist .” His works are best seen i n Verona ;there are al so Spec imen s at the Berlin Mus . and the N ational Gall.
370 L IPPI .
benefit .The story is thi s : He was an orphan at an early age, and
his aunt,Upo n whom it dev olved to care for h im, be ing poor , he was
plac ed i n the monastery of the Carmine i n F lorence i n 1420. Herehe studied painting and formed hi s style after that of Masaccio . But
as the story goe s, h e could not endure restraints , broke away from theconvent
,and whi le on an excursion at se a was captured by pirates
and taken to Barbary as a slave . He at la st obta i ned hi s freedom onaccount of a likeness he made of hi s master , and was returned toItaly with rich presents . He landed, i t i s said, at Naples , and atlength returned to Florence . Later i n l ife , wh i le employed at th econvent of S . Margheri ta at Prato , he se duced and carried o ff Lucrez ia Buti, a nov ice , who became the mother of Filippino Lippi , andeleven years later he died from poi son , admin istered according toone account by the relatives of L ucrez ia , and ac cording to anotherby those of a woman who had succeeded her i n his affec tions . Werethis story wholly true i t would be best to speak only of hi s work s
,
forgetting himself entirely , but while i t i s not possible to totally contradict it , there are some circumstance s now known which mitigatecen sure , at least . The name o f Castagno has been freed from the
st igma of murder whi ch Vasari at tached to it , and i t is Vasari whoaccuse s Fra Filippo of all hi s fault s . From 1 430 to 1432 h is name ismen tioned with the t itle of painte r i n the records of the convent , andi t was probably duri ng that t ime that he executed there the work swhich are spoken of as ve rv excel lent, but of which none remai n .
The capture by th e pirate s cannot be supported b v any proo f of hi shaving been either at Ancona, from which he is sa i d to have sailed ,or at Naples , to which he re turned . Again , i t i s not true that he forfe i tcd his title of Frater ,
” for all h is works which are signed beari t, and Domenico Ve n i z iano mentions him in a le tter of 1438 as FraFilippo . But more d irect than al l i s th e proof of a note writte n byhimsel f to Piero de ’ Medici i n 14 39, when he says, I am one of thepoore st friars of Florence ,
” and goe s on to relate that he has chargeof six marriageable n iece s who depe nd upon him . He begs Piero tolet him have corn and wine o n account , so that h is ni ece s may notstarve while he is absent from them . We know that i n 1452 he waschaplain to the nuns of S . Giovannino at Florence
,and in 1 45 7 rec
t or o f S . Quirico at Legnaia . It would not seem that the seducer ofone nun would thus have been associated with others . All the sedoubts one must have i n reading th e s tory of Vasari , i n whom ourfaith has been so j ustly shaken . and i t i s to b e hoped that further researche s may bring to light proofs which shall es tablish his innocence .
As an ar tist he was the best master of techn ical it ie s,and the best
coloris t of hi s time , and his mode of color was origi nal . Wi th aful l brush he created a deep impasto ; he th en shaded or fused thevarious pa rt s into soft . rich fulness , and still preserved clear tone sbehind . He was much inferior to Masacc io in composi tion, and his
L IPPI L IVINS . 37 1
work s were marred by a certain sort of ha s-rel ief flatness, but he gavemuch l ife and feeling to his heads, which , united to hi s color , madehis picture s very attractive . He did not advance perspective
,he
never foreshortened , and hi s architectural k now ledge was compara tive ly small ; on the other hand , hi s atmosphere supplied in part h isdeficiencies ; he was a good draughtsman and understood how to present the nude without the vulgari ty of too great real ism . His draperi as were loaded with ornaments in gilt relief , and his love forelaborate friez es , cornices , and pil asters was remarkable . His mostimpo rtant fre scoe s were done in the Cath . of Prato
,and il lustrated
the history of S . Stephen , and that of S . John Bapti st, besides singlefigures of sain ts . His works i n the Cath . of Spoleto are les s important. The picture s of Fra Fil ippo are i n all the large European galle ri e s, but. the re are more in F lorence than in a uv other c ity . Fra
Filippo was buried in the Cath . of Spoleto , and a monumen t wasthere erected to his memory by his son , a t the expense of Lorenz ode ’Medici .
Li ppi , Pi li ppin o . It i s not positively known when this arti s t wasborn , or who were hi s parents . He has been called the natural sonof Fra F il ippo Lippi and L ucrez ia Buti , and said to have been bornat F lorence i n He died in 1 505 . He formed his s tyle fromthat of Fra Filippo and from Sandro Botticel li . He executed a greatnumber of work s , and was entrusted with those of much importance .
One peculiari ty of his style was his love for ornamentation of everykind , which he used in all par ts of his work s . He much excelledFra F ilippo i n execution , and was , i n truth , one of the greatestartis ts of his century. His women are elegant and graceful
,his men
dignified , and al l hi s figures full of l ife , emotion , and action . Hisfinest frescoe s are i n the B rancacc i chapel of the Carmel ite ch . inF lorence . His finest easel picture is a Vi sion of S . Bernard
,
” i nthe Badia at F lorence . His work s are seen i n al l large gallerie s ofEurope
,but F lorence i s richer than any other city, both in the num
b e r and qual ity of his pictures .L i v e rse e ge , H e n ry , born
' at Manches ter (1803 Thispainter was weak and deformed in body, and u nab le to support hi sact ive imagination , so that his l i fe was one of suffering , and termiu s ted suddenly . He at firs t painted portra i ts , but soon devotedhimself to representing various characters from th e novels of Scott,a nd other subjects of a ge nre nature . He was especially happy inhis picture of Adam Woodcock , and became a favorite arti st . Mostof his work s have been engraved , and are familiar to th e publ ic .
L i v i u s , Jan , born at Leyden (1 607 Pupil of Peter Lastma n at the same time as Rembrandt . They were always friends .
L ivins i s more important as an engraver than as a painter, and theinfluence o fRembrandt i s most apparent in his e tchings . He excel ledhi s fellow-pupil as a draughtsman , but fell below him in every other
372 LIVINS LOMB ARDO.
particular.His portra i ts were very fine . Few of hi s work s are in
publicooralle rie s. An im
portant one represents Jacob receiving the
Blessing of Isaac,and IS in the Berl in Mus . The Louvre , the
t3
Am
ste rdam ,and Munich gallerie s also have sp ec imens of hi s work s .
Bartsch give s fifty-six etchings by him , and they are very exce l len t .
L o m b ard, L am b e rt . Real name Lambert Suste rm ann . Born atLi ege (1506 Pupi l of Mabuse , h e adopted the Itali an sty le
8 5 . PETER AND PAUL BEFORE THE PROCONSUL FELIX. BY m u rrm o LIPPI.B ranca cci Chape l .
of pain ting , which was confirm ed by a visi t to Italy, where he was iastruc ted by Andrea del Sarto . He returned to Liege and Opened 9.
school , and in addition to painting , professed archi tecture , numismatie s, engrav ing , archaeology , and poetry. , His works h ad considerable meri t, and are no w rare . There i s one in the Berl in Mus .L o m b a rdo , Alfo nso (1488 Sc ulptor of Bologna, where
his most importan t work s rema in, i n the churches of S. Pietro , S .
374 L ONSING LORENZETTI.
in 1 7 72, and wen t from Rome to Paris , Lyons , and Bordeaux , anddied in the latter city
,where most of hi s work s remained . His po x»
traits have been engraved . His easel pictures are rare and are wellesteemed . There is a mixture of the F lemish and I tali an in h isworks
,whi ch gives them a pecul iar appearance .
L o o , Pe t e r Van , born at Haarlem (1 73 1 A painter offlower pieces . He commenced by painti ng choice flowers for theflorists
,and thus acqui red the habi t of exactnes s in his represen ta
tion s . He is sometimes confounded with artists by the name ofVanloo .
L o o te n , Jan , died i n Lo ndon , 1 68 1 . A Dutch pain ter of landscape s . His composition was good, bu t hi s coloring was heavy andink y . T he Berlin Gall. has a land scape wi th a s tag hunt , signedJa n Looten , 1 659 .
L o re n z e tt i , Pi e tro , flouri shed abou t 1 340. A conte mporary ofSimone of S iena . He was chiefly noticeable for th e spirited actionof his figures , bu t his pictures as a whole are so conformed to the ar tconventionalitie s of his t ime that they seem ta steless to us . Vasaricall s hi s picture s in the Cath . of Arez z o , now destroyed , the best tha thad the n been done i n Italy . His Fathers and Her mi ts i n theWi lderness,
” painted in the Campo San to at Pi sa , are sti l l pre servedthere . In th e Ufii z i there i s a Madonna and Child with Angel s ,
”
signed by him , and dated 1 340. Hi s l ater pictures are his be s t, andshow an attempt to free himself from the prej udices of his time .
'
In
1 342 he painted a Nativity for the Cath. of Siena , now preservedin the sacristy ; another altar-piece is i n the Pieve of Arez z o ; he al sopainte d at Assisi , and fragment s of his large work s are in the Acad .
of S iena, i n the Vatican , and other place s , one of them being i nEngland . He excelled i n imparti ng strong expression to hi s fac e s ,such as that of pai n , fear, e tc . ,
and was,all in all , an arti s t of great
talent , a close studen t of nature , and remarkable i n his power torender movement and expression .
L o re n z e tti , Am b ro gi o . Brother of Pie tro . Lorenz o Ghibe rtiprai sed this artis t very highly . His earliest work s were fre scoe s i nS. Francesco of S iena , of which but two fra gments remain . In theAcad . of Arts at Flore nce are two smal l predella panels b y A ll]
brogio , and a “ Presen tation i n the Temple ,” dated 1 342. In the
Palaz z o Pubblico of Siena he executed three immense allegori calpictures , i ntended to present the be nefits of good , and the ev il s ofbad government . Th ese works are very curious and interesting indesign , and al though much inj ured, enough remains to prove Ghibert ito have been wise when he placed Ambrogio be fo re S imone . Pietroought to receive the same pra i se . Th e se brothers worked together,seem to have been of nearly the same age, and their names appearand disappear from reco rds at the same time . They approachedmore nearly to Giot to than any others of S iena . Besides the works
LORENZETTI LORRAINE. 375
of Ambrogio already mentioned,there are those attributed to h im
which are not date d, and may have been done by his pupi ls . Someof these are i n the Berlin Gal l . There i s
,however , another gen
u ine Ambrogio i n the Acad . of Siena , finished i n 1344 , representingthe Annunciation .
” There were a number of Sienese arti sts bythe name of L orenz etti , who flourished in the 1 5th century .
L o re n z o , Fi o re n z o di . An art i st of Perugia who flouri shed about148 7 . His works are rare ; there are four specimens in the churchesand Palaz z o del Consiglio of Perugia, and one i n the Berl in Ga ll .His composition was good
,and hi s conception more refined than that
of the Perugian arti sts o f his time . Certai n characteri stic s i ndicatehis acquaintance with Paduan art
,e specially the “ Madonna ” at
Berl in,which i s hard in expression .
L o re n z o da 8 . S e v e ri n o . There were two Umbri an painters byth i s name who flouri shed i n the 1 5th century . The firs t one wasthe bes t artis t
,and was twenty-six years old i n 1 400
, as i s shown byhis i n scription on a picture now almost destroyed, belonging to theCistercians o f S . Severino . Some of his works al so remain in S .
Gio . Batti sta, at Urbino . He was an average Umbrian pai nter forhis time . Lorenz o the Second flourished about 1483 . One of hi spictures , a “ Marriage of S . Catherine , i s i n the N ational Gall . ;others are at Panso la
'
a nd Sarnano . L i ttle ca n be said in their prai se .
L o rm e or D e L’
Orm e , A . A painter of th e i nteriors of Dutchchurches , who flourished late in the 1 7th century . His work s arerare, and in some respects fine ; his color , being always th e same ,gives a monotony to hi s pic ture s
,but his perspect ive and his “ l ight
and shade are excellent . His best work s have figures by Terburgand other arti sts .
L o rra i n e , R o b e rt ls , born at Pari s (1666 A sculptor whoen t ered the school of Girardon at eightee n , and was employed by himon very important work s . In 1 690 he went to Rome , and afterwa rdscompleted some work s at Marse ille s, which Puget had left unfinishedat hi s death . In 1 7 1 7 he was chosen Pro fes sor of Sculpture , and i n1 73 7, Direc tor of the Acad . His Galatea i s much admired , as arealso his works in th e Epi scopal Pal . of Saverne . He made statuesfo r the gardens of Versai lle s and Marly .
L o rrai n e , Cla u de , real name Claude Gelée , born at Chamagne i nLorraine (1 600 This artist i s the prince and poe t of landscape painters . The follow ing ex tract from Lubke i s comprehensiveand full of truth : Far more profoundly than these and all othermasters , did Claude Gelée penetrate i nto the secrets of nature, andby the enchanting play of sunlight, the freshness of his dewy foregrounds , and the charm of his atmospheric di stances , he obtai ned atone of feeling which influences the mind like an ete rnal Sabbath rest .In his work s there i s al l the sple ndor
,l ight
,untroubled brightness
,
and harmony of the first morning of creation i n Paradise . His
37 6 LORRAINE.
mas se s of fol iage have a glorious richne ss and freshne ss , and eve n inthe deepe st shadows, are i n terwoven with a golden glimmer o f li ght.But they serve only as a mighty framework , fo r, more freely thanwith other masters , the eye wanders through a rich foreground in tothe far dista nce , the utmost limits of which fade away in goldenmist .” One of the str ik ing excellences of the work s of thi s arti sti s the immen se space he represents ; another i s hi s color ;
‘
he seems tohave firs t used much s ilvery gray , over whi ch he pai nte d , and th i sfoundation color gives a peculia rly atmospheric effect . His archi te c
tural repre sentations are unexceptionable , but he never succeeded i nanimal s and figures
,and was wont to say that he sold the land scape ,
but gave away the figure s . Even be fore hi s death , hi s picture s wereso much adm ired , that other artis ts atte mpted to imi ta te him and tod is pose of their works as his. In order to prevent this , he kept abook o f drawi ngs by which to identify hi s picture s . Thi s he called ,Liber Ve ri ta tis. At hi s death there were six of these , one of
which,contain ing 200 drawings, i s at Chatsworth, and h as been re
produced by Earlom . All the principal Europea n gallerie s havepic tures by Claude
,but England i s e specially rich i n his works, which
are not only in publ ic,but i n numerous priva te collec ti ons . 1 Enormous
price s are now paid fo r th em , whenever they are sold . The life ofC laude b egan in poverty . His pare nts were very poor , and di edwhile he was still young . He was apprenticed to a pastry cook , andtravelled to Rome a s vale t to some young art ist s . Soon after he arrived there , he entered the serv ice of Agostino Tassi , for whom b e
cooked and prepared colors . He at length began to pa in t , and wasa most assiduous student of nature . He was accustomed to s it who ledays watching a scene and studying th e effects of l ight at the di fferent times of day
,and so faithful was his memory, that he could repro
duce them exac tly U pon hi s canvas . B u t few of his work s are an
exa c t picture of any one scene ; th ey are rather composed of picturesque material s gathered from different points
,uni ted with consummate
taste and skill , and poet iz ed or ideal iz ed by his exqui si te imaginatio n .
There i s another account of hi s early l ife, which says that hejourneyed to Rome with a relative , and says nothing of his hav ingbeen a pastry cook ; but the fac t that Sa ndrart was hi s personalfriend , and publi shed the first account , while Cla ude stil l l ived , i sstrong proof i n favor of it s truth . It i s al so said that he studied inNaples with Go dfrey ‘Vaal before he became the pupil of Ago stinoTassi . His reputat ion , which was alre ady good,
was fu l ly establishedby some work s executed for Urban VIII . soon after 1 627. Fromth i s time , he received commissions from the mos t apprec iative patronsof art i n all parts of Europe . In charac ter
,he was unimpeachable ,
amiable i n di sposition , and tender i n feeling. His personal appear1 An o riginal Claude Lo rra ine , be lo nging to Mr.Wi l liam P h ilips,
was burnedin B oston , N o vem be r 9 , 1872.
378 LOTTO LUIGI.
sometimes called a Venetian (1 480 - 1 558 Tassi says he studi edunder Andrea Pre vi ta li and Gio . Bel li ni . He was one Of the most
importan t second-rate arti sts Of h is day , and to be cal led but sec ondrate in that era i s high pra i se . He w as not original , but fol lowedwhatever art i s t b e admired most at the time , and as his s ta ndardchanged
,so changed his manner ; th e resul t be ing that at different
t imes his works r e semble Bell ini , Giorg ione , and Tit ian . IIe executedan immense amount Of work in Oil and fre sco . His pic ture s are inthe churches and gal lerie s of numerous I talian c itie s and towns, andin almost all European collections from St . Petersburg to Madrid . Heresided for a time in Venice , Trevi so , Re canati , Bergamo, Tre scorre
(where he firs t pai nted i n fre sco) , Ancona , and Lore tto , where hedied
.Besides hi s Scriptural and hi storical se rie s and single subjec ts,
he painte d many very excelle nt portra it s , some Of whi ch have beenat times (as probably others st ill are) , attributed to Titia n , Giorgione ,Leonardo
,and Pordenone . That they could be thus assigned i s suf
fic ie nt prai se , and te l l s how excel lent they must be . These portra it sare in the Borghese Pal . , in th e Brera , the Vienna Gal l . , th e N ationalGall . , e tc . His principal large work s are at Venice, Bergamo, andRecanati . During the later years Of his l i fe he was the frie nd o f
Titian,and assimilate d his s tyle more and more to hi s. Areti no
writes of h im that he became very reli gious, and as he was employedat Loretto and dwel t in the sanctuary , i t i s probable that the hoursnot given to art were spent in devotion .
L o u th e rb o urg, Ph i li p Jam e s , bo rn at Strasburg (1 740Settled i n England in 1 7 71 . He painted landscape s, marine andbattle scenes , and was al so employed as a sc ene-painter . He contribu ted largely to the Ro yal Acad. exhibition s . The Fire of London ,
” the Destruction of the Span ish Armada,” and Lord Howe ’s
Vic tory ,”are among his princ ipal work s . His battle subjects have
an hi storical interest , and his naval pictures are finished with greatcare , but his color was ne ither fine nor natural . His cabinet landscapes are h i s most pleasing work s
,and some of th em are excel len t .
L o w ry ,W i lso n , died 1 824 . An Engl ish engraver who excelled
in mechanical and architectural subjects . He engraved many platesfo r book s , such as Crabbe ’s Technological Dic ti onary , N icholson
’sArchitec ture, etc .
L u c a te lli or L o c a t e lli , A ndre a . A Roman landscape pain terw h o flouri shed late in the 1 7th century . Many of his picture s are" inEngland . His river water i s better painted than hi s seas . Some Ofhis works are highly and delicately finished , and are pleasing i n effect .L u cc h e sin o . Se e Testa .
L u i gi , A ndre a . called L’
Ingegno . Probably a pupil Of N icco loAlunno . Very l ittle i s known of his history . He was establi sheda s an arti s t as early as 1 484 . He was a native Of Assi si, and thereare various pic tures on the wal ls Of house s there ascribed to Luigi .
PICTURE OF S . URSULA, IN THE CATH . OF COLOGNE . B Y STEPHAN LO IHENER .
382 LUTMA LYSIPPUS .
J. Vo nde lius ; Olor B o ta vas ; opus ma lle i, per J . L u tma .
P.C
.Hoe ft ; Alter Tacitus opus ma llei , per J . L u lma .
The above were executed in a pec uliar manner , with a chi sel orpunch and a mal let . T hi s he cal led opus m alle i . The two following
are engraved i n the manner of Rembrand t , andare much admired
Joannes Lu tm a , Aurifex . It i s a l ikeness of his father i n a furredrobe : he h as his spectac les in one hand , and a porte-crayon in theother
,signed, Joa nnes L a lma ,
Jun ior , fecit A0 . 1 656 .
Joannes L u tm a , Jun ior ; seated at a table drawing , with a largehat wh ich overshadows hi s face ; ve ry sca rce .
L u tz e lb urge r, Han s , cal led al so Hans Franck . An old wo od-e ngraver who engraved pri ncipal ly th e works of Hans Holbe i n . He
lived early in the 1 6 th century . His ini tial s , H . L . , are on some of
his plates . Zani called him the prince of wood-engravers ."
L u y ke n , Jo hn , born at Amste rdam (1 649 Thi s arti s t was
first'
a painter , but became at length an eminent engraver. Hisfac ili ty of execut ion and hi s powers of invention obtai ned for hi m
the t itle of the Callot of Hol land . B o hn'
s ne w catalogue men tionsmore than 900 engrav ings b y L uyke n .
L u z z o ,Pi e tro ,
cal led also Morto da Feltri . Born 14 74 . Little ispositively known of this art i s t , and but few of h is work s remai n . Themost important of these is an altar-piece i n the ch . of Villabru na ,which represents the Virgin seated on a cloud . holding the Chi ld , who
give s the benediction . SS. George and Victor are below . Thereare also portions of ornamented houses in Feltre , be l ieved to be hiswork
,and a few fragment s i n other churche s near Feltre . Several
gallerie s have works ascribed to him , but i t i s impossible to say wi thhow much j ust ice . This is th e same arti s t who is sai d to have beeni n the employ of Giorgione at Venice , to have seduced the mis tre ssi nd broken the h e art
'
o f hi s maste r , and to have fallen i n battle atZara .
L y s ippu s . A native of Sicyon . li e was a famous sc ulptorwho worked chiefly, if not entirely , in bronz e . He was the head ofthe Argive—Sicyon ic school . Pli ny says he executed as many as 6 10s tatues, and that they were remarkable for what he c all s simme lria .
lle made many statues of Hercules , and one in th e Briti sh Mu s.
may po ssibly be his, which represents the god holdi ng th e apple s ofthe Hesperides . His statue of Jupiter at Taren tum was sixty fee thigh , and he also made a colossal Hercule s for the same city . HisApoxyomeno s ,was highly celebrated , and represented an athleterapi ng h imself from th e dust of Pa lazstra with an iron . A copyof it in marble w as found at Trastevere i n 1 846 , and i s now in theVati can . This shows that Lys ippus aimed to give th e body a m o re
elegant and slender shape th a n had been the manner of repre sentation ; he al so made the head smal ler in propo rt ion to th e bo dy thanha dbefore been th e cus tom . This s ta tue i s full‘ o f e lastic grace . He
L Y SIl’PUS MAB USE.383
made many portrai t statues of Alexander the Great, who was unwilling that any other should model him . He also repre sented a famousl ion hunt of Alexander’s
,and his rescue from danger by Cra te ru s ;
and a group o f the King with twenty-five horse and nine foot soldiersi n the battle on the Granicus . Another charac teri stic of this artis twas h i s excelle nt execution of the hair .
M a as or M a e s . There have been so many artists o f thi s namethat it would be impossible to give them all a place here . The mostimportant i s N icholas Maas
,born at Do rtre ch t (1 63 12 Said
to have been a pupil o f Rembrandt . He painted ge nre subj ects andportrai ts . The former are highly esteemed ; they have but fe wfigures ; the l ighting i s admirable , and his sunl ight effects very pleasing ; his perspective i s fine
,hi s color brill i an t and warm . His por
trait s are excellent also ; th e backgrounds and acces sories a re
picturesque and highly finished,and often have the effec t of fancy
pictures rather than th e stiff awkwardne ss o f many portraits . Threeof his work s are i n the N ational Gal l . , one of which, the “ IdleServant Maid ,
” i s a masterpiece . The Amsterdam and Berl ingal leries
,the Van der Hoop Col l .
,and the Ulfi z i have each one of his
pic tures, but most of them are i n private col lections , and many arei n England . Smith only mentions forty-five of his work s i n all .M a as , Th e o do re or D irk, born at Ha e rlem (1 656 Pupil
of Henry Momm ers and N icholas Berghem . His pic ture s are notimportant , but he left a few etchi ngs which are fine and rare . One
of these represents a Caval ier on Horseback .
” He especially excel led i n drawing horses .M a b use , Ja n Van , real name Ja n Gossaert , born at Maubeuge
(about 1 4 70 He went to Italy about 1 5 1 3,and before this
time had made himself o ne of the best painters of th e l ater VanEyck school ; his bes t works were executed there . Like many ofhis countrymen , he forsook i n Italy that manner of pai nting andchoice of subjects which hi s nature and training fi tted him to excelin , and attempted what may perhaps be best termed ideal art. Fromthi s t ime his portrait s are his finest pictures. His nude figures andmythological subj ects are simply repul sive , as m ay be seen i n aN eptune and Amphitrite ,
” i n the Berl in Gall . , and a Dana e andthe Golden Shower,
” i n the Munich Gall . The redeeming featureof his later work s i s his masterly tr eatment
,and some smal l repro
scutat ions of religious subjects are remarkable . The Ecce Hom e
i n the Antwerp Mu s. i s one o f these . Twe of h is finest ea rly picture s are the Adorat ion of the Kings, at Castle Howard
,and an
il lustration of the legend of th e Count o f Toulouse , who went as apilgrim to Jerusalem , at the seat o f Sir John Ne lth o rpe , i n l . i ncoln~
884 MAB USE MALB o NE.
sh i re . There are several of hi s work s at Hampton Cou rt . Wri tersd isagre e about hi s having been in England , but i t is probably tr uethat he was there in the re ign of Henry VII . Mabuse was a friendo f Lucas von Leyden, and accompanied him on hi s famous pleasuretrip . (Se e Von Leyden .) He was always wanti ng money, and thefollowing anecdote shows one o f his modes of obta in ing i t . Whenhe was i n the service of the Marquis dc Veere , that nobleman , ex
pe cting a v is i t from the Emperor Charle s V. , gave all hi s retainerssplendid white silk damask for sui ts in which to receive his Majesty .
Mabuse requested to be allowed to supe ri ntend the mak ing of hisclothes
,and sold the damask and substituted for i t a sui t of paper .
which he painted to repre sent the damask so perfectly as to deceiveall who saw i t. Thi s joke was told to the Marquis, who called the a t
te ntion of the Empe ror to the su its, and asked which one he preferred .
His Maj e sty se lected that of Mabuse , and would not believe, until hetouched i t, that it was not real damask . Beside s the above-namedpictures, there are others in many of the large Europe an galleries , inLubeck and at Althorpe .
M a ch u c a , Pe dro , painter and sculptor . None of hi s pic ture sremain , but near the Alhambra gate there i s a marble fountain , nowmuch di lapidated
,which was o ne of his be st work s . At Sev ille ,
over the door of the ch . of the Hospital de la Sangre , there are threeal to-relievos of Faith, Hope , and Charity , which are be tter preserved . Hi s fame , however , rest s on the arch itecture of th e palacewh ich he commenced for Charle s V. , near th e Alhambra. Machucafi rs t introduced Italian architecture into Spain , and although thi spalace was never roofed in , and has be en a ruin for centurie s , enou ghremains to demand admiration .
M a e da , Ase ns i o de . So n of Juan de Mae da , a sculptor andarchitec t. Asensio i s supposed to have executed th e marble statuesi n the antechamber of the chapter-room of the Cath . of Sev ille.M aga n z a , Ale ssandro , born at Vicenz a (1556 An imi
tator of Paul Veronese . There are many of hi s work s i n his nativecity . He had three sons who were arti sts, and his father was a pe rtrait painter
,and al so publi shed some poetry under the name of
Magagno .
M ah s e lki rch e r, Gab ri e l. Flourished about 1 4 70. In the Gall .at Schleissheim there are two large pic ture s by thi s art is t, rept esenting Chri st bearing his Cross ,
” and the Cruc ifixion .
” Theyare fantasti c and wild .
M aj an o . Se e Benedetto .
M a lb o n e , Edw ard G ., born at Newport , Rhode Island (1 7 7 7A fine m i n iaturist ; his work s are i n many American houses .
He was a friend of All ston , who said of him ,
“ He had the happytalen t of elevating the charac ter without impairing th e l ikeness : thi swas rema rkable i n his male heads ; no woman ever lost any beauty
38 6 MANNL MANTEGNA .
Judith ; afle r Ca rlo Vene z ia n o .
A Chi ld holding a Dog ; after Pa u l Ve ro nese.
M an su e ti , G i o ,born at Venice . Very l ittle i s known o f thi s
painter,but i n an inscription on a picture dated 1 494
, he declaresh imself a pupil of Bellini , and adds that he believes th e mirac le ofthe cross which he represented . This pic ture i s now in the Aca d.of Venice . There are about a doz en works of this master, most ofwhich have genuine inscriptions . His manner was stiff and co nve n
t io nal, and h is color dull and i nharmonious . He sometimes i ntroduces numbers of birds and animals , as in a nativ i ty at Verona .
Several of his pic ture s are i n the Acad . of Venice ; others are atBerlin , the Brera, the Uffiz i , Verona , and L o ch is Carrara galleries .
M an t e gn a , A n dre a , born at Padua
(1 431 He was adopted bySqu arc io ne , and registered as his fos
te r-child in 1 441 . When bu t seventeen years old he pa i n ted a Madonna for the ch . of S . Sophia , which was much admired . I t is evidentfrom the early efforts of Mantegna that he s tudied the work s of othermasters than Squ arc io ne , hi s in structor. The earl ies t picture of hiswhich i s so preserved as to show hi s manner , i s an altar-piece i n theBrera
,representing S . Luke and other saints . This was executed in
1 454 , and i s excellent in modelling and l ight and shade ; i t has anorthern reali sm, but i s far superior to most Squarcio ne squ e s, andequal in color to any tempera painting of Ven ice of the same time .
After 1448 he worked on the chapel of SS. Jacobo and Cri stoforo in thech . of th e Eremitan i at Padua . The whole left side , with the Lifeof S . Jacobo
,
” and the “ Martyrdom of S . Cri stoforo ,” i s his work .
For hi s age and the state of Paduan art they are wonderful , al thoughthe critic ism of Squ arc io ne , namely , that his figure s were s tatuesqueand lifeless , i s valid. Mantegna h ad become disaffec ted towards hi sfoster-father , had married the daughter of Jacopo Bellin i , and ful lysympathiz ed with the faction opposed to Squ are io ne . He h ad nodoubt been much affec ted by the i nfluence of Donatello at Padua ; hehad studied the antique as much as possible
,and imitated it i n his
arch i tec ture and figu res . But the “ Martyrdom of S . Cristoforo ”
shows that he had discovered his mistake,and strangely displays hi s
attempt to remedy h is greates t faul t . These works made h imfamous , and the Marquis of Mantua used every inducement to persuade him to leave Padua . But he was oc cupied with some picturesfor S . Zeno at Verona, a part of which are now hung i n the choirof that eh .
, while other parts are in th e Museums of Tours and Pari s .The Marquis pe rsiste n tlv followed Mantegna, and at length about1 460 he ente red hi s serv ice
,in which h e continued unti l hi s death.
Th e work s which he did in Mantua are scattered through all thelarge col lections of Europe . The sack of the city in 1 630 left fewWorks of art there . The Marqui s required al l k i nds o fwork of him ,
MANTEGNA . 387
from the most sac red subj ec ts to that of a turkey and turkey cock tobe copied in arras . In the old castle two rooms remain decorated byMan tegna. An inscripti on in one gives the date of 1 4 74 . Some ofthese picture s are wel l preserved , and the Marquis and his family arerepresented . I t was impossible that such pictures should be at
trac tive , for the people and their costumes were ugly ; but i n the cornices and other parts of th e ceili ng he pa i n ts very differently
,with a
free fancy and great ease . There he overcomes the di fficulties ofperspective
, light, shade , etc . , and does hi mself credi t . The subj ectsare full of grace and l ife . The achievements o f Hercules , busts ofRoman emperors , and a strutt ing peacock , with beauti ful heads ofwomen and chi ldren regarding i t, are a part of them ; and in thecentre he represented a great aperture through which
,apparently
,
the blue sky is seen . From t ime to time the Marquis made himpresents of land , but the records of his li fe show that he was alwaysneedi ng money , and lived extravagantly . He was of a quarrel sometemper , to o , and in peace with few of those about h im . In 14 78 hemade great complaints to the Marqu i s Ludovico of the way in whichhe had been treated, and of his poverty ; and indeed , he had a rightto do this , fo r he would have been employed by other princes gladly,if he would have broken his engagements at Mantua. In this sameyear the Marqui s died , and his son , Federico, who succeeded him ,
paid al l that had been promised,and treatedMantegna with much con
sideration . Requests were constantly made for his services,but the se
were refused,and in 1 483 he was hastening to complete a camera
for Federico , who suddenly died , and the government passed toFrancesco II . Thi s was u nfortunate for the arti s t , for his newmaster was only a boy ; but he soon found a patron in the Duchessof Este , who was betrothed to the young Marqui s . At length in1488 he was sent to Rome to pain t a chapel in the Vatican for Innocent VIU .
, whose request the Marqui s could ne t refuse . Herehe labored unceasingly for two years . He then resumed the Triumphs of Caesar,” i n which he h ad been i nterrupted , and in 1491
the Marqui s made him new presents of land as a reward for these exce lle nt works . They are at Hampton Court
,much inj ured ; they are
n ine in number , and represent al l the different parts of a Roman triumph al procession . It i s not known for what they were intended
,
and they have been so daubed by restorers that no good j udgmentcan be formed of thei r merit . From thi s time hi s work s all show thepresence of his assistants . I t was not, however , until 14 95 that heproduced his famous Madonna della Vittoria
,
” now i n the Louvre .He painted unti l hi s death, but he suffered sorrow and loss . Hisw ife died ; he became the father of an illegi timate son ; he wasobliged to sel l his house and to l ive i n lodgings, and his eldest sonso displeased the Marquis that he was ban ished from Mantua . Atthe last he was obl iged to part with hi s collec tion of antiquities , which
388 MANTEGNA .
were more prec ious to him than anythi ng else , and from th e day thatI sabella bought his bus t of Faustina , he was broken-hearted . His
great wish in hi s la s t days was to see the Marquis, but he was absen tat Perugia , and so the master died in the mid st of hi s troubles , separa ted from both hi s son a nd his patron . There are letters from hischi ldren be
gging Francesco to allow the sale of his work s, especially
in order to sat i sfy the Bishop of Mantua for the chapel which Man
tegna had u ndertaken to arrange and adorn for a. burial-pla ce for
cru nsr MOURNED BY ANGELS . BY MANTEGNA.
B erl in Mus.
himself and family. Mantegna was doubtle ss the greate st painter ofNor thern Italy i n his day , and h i s i nfluence was fel t i n al l Italy .
His work s are full of meaning ; hi s i nventive powers were large ; h isforeshortening , perspec tive , chi aro- scuro, and color were excellent ,and the o ne great objection , before mentioned , that hi s figure s wereportrai t- l ike , must be excused by the considerat ion that such a manner as his was a legi timate s tep i n advance , from the art which hadpreceded to that which followed him . The M adonna , i n the Louvre ,and the works at S . Zeno, Verona , already mentioned , are among
390 MARATTI MARCH.
h is subje c t , and pain ted i t in such a manner as to secure the favorof Alexander VII. He became th e most popular artis t of Rome, andhas been called the Last of the Romans ." In 1 68 9 Ciro Ferri ,wh o was h is principal rival , died, and from thi s time , he was rapidlyadvanced . He was made inspector of the sta nz e i n the Vatican
,by
Innocen t XI . Innocent Xll. continued the appointment and madeh im superintendent of all th e paintings of the Vatican , and ClementXI . e ntrusted to him the complete restoration of the fre sc oe s of Raph a e l, and gave him th e i nsignia of the Order of Chri st ,
” for hislabor upon them . He was President of the Acad . of S . Luke at thetime of hi s death . Hi s works are numerou s in bo th public and pri vategallerie s . There are many of them i n England. Bartsch mentionsfourteen etchings by Maratti . These are wel l executed, and a re
partly from his own designs .M arc A n to n i o . Se e Raimondi .
M arc e llis (M a rso au s , M a sse us , or S nufl’
e la e r), Oth o . Th i s artist was known by a ll the above names . Born i n Amsterdam (1 6 1816 A painter of reptiles, insec ts , and curi ous plants . Hi s work sare in the best collection s of Holland .
M arch , Est e b an , born at Valenc ia ; died 1 660. A pupil of Orrente , and a man of singular gen ius and v iolent tempers . Hi s l ifeand manner of painting were Qui xotic , not to say d isorderly . Hesucceeded best i n battle scenes . He kept his atelier hung with pikes,cuirasses , j avelin s , etc .
, and would arm himself , and rave about in amanner most severe on the surroundings , and frightful to his scholars .When thus lashed up to the poin t , he dashed o ff wonderful Pharaohs,and fiery Christian s fighting for the cross against the armies of theCrescent . He painted rel igious subjects also , but not wi th the en
joyme nt or success which attended h is other efforts . He was ofteni dle, worked only from necessity , and but poorly prov ided for hi sfamily . Hi s wife complained of him to her confessor , and begged h isadvice . He told her to try what patience and tenderness wouldeffec t , but they seemed of l i ttle use , and the result was sometimesamusi ng . He came home late one n ight, with the determination thata few fish, which he brought , should be in stantly cooked . There wasno oi l i n the house , and when he sent his pupi l, Co nchi llo s, to buysome , the shops were al l c losed . March then declared that linseedo il should be used . This was done
,and when they began to eat , i t
operated as an emetic on all the party,
“ for indeed,
” quaintly re
fle cts Palomino , l i nse ed-oil , at al l times of a v illainou s flavor , whenhot, 18 the very dev il .
” March then seiz ed fi sh and frying-pan, andthrew them out of the window . Co nch illo s sent the charcoal andchafing dish to keep them company . Thi s so pleased March that heembraced him , and lifted the you th in such a manner that he fearedtha t he too was to be thrown out with th e rest . The poor w i fequi etly went supperles s to bed, and March fol lowed in surprisi ngly
MARCH MARMOLEJO. 391
goo dhumor. In the Q ueen of Spain’s Gall . , there is a Pharaoh
and his Hos t in th e lVa te rs ; an “ Encampment o f Turk s acouple of old Drunkards ; a Man with a Cup , and a Woman w i th aBottle ; and a S . Jerome . Most of his work s are at Valencia andMadrid . The bri lli ancy of hi s tones, and hi s sk i l l i n represe nting thedust and smoke of the combat
,are points of merit , and i n some re
spe cts he was an arti st of high excellence ; but few can echo theword s of Palomino, who says that hi s works are stupendous
,and
worthy of eternal remembrance .
M a rc hesi . Se e Cotignola .
M a rc o n i , R o cc o , born at Trevigi . Flouri shed early in the l 6thcentury . Hi s chief excel lence is hi s color, and this i s sometimesalmost gaudy. Several of hi s pictures are in Venice .
M argari to n e o f A re z z o (1 236 This old arti s t seems tohave been the last of the decaying mediaeval painters
,and from hi s
time improvement be gins . There are several exi sti ng work s of hi s,
and some are in scribed with hi s name . One of these i s i n the N a
tio nal Gall . ; one i s in Santa Croce , F lorence ; one i n the Acad . ofArts , Siena ; and another in the Museo Cristiano of the Vatican .
Others are in more out of the way place s . All are u gly in every part icu lar
,but curious as illustration s of the art of hi s time . He is said
to have been a good sculptor and archi tect , and to have executed thetomb of Gregory X . , at Arez z o .
M ari n us Ign a ti u s. F lourished about 1 630. This engraver re
sided princ i pally at A ntwerp . Good impression s of hi s plates arewell esteemed . The following are among the bestThe F light i nto Egypt ; night scene ; af
’
e r R u bens.
S . Ignatius heal ing the Sick afte r the same .
S . Franci s Xav ier restoring a dead Person to Life ; afler the same .
Adoration of the Shepherds ; after Jo rda ens .
Christ before Caiaphas afi er the sam e .
Martyrdom of S . Apollonia ; afler the sam e .
Village Children forming 3. Concert ; afler C'. Sachtle even . 1 633.
M a r l ow , W i lli am (1 740 Pupil of Scott , and a painter ofEngli sh landscapes . He painted many scenes on th e Thames , andnear Richmond and Twickenham . His pictures are pleasing
,well
colored , and finely fini shed . He al so painted and etched some Italianv i ews .M arm o le j o , Pe dro de Vine gas , born at Sevi lle (1 520
Bermudez call s hi m one of the greates t arti sts of Andalus ia.Is b e
lie v ed to have studied at Ro me . The few of his works which re
main are in the Cath . of Sev ille, and i n the Hospital of S .
Laz arus .In the Cath .
, the altar of the chapel of the Vi sitation i s adorned by apicture of th e Virgin v isi ting El i z abeth
,and several smaller work s
.
These are good in design , color, and expression . The hospi tal has aS . Laz arus i n po ntifical robe s . Marmolejo was a friend of Arias
392 MARMOLEJO MARTINEZ .
Montano, who wrote hi s epitaph , and in the ch . of S. Lorenz o, nearth e tomb of the pai nter , there are two of his pictures representingthe Annunciation
,
” and th e Virgin and Chi ld .
”
M arq u e z , Este b an , born at Estremadura ; died 1 720. Thi s art ist , by patient study and appl ication , became a good imitator of Mn
rillo . The Hospital dc la Sangre, at Sev ille, has a serie s of his paintings of the Apostle s
,and th e Mus . of Sevi lle , a S . Joseph and
Infa nt Saviour ,” which are surpri singly l ike th e work s of the great
maste r he followed .
M art in , Jo hn , born near Hexham (1 789 A painter of themost terrible
,brillian t, and incomprehensible imaginations . He has
be en cal led the pa i nter of “ architec tural dreams,” bu t hi s archi
tectu re was no more that of dreams than hi s landscape s were thoseof fancy . Nothi ng could be thought o f too subl ime or impossiblefor him to attempt . The names of his work s show thi s ; namel y ,“ Joshua commanding th e Su n to stand still ; the Se venth Plague ;Sadak seek ing th e Waters of Obl ivion ; the Fal l of N ineveh
,
etc . He constantly exhibite d at the Bri ti sh Insti tution , and twiceobtained a premium . He had worked so much on glass that hi scolor always reminded one of stai ned windows ; th e human figure sof hi s pic ture s were i l l-proportioned and ugly , but hi s conceptionswere so poe tic that there was a pecul iar fascination in his works .He was al so an engraver , and thus made hi s work s well k nown ;hi s engraving was peculiarly sui ted to his pic tures , and brought outtheir wonderful l ight and shade as no other engraver could do .
M art i n e z , Jo se f. Valladol id, end of 1 6th century. Pai n te d somuch like the Florentine masters , that i t i s probable he stu died inItaly. An Annunciation ” by thi s arti st i s in the Mus . o f Vallado lid. The drawing i s good , th e d raperie s finely managed
,and
the coloring rich and effec ti ve .
M a rt in e z , Am b ro si o , born at Granada (1 630 Pupil ofAlonso Cano . A reputable historical painter . Principal work s ar e
at the Monastery o f S . Geronimo, and at the Carmel ite s in Granada .
M arti n e z , S eb as ti an , born at Jaen (1 602 Afte r thedeath of Velasquez he was painter to Phil ip IV. An excellentpai nter of cabinet pictures
,most of which are in pri vate gallerie s in
Jaen , Cordova, Sevil le , Cadiz ,and Madrid .
M arti n e z , Juan B a u ti s ta de l M a z o . A pupil of Velasquez .
He firs t employed himself i n copyi ng th e best work s of hi s masterand other painters . He acquired great sk il l i n portrait painting, andat tr acted attention by a pic ture of Queen Mariana . His bes t work swere landscape s and hunting scenes . In the Royal Gal l . at Madridare v iews of Pamplona and Saragossa, a Seaport and a River v iew ,
a view of the Escorial , and a fine portrai t of a m il i tary commander,
by thi s art i st . He married the daughter o f Velasquez,and at the
death of that mas ter was appoin ted pain ter i n ordinary to the King.
394 MARTINI MASACCIO .
the most authori tat ive . From the sonnets of Petrarch i t would seemthat he was a miniaturi st . If this be so, a Virgi l i n the Ambrosiana at M ilan is i n all probabil ity his work , and the last twelveilluminati ons in a Bible in the Royal Library of Pari s were probablyexecuted by him at Avignon . He had saved m o ney and bought hima ho u se i n Siena , but i n 1338 went to reside with hi s w i fe and
brother Donato at the Papal Cou rt at Avignon . Here he becamethe friend of Petrarch and Laura , and here he died . He was ch i ldless
,and gave much of his property to the chi ldren of Donato .
Simone w as second only to Giotto , to whom he was a positive contrast ; Giotto has been called an epic and Simone a lyr ic painter , andperhaps these words give the di fference between them as well as anycomprehensive general ity (for which alone we have space) coulddo. S imone was full of j oy, tender sentimen t, graceful and beaut ifulconceptions, and a t the same time sympathe tic with nature ; all thi senabled him to paint such pictures as are irresistibly attrac tive , andhave made his name one of those never to b e forgotten .
M art o s , Iv an Pe tro v i tch, born at Ich tn i a (1 7553 Aneminent Russian sculptor, whose work s are numerous i n the c i ties ofRussia
,and are noble i n conception and expression : his execution
was free and finished . His ha s-rel iefs are excellen t . He wasCounc illor of State and D irec tor of the Acad . of F i ne Arts at S .
Petersburgh .
M arz i ale , M a rc o . Flouri shed 14 99- 1 507 . A painter o f smal lexcellence. Some of his work s remain in the Acad . of Venice
,ch .
of S. Giobbe , Berlin Mu s.
, e tc .
M asa c c i o . So n of Se r Gio . di Simone Guidi , of the fam i ly ofScheggia . Born at Castel S . Giovanni, i n the Val d
'
Arno (1402According to tradition , this great master early manifested h is
i nclinat ion for painting . In 1421 he was enrolled i n the gu i ld of theSpez ial i at Florence , and in 1424 was registered in th e guild ofpainters as Maso di S er Giovann i di Ch a ste llo Sangio va nn i .
” Hisname was Tommaso Guidi . The name of Masacc io signified hi s wantof neatness . The only authentic
,accounts relat ing to his private life
are i n th e F lorentine registers of the income return s for the years1427 and 1430. These show that he was in debt
,and had disappeared
previous to the last, and was said to have died at Rome .
” N o
other posi tive fac ts have been discovered concerni ng him . There i sa fresco which was uncovered a few years ago i n the ch . of S . MariaNovella , in F lorence , which , if we credit Vasari , i s the earl ie st knownwork of Masaccio, for he says it was executed before those of S .
Clemente in Rom e . I t represents the Trin ity between the Virginand S . John the Evangeli st , with two k neel ing figures . The restorers have so inj ured i t that i t i s difficult to j udge of i ts primi tive meri t.S ignor Cavalcase lle believes it to be a later work than Vasari makesi t, and yet i t is inferior to hi s late s t works . The frescoes at S. Cle
MASACCIO . 390
mente were probably done about .1423 or 1 424 . They cover thewal ls
,arch , and vault. of a chapel , and represent the Evangeli sts,
Apostle s,Doctors of the Ch urch , several Saints , the Crucifixion , and
scenes from the l ives of SS . Catherine and Clement . The Crucifixion ” i s i n advance o f what had preceded this master , but the
PETER BAPT IZ ING . BY MASACCIO .
From th e frescoes in S . Maria delCarm ine, Flo rence.
scenes from th e history of S . Catherine prove his power and originali ty. The fine st of these i s that in which the Saint di scourses beforeMaxe nt ins and the Doc tors, but they al l di splay his knowledge ofform , and are characteri z ed by natural and graceful action and expression . When Masaccio returned to Florence he first executed , i ti s sai d
,some pictures to prove his ability
,and then received the com
396 MASACCIO MASSARD .
mission to adorn the B ranca cc i chapel . These frescoe s repre sent theFall of Adam and Eve and their Expul sion from Eden , and variousevents in the li fe of S . Peter . Hitherto some of these work s havebeen attributed to Masol ino
,but S ignor Cavalcase lle , who has made
a critical examination of them and everyth ing connected with them ,
dec ides that they belong to Masacc io , and that i f Masol ino paintedth ere , his work s were upon the vault and lunette s , and are either destro ved or covered by the more modern decorat ion s of the chapel .We cannot afford Space for a description of these important and beauti ful work s . Masaccio was a very great influence i n the progre ss ofart . Some one has said that he seemed to hold Giotto by one han dand to reach forward to Raphael with the other . The B rancac c ifrescoe s were studied by the artis t s who followed him , great andsmall
,and even Leonardo, Raphael , and B uo naro tti were among the
number . Ma saccio not only imitated the form s of nature , but hesought to represent her subtle shades of expression of feel ing andpassion . He carefully studied hi s model l ing ; he grouped hi s figureswel l ; his draperie s were graceful and i n massive folds, and yet. didnot concea l the forms beneath ; hi s coloring was rich and harmonious ,and he selected fine type s of the subjects which he represented . Ina word
,he showed h imself thoughtful , apprec iative of the ideal , and
i n a good degree a poe t as well as painter ; and these qual ification sunited are those which have di s tingu ished the artist s whose i nfluencehas been enduring. Considering th e art which preceded him
,the
work s of Masacc io are as wonderful as the work s of later arti sts arebeautiful. In the cloister of the Carmine at Florence , within a fewyears
,a fresco has been u ncovered which is apparent ly by him . It
i s a fine re lic , uni njured by res torer s , and affords a goo d study of hi smanner . In the Acad . of Arts in Florence there i s a Conception
,
”
painted by Masaccio for the Ch . of S . Ambrogio . The U fii z i has twoportrait s attributed to him , but there i s doubt of their genu ineness,which i s also tru e of several o ther work s ascribe d to him i n d ifferentEuropean galleri es .M aso lin o . Se e Panicale .
M as o n , Jam e s (1 710 This eminent Engli sh engraverproduced some land scapes after Claude
,Poussin , and various other
artists , which are much esteemed . His Landing of E neas in Italy,
”
after Claude , and “ Venus at the Bath,after Andrea Sacchi , are
espec ial ly fine .
M assard, Je an , born at Pari s (1 740 An engraver whosework s are wel l e steemed . He engraved after the best masters . HisDeath of Socrate s ,
” after David , and La plus be l le des Meres ,”
afte r Vandyck , are among the best. Jean Baptiste Raphael UrbainMassard , son and pupi l of Jean , has a l so left excel len t plates . HisS . Ceci l ia,
” after Raphael , and Apol lo and the Muses,
” afterGiu lio Ro mano , are fine, as well as many other works o f his .
398 MASSYS MAZZUOL I .
of whi ch read s , “ Co nnub i alis amor de Mu lc ibre fec it Ape llem .
”
He i s buried in fron t of the Cath . , and the immediate spot i s markedwith the s imple in scripti on , III . Q . M . o bi it His so n Ja n wasalso an arti st
,and i t i s bel ieved that some of th e genre subjects attrib
u ted to the father are the work of the son .
M a th am . This is the name of a family of
9 Dutch engravers of whom Jacob alone meri tsM L especial praise . He was born at Ha erlem (15 71He was a son- ia -law of Henry Go ltz i us, under whose dirce
tion he worked after havi ng v i s ited Italy . He engraved after theworks of th e best masters of th e Low Countries , and many of hisplates are much esteemed . His son Theodore , and Adrian , a relative , were also engravers , but not equal to him .
M a tto n i . Se e Pi etro della Vecchia .
M a u re r. Ch risto ph . born at Zurich (1558A pupil of Tobias Stimmer. He is
only known by a few plate s and wood-cutsetched by himself and from hi s de sign s . These are now rare .
M a y n e , Ju an B a uti s ta , born at Toledo (1569 Pupil ofTe o to copo li , and a fine painter . Early in l i fe, he became a Domi n ican monk , but did not resign his occupation as an artist . He i astructed Philip IV. i n paint ing, and assis ted Alon so Ca no a nd otherartis ts . He painted for Phi l ip h is celebrated battle-piece , i n theBueno Re tire . His princ ipal work s are in the ch . and convent of S .
l’eter Martyr , at Toledo .
M az z o lin i , L u do v ic o , called Maz z ol in i di Ferrara, born at Ferrara (about 1 48 1 Pupil o f Loren zo Costa . An eminent art ist i n the Ferrarese school of his t ime . His conception s have someth ing singular and romantic in them ; hi s styl e i s v igorous ; his colorbri ll ian t ; he h ad a firm and solid touch ; hi s hands and feet werebeautifully finished , and his groups can be examined i n deta i l w ithpleasure . There are a number of his picture s i n private collect ion si n England , for which large price s have been paid . His most importa n t work i s i n the Berli n Mus . where are al so a large number ofhi s other pictures . I t i s dated 1 524 , and represents Christ i n theTemple with
'
the Doctors .
” The National Gal l . has two of h i sworks
,and others are i n the Doria Pal . , and th e Gall . of the Capitol
at Rome .M a z z u o li , Fi li ppo , born at Parma ; died 1 505 . Principally im
portant as the father of Parmigiano . Some of his work s are i n th e
Gall . , and the Epi scopal Pal . of Parma, i n th e Museums of N aplesand Berlin , and i n some private collections .M a z z u o li , F ra n c e sc o M a ri a , called ll Parmigiano or Parm igia
nino , born at Parma (1503 He was probably never a pupi lf Correggio, but he formed his style after that mas te r, and , l ike allwho did so , became grossl y mannered . Perhaps the best that can be
MAZZUOL I MEDINA ..
399
sai d of him i s , that he was the mo st excelle nt of the imitators ofCorreggio . His rel igious subject s are not enj oyable . His portrai ts
,
i n which he followed nature,are fine . One , said to be that of hi s
mistress,and another called Columbus , i n the Mu s. of N aples
,
splendi d. The Vision of S . Jerome ,” in the N ational Gall . , i s one
of hi s celebrated works , and i s open to much critic ism . The Virgi nand Chi ld are its best features . It is said that he was so absorbedby th i s work
,during the sack of Rome in 1527
, tha t the i nvaderspenetrated to his studio before he real iz ed what was taking place
,
and they,on thei r side , were so moved by the picture , that they left
him unmolested . His Madonna with the “ long neck,
” i n the Pi ttiGall . , and a S . Margaret, i n th e Bologna Gall. , are well-known picture s . His most im portant fre scoe s are in 8 . Giovan ni and Della Steecata in Parma . Fo r some time , Parmigiano was considered the iave n to r of etching , but th is art was practi sed in Germany before hi s time .
Bartsch mention s fifte en etchi ngs by him , and there are a few otherswhi ch are probably. his. A number of wood-cuts from hi s designs
,
which have been attr ibuted to h im , are now known to have been exeo uted by other artist s , under h i s supe rinte nde ne e .
M a z z u o li , Gi us eppe , called II B astaru o lo , from the occupationof hi s father , who was a corn-chandler. Born at Ferrara (about 1 525~
Pupi l of Dos so Dossi . His pri ncipal works are in hi s nativec ity .
M e ch e ri n o . Se e B e ccafum i .
M e cke n e n or M e ch e ln , Is ra e l v o n , b o rn at Me cke ne n (14 10Very l i ttle can be positi vely affirmed of thi s old artis t. He
was certainly an engraver , and for a long time there were a numberof paintings attributed to him , but i t i s not known that he ever paintedat all . The chief pic ture cal led his was a repre sentation of thePassion
,
” on eight panel s,at Cologne . The unk nown master who
produced i t, i s now often termed the Master of the Passion,”a nd
the work the Lyve rsb erg Pass ion ,” on account of its having been
owned by Herr L yve rsbe rg. There are several other pictures sometimes called by hi s name , most of them being at Cologne and Munich .
The engrav i ngs of thi s master are very numero us . M . Heineken es
t im ate s them at 250. All the pic tures whi ch were celebrated i n histime
,were copied by h im . He h ad li ttle artistic power, but suc
ce eded better with genre subj ects, than with th e work s of great m asters. The Concert ” i s one of those wel l k nown . His work s are
va luable as showing the costum e s and cus toms of his time . He e n
graved the picture s of Martin Schongauer and Albert Dii re r .
M e di n a , S i r Jo hn B apti s t , born at Brussel s (1 660 So n
of a captain in the Span ish service . He went to England , and thento Scotland, where he was knighted . He pain ted an immense number of po rtraits . He was accustomed to .use lay figures
,which b e
arranged in the requisi te position , and draped as desired, and having
400 MEDINA MELDOLLA .
copied these,he pai nted the heads o f his subj ec ts on them . Many
of his pictures are in Edinburgh , and hi s own portrait i s i n theFlorentine Gal l .M e e r, Jan v an de r, de Jo n ge , born at Hae rlem (1665
Pupil of his father and N icolas B erghem . He usually painted landscapes with sheep . His works are not often seen . There are threein the Berlin Mus ., which show a free handl ing and careful exe cut ion . He left some masterly etchings, and some of them are nowrare .
M e e r , Jan v an de r, called the Van der Meer o f Delft fromh is birthplace
,born 1 632. Thi s artis t has left but few pictures , pe r
haps not more than six . They are s ingle figure s and v iews of s tree ts .His chefld
’
mu vre i s in the Six Gal l . , at Amsterdam , and represents aservant maid pouring out m ilk ; she stands in full sunlight , and thecolor is beaut iful . The Dresden Gall. , Van der Hoop Col l . , Brun swick Gall . , Hague Mus . , and Aremberg Gall . , a ll have specimens ofhis work s
,and all are exquisite in modelli ng , color , and execution .
M e e rt , Pi e te r, born at Brus sel s (1 6 1 8 A portrai t pain terwho imitated Vandyck . The Mus . at Brussel s has pic ture s of them agis tracy of t he city, by Me e rt , and the Berl in Mus . has por trai tso f a naval captain and hi s wife .
M e i re , Ge rard v an de r, born at Ghent . Flouri shed 1 450
1 4 72. Very li ttle can be told o f this painter. He was free-maste rof the Guild of S . Luke at Ghent , i n 1 4 52, and ju n ior of the corporation i n 1 4 72. His work s were praised by Van Mander . The bestpicture now attributed to him is a Cruc ifixion i n a chapel of S .
Bavon at Ghen t , and i s very inferior to the works of the Van Eycks ,with whom he i s sai d to have studied . The galle rie s of Antwerp andBerli n have pictures attributed to him , which are not equal to thatalready mentioned . Gerard van der Meire i s al so believed to havee xe cuwd some of the miniature s of the famous Griman i Breviary , a tVenice . Jan van der Meire was his brother, and there were severalarti s ts of Ghent of their name .
M e lan o , G i o . da. Flo uri sh ed about 1 365. His work s are graceful and sweet and earnes t i n expression . Th e principal ones are i nthe ch . of S . Francesco
,at A ssi s i . Others are i n the Ogni ssanti at
Florence , and i n the Florentine Acad .
M e ldo lla or M e ldo la , A ndre a . An engraver who
I4flourished about 1 540. About 1 20 prints are k nownto be his . Many of them are after the work s of
Parm i g'i ano, and unti l the end of the 1 8 th century they ‘were
attributed to that arti st and to Schiavone,called .Medula . Zani
claimed to have made the discovery that,Meldo lla was a different
arti st. He worked side by si de wi th Parmig iano , and probably u nderhis di rection ; so i t i s no t strange that he should have the samemanner , which he certa inly had, even when engrav i ng th e work s of
4C2~ MEML ING.
picturesare all chrfi -d
’u mure of the Flemish school , but the me
dallion s do not equal th e others .The drawing i s better i n these
small work s than in h is l arger ; the movemen t i s free , the expression
excellent, and th e color and execution are soft‘and powerful . The
s. URSULA LANDDIG A’l‘ COLOGNE. BY H 'ANS MEMLING .
From the Shrine of S . Ursula.
hospi tal has al so his Marri age of 8 . Catherine , two smal l triptych
al tar-pieces,and a Virgin and Chi ld ,
”w i th a portrai t of N even
hoven,the donor . A large al tar-piece i n the ch . of Dantz ic i s an
impo rtant‘
wo rkof Mem ling’s. His pic tures are al so i n the Munich
Gall . , the Palai s de Justice , Paris, StuttgartGall . ; Vienna Gall . ,
MEML ING MENELAUS . 403 .
Acad . of Bruges,-Cath . of L ii be ek, and Antwerp , Strasburg , Ufl
‘iz i ,
Turin,and Kensington gallerie s . There are others in private co lle c
tions . His portraits were excellen t, as i s seen i n the votive picturesat Bruges a nd i n the U tfi z i . Meml ing was an excellent miniatur i s t,as is proved by hi s works i n the exquisi te Grimani Brev iary , in theLibrary of S . Mark ’s, at Venice , executed probably for M ary of .
Burgundy,daughter of Charle s the Bold . This Breviary belonged
to Antonello da Messina , who sold i t to Card . Griman i for 500ducats . It is now consid ered a great treasure . There i s a legendthat M emling accompan ied thi s Charles to war, and , returning si ck
and wounded,was cared fo r at the Hospital of Bruges , in return for
whi ch he painted the pictures, now so rich a treasure to that i nsti tution . I t has al so been affi rmed that Hans M emli ng and Juan F lamenco are one and the same
,but these questions cannot be settled
by positive knowledge,and afford an unlimited battle-ground fo
‘
r
disputes . Thi s much,however
,seems impossible , that the hand that
painted his pi c tures could have wielded a sword , or that one l ifecould have gi ven time for aught but the study of which these are thefruit .
tM em m i , L ippo , born a t,Si e na ; died 1 356 . This artist i s impor
tan t principally for having painted conj ointly w ith Simone Marti ni ,hi s brother-i n-law, to whom L ippo was very infe rior. In the Hal l ofJustice at S . Gim ignano , i n the ch . of Monte Oliveto , near by , i nthe chapel of the Santi ssimo Corporale at Orv ieto, and in a fewgallerie s
,there are work s attributed to Lippo . At S iena a fresco
over the door leadi ng i nto the convent of the Serv i i s signed by him ,
and i s much finer than any other called his,as i s al so a smal l
Madonna i n the Berli n M u s. Perhaps thi s excellence i s explainedby saying that he pa i nted much better when .under the immediateeye and influence of Simone .
M e n a y M e dran'
o , P e dro de . Pupil o f Alonso Cano . A colossalstatue of Santiago on horseback , b y thi s master, stil l fi l l s i ts originalretablo i n the Cath . of Granada . He did much work for the cathe sdrals of Malaga. and Toledo , and was at length i nvi ted to Madrid by.Don Juan o f .
Austria , to execute a group of our Lady of th e Pillarfor the queen-mother. This work so attrac ted a prince of the houseof Doria , that he ordered a crucifix cf him , which was much ad
mired in Genoa . He spent the last part of his l ife at Malaga, i norder to be near hi s daughters
,who were nuns i n that ci ty . He
died i n 1 693 . He was one of the best pupils of CanoM e n e la us . The sculptor of a marble group in the Villa L udo v isi
at Rome , representing a male and female figure . I t has been calledby various names, such as Papi riu s and his Mother,
” Octavia andMarce lli s,
” etc . Otto Jahn call s i t Merope and p y tu s,” at the
moment when the mother recogniz es her long absen t son . It i s verybeautiful , but a certain impression ari ses from the exact arrangementof the drapery , whi ch lessens i ts power .
404 MENGS MER IAN .
M e n gs , A n to n R aph a e l, born at Aussig i n Bohemia (1 728His father was a miniature and enamel pain ter , i n whi ch art th e sonwas most severely tra ined . He copied from antiques and the work sof the best masters
,unti l he had acquired ideas of color from Titian ,
of chiaro—scuro from Correggio, composition from Raphael , etc . Butthe fire of genius was wanting ; power of invention and feeli ng werenot his
,and though he had, and stil l has , warm admirers , his work s
are cold and uninspiring perfect i n techn icali ties, but void of soul .He lived much in Rome
,where he was firs t se nt by the King of
Poland,who had appointed him court painter when but seventeen
years old . In Rome he received much patronage, and pai nted a ceili ng in the Vil la Albani, the ceiling of the Camera de
’ Papin i in theVatican
,etc . He was invi ted to Spain , where he was much admired ,
and did many fine work s . Twelve of his easel p ic ture s are i n_the
Madrid Gall . , and a N ativ ity,” l ighted from the Child , like the
N otte ” o f Correggio, i s much prai sed . His frescoes in Madrid,
espec ially the Apotheosis of Traj an .” gained him great reputation .
His portrai ts are hi s best works . These are seen i n the U fii z i , Ma
n ich,and Berlin gal leries . A Cupid ,
” i n the Dre sden Gall . , donei n pastil s , i s a good specimen of his worki n that manner. He al sowrote upon art subj ec ts
,and his observations upon notable pic tures
are excellent . The standing of thi s ar ti st has been a matter of muchdiffe rence and dispute . By some
,as by Winkelman , he is exalted to
the very pinnacle of fame,by others severely critic ised ; but one
thing is certain , that if he had not great v irtues he had no glaringfaults , and gave a careful and learned attention to the proprietie s ofhis art . His “ Mount Parnassus has been engraved by Raphae lMo rgh e n ; and James dictating to History
,
” and a Holy Family,
”
by Domenico Cunego .
M e ri an ,
m xi ii?born at Basle (1593 Th is eminent designer and engravermarried a daughter of Theodor dc Bry , by whom he was instructedand advised? It i s said that Merian i nstructed Hollar . l l i s bestplates are v iews of th e env irons of Heidelberg
,Stuttgart
,Schwal
bach , etc . He also engraved portrai ts and some other subjects fromhis own designs . A large plate of the Last Supper
,
” i nscribed,
Accepit Jesus pa nem , i s very scarce , as i s al so another of HumanLife , ” i nscribed , Tabula Cebelis , co ntinens lo tius vita: huma n e: dis
criplio n em.
M e rian , M a tthe w , the Younger, born at Basle , 1 621 . So n of thepreceding , and pup il of Sandrart , Rubens , and Vandyck . A reputable painter of portraits and historical subjects .M e ri a n , M ari a S y b i lle , daughter o f Matthew
,the Elder , born
at Frankfort (1 64 7—1 Her father di ed when she was but four
406 MESSINA METSU .
in Trevi so i n 1490, but returned to Venice , where he died , and was
buri ed with great pomp by the arti sts who honored his memory forhav ing bro ught to Italy the oil painting of John Van Eyck . Therei s a story, hardly credi table, that Gio . Bellin i went to Antonel lo d isguised as a nobleman
,and desired him to pai nt his portrait , and thus
became posse ssed of his secret . His most im po rtan t work s are atBerlin ; namely , a male portrait of 1445 ; a S . Sebastian ,
”14 78 ;
and a “ Madonna and Child ,” whi ch espec ially i ll u strate s the Ve
ne tia n coloring. Other works of his are a fine male portrai t, i n theLo uvre ; a Crucifi xion,
” i n the Acad . of Antwerp ; a half figure ofChrist
,i n the N ational Gal l . , 1465 ; a readi ng Madonna , i n the Acad .
o f Venice ; a Dead Christ mourned by Angel s ,” at Vienna ; a male
head, i n the Ufii z i ; a weeping Nun, i n the Acad . of Venice ; and aChris t bound to a Pillar ,
” i n the Manfrin i Gall . of the same city.
M e tsu or M e tz u , Gab ri e l, born in Leyden , 1 6 1 5 ; sti ll ali ve i n1 66 7 . One o f the most charming pa i nters of genre subjects . It i scertai n that he formed his style a fter Terburg. It is not known with
whom he stu died .
He was th e intimatefriend of Jan Steen .
Most of hi s work s aresmall a few portraits are almost theonly exceptionsand are excel lent, amatter of surpri se i na l ittle master . Hiswhole manner i s clegant, almost u nex
ceptio nable . H i 3color i s be st in hisearli er and middlet ime , later i t i s cold .
He did not finish soextremely as someartis ts
,and thus has
more freedom andexpression . He lovedto paint people in
A spe a rsmxn . B Y marsu .
high li fe , but‘also
At the Hague.represented f a i r s ,markets, maid - ser~
vants, e tc . Smith gi ve s a li st of 1 60 pictures by Me tsu . Many ofthese are in private gallerie s
,espec ial ly in England , where very high
prices have been paid for them . They are al so see n i n the Lo uvre ,Hague , Dre sden, Van der Hoop ,
Muni ch , and Berli n gallerie s. The
METSU MIERIS . 407
Woman taken i n Adultery, i n the Louvre, and “ Justice,at the
Hague , are inferior works for M o tsu , and show that hi storical orallegorical subj ects were not hi s forte . But these gallerie s have otherfine works of his .M e ul e n , A n t o n Fran s v an de r, born at Bru ssel s (1 634
Pupil of Peter Snay e rs. He was made painter to Louis XIV.,and
accompan ied that king in his campaign s for the purpose of representing hi s battles
,v ictorie s , etc .
, with perfect truth . Considering thesameness and want of grace of hi s subj ects , his picture s are remarkably fine . They are numerous , and con tain many portraits of Lo uisand other notable men . His color was good , and h is execution maste rly . Many of his works are i n the Louvre, some fine ones at Mu
n ich , Buck ingham Pal . , and Petworth .
M e y e r . Bryan ’s Dictionary gives an account o f el even paintersand engravers of thi s name . Of these the most important was Felix
,
born at VVinterth ur (1 653 Pupil of Erm e ls, of N uremburg .
He travelled i n Italy and on his return made h imself a reputation fordecorating apartments . He was employed by several princes o f theempire for this purpose . He also etche d some plates from hi s owndesigns .M e y e rin g, A lb e rt , born at Amsterdam (1645 A reputa
ble painter whose work s are not often seen i n gallerie s. The Berl inMu s. has two landscapes with bathing nymphs and dancing chi ldren .
He also left twenty-eight etchings of considerable merit.M i cha n , The o b ald, born at Tournay (16 76 A painter of
landscapes with numerou s figures,small , and well composed , but
po orly colored . Two of these, a summer and a winter scene , are i nthe Vi en na Gall.M i el, Jan , born n ear Antwerp (1 599 He went to Italy and
was assoc iated wi th Andrea Sacchi . Hi s taste s led h i m to the grote squ e , and he introduced something of thi s in a rel igiou s subject hewas painting with that arti st . This caused them to separate
,and
M ie l s tudied the pictures at Parma and Bologna . After he returnedto Rom e , he executed rel igious and historical work s with good su e
cess , but his scenes from low life must be admitted to be his best pictures . His work s are not numerous . They are i n the Louvre ,Dresden , Berl in , Vienna, F loren ce , and Madrid galleries . He alsoexecuted some etchings with masterly execution and charming effect .M i e re v e lt , M i ch a e l Jan se , born at Delft (1 56 7 A good
portrait pai nter . His works are said to have numbered 5000. His
groups are not equal to hi s single heads , some o f whi ch are very fine .
His pic tures are in the Hotel de Ville at Delft , the Dresden , Mu
nich , and other gal leries . His son Pieter was al so a portrait painter .M i e ri s , F ran s v an , born at Leyden (1 635 Gerard Do w
called him the pri nce of his scholars . ” He is very l ittle i nferiorto his master
,and some writers prefer his works to those of Dow.
408 MIERIS MIGNON .
His picture s are very small , and their subj ect s are often from thehigher clas se s of l ife . Smith names 140 picture s of his . The MunichGal l . i s richest in hi s work s , and Dresden , Vienna , F lorence , andSt. Petersburgh have good examples , but the Louvre and English collections are less fortunate . The Hague has a beautifu l Boy blowingBubbles . " Th e Tinker ,
” of the Dresden Gall . , and The Charlatan
,at the Uffiz i , are masterpieces . His portraits of himself and
family are fine . Indeed , all hi s work s are ful l o f artistic meri t andcharmin g effec t . He was fond of Jan S te en , though not so dis sipatedas he ; still , he ofte n pas sed hi s evenings w ith his friend , and uponone occas ion
,when going home , fell i nto the sewer , wh ich some
workmen had left uncovered . Here he must have perished but forthe timely aid of a cobbler and hi s wife , who took him out and kindlycared for him . No t long after he carr ied the good couple a pictureof his be st manner
,saying that the person they re sc ued had sent it.
He recommended them to sell i t to Corneli us Plaats . The womanwent
,expecting a small sum of money , and was surprised to find
hersel f possessor o f 800flo ri ns !M ie t ts , W i llem v an , born at Leyden (1662 So n of th e
preceding , to whom he was much i nferior . His best efforts are copie sof his father’s subj ect s . The Dresden Gal l . has twelve of hi s work s,and they are seen in various col lection s .M i e ris , Fran s v an , the Younger . So n of Wi l lem (1689
A painter of the same subjects as the above , but far weaker in drawing, coloring , etc .
M i gn ard, N i c o las , born at Troyes (1 605 He was calledD
’
Avigno n on account of a long re sidence there . He was inv i ted toPari s through the i nfluence of Card . Maz arin, and employed at th eTuilerie s . He also painte d many po rtraits , and exec uted severale tchings in a spirited manner.M ign a rd, Pi e rre , born at Troye s (1 6 10 Brother of N ice
las, and called the Roman,
” from having li ved twenty- two years inRome , where he was patroniz ed by the Popes Urban VIH. , InnocentX. , and Alexander VII. He was an imitator o f Annibale Carracci .His portraits were excellent
,but h is larger work s were characteriz ed
by a false , theatrical effect , which destroyed all hi s influence as atru e artist , and helped to hasten the decl ine of paint ing which followed in the next century . Loui s XIV. i nv ited him to return toFrance . He frequently pai nted the portrai t of the King and manynoble persons . The cupola o f Val-de-Graee was his chief fresco i nFrance . He painted twelve frescoe s at S. Cloud . In 1 664 he w asmade Pre sident of the Acad . of 8 . Luke at Rome . In 1 690 he succe eded Le Brun as court pa inter , and was elec ted Chancel lor of theAcad. Hi s po rtrait of Mme . de Mai nte non is i n th e Louvre .
M i gn o n , A b raham , born at Frankfort (1 639 A secondrate pa in ter of flowers, frui t , i nse c ts , etc . His works are in many
4 10 MOLA MONAMY .
even ing l ights . His light and shade are always fine . His work s areseen in public gal leries
,and are in many private collections i n Eng
land . \Ve have a fe w spirited etchings by him .
M o la, Je an B apt ist e , born about 1 6 1 6—1 66 1 . Pupil of SimonVe net a nd Francesco Albano . His landscape s are very pretty andhi s portraits good . He also executed a few etchings .M o le n a e r, Jan . Flo urish ed 1 625—1 660. Dutch painter of
scenes from peasant- l ife . His work s are ful l of humor and animation . The Berli n Mus. has one of hi s best pictures , a ballad singerwith a group i n th e open air . Bartsch mentions an engraving of h iswhich i s very rare ; another i s i n the British Mus.
M o ly n , Pi e t e r, born at Ha e rlem , about 1 600. One of the e arlylandscape painters . His works are rare in publ ic galleries . A goodpicture by him
,of two cottage s with rich woods, i s i n the Berli n M us.
He also left four good etchings of landscapes with figure s .M o ly n ,Pe te r, cal led Tempesta , from hi s picture s of sea-storms , and
Peter de Mu lie ribu s from his many mistre sse s , born at Ha e rlem
(1 63 7 So n of the preceding . He painted wild anima l s re
m arkably well , the result, perhaps, of a nature sympathetic withtheirs . He becam e a Papist and went to Rome and married there .
He went later to Genoa where he loved a Genoe se lady , and hi redassassin s to murder hi s wife . His crime was discovered
,and he was
impri soned many years ; after his e scape , he deserted hi s second wife ,and became a fashionable painter at M ilan . Some of his be st work swere done in prison . His pic tures are i n th e Dresden and Viennagallerie s .
M o mm e t s. He ndrik born at Hae rlem (1623 The work sof thi s painter are rare in publ ic gal lerie s . That of Berlin has
“
onenot at all pleasing , repre senting a bare landscape with severalfigures .
M o m pe r or M o m pe rt , Je sse de , bo rn probably at Antwerp
(abo ut 1 559 A fantastic land scape painter . His color is notalways truthful , and his treatment i s sl ight . Hi s work s are numerousi n publ ic gallerie s . He was skilful with th e etching point . Thefi g ures i n his foregrounds were often the work of other arti sts .M o n a c o , D o n L o re n z o . A Camaldole se monk
,who was an ex
collen t arti s t about 1 4 13 . He resided at F lorence . Several of hiswork s remain . One bearing hi s name i s in th e Abbey at Cerette .
It i s very large , 15 by 12 feet,with three pinnacle s, pilasters , etc .
Th e central subjec t i s a Coronation of th e Virgin ,” and there are
numerous other figu re s and subjec ts . One of his be st preservedworks i s in Santa Trin ita, Florence , in th e Bartol in i chapel ; othersare i n the Acad . of Florence , th e ch . o f Monte Olive to , and in theNational Gall . His work s display the charac teri stic s of art i n hist ime .
M o n am y , Pe te r, born at Jersey (1 6 70 An indifferentpainter of marine picture s .
MONCALVO MONTELUPO. 41 1
M o n c alv o . Se e Cacc ia .
M o n i , L o u i s de , born at Breda (1 698—1 A pai nter of ki tchens and kindred subject s . Hi s works are seen in choice col lections
,
and have considerable merit.M o n n i cks or M o nn i x , bo rn at Boi s-le -Duc (1 606 The
works of this master are pleasing . He painted la ndscapes,market
scenes,etc . He introduced ruins , elegant arches , etc .
, with goodtaste . Ho ubrake n savs that Urban VIII. admired him so much thatb e retained h im thi rteen years in hi s service .
M o nn o y e r, Je an B apti s te , called Baptiste. Born at Lil le (1 634A flower pai nter , who was the fashion in hi s day. Le Brun
employed him at Versai l le s ; he was a member of th e Acad ., and was
inv ited to England where he spent n ineteen years and di ed . Manyo f hi s pic ture s are at Ham pton Court , and though not of the be st ,are stil l good .
M o n t, D e l. Se e Delmont .M o n t agn a , B art o lo mm e o , born at Brescia or of Brescian parents .
Flourished from 1480 to 1 523 . He l ived at Vicenz a , and in 149 1
was called i ts best painter ; and he was , i ndeed , a fine master . Manyof his work s remain , and his progre ss ca n be traced in them ; th e firstsh ow the formal ity of the arti sts
'
ab o u t him ; then come changes re
su lting probably from the effec t of the Bell ini ; then at length hev i si ted Padua, where, under the influence of the works and fol lowersof Man tegna , he brought ou t hi s ful l power . M any of hi s works arei n the Gall . of Vicenz a, and there thi s progres s i s i llu strated . Hi s
picture s are al so i n the Lo ch i s-Carrara Gall . , at Bergamo ; i n thechurches of Padua ; i n the Brera. Venice Acad . , Louvre , e tc .
M o n t agn a , B e n e de t to , born at Vice nz a . F lourished about 1 500.
So n of t h e preceding,whom he did not equal as a pain ter . He i s
noticeable as an engraver , and his prints a re valued for their age andrar ity , more than for excellence . They are weak and imperfect , butare almost the fir st engravi ngs fro m the Venetian states . There are
about fifty print s attributed to him , many of whi ch bear his name .
M o n tane s, Jua n M a rt in e z , born at Alcala la Real ; died at Sev ille , 1 650. Having studied sculpture under Pablo de Roxas , he removed to Seville . He was one of the best sculptors of Spain . Ile
usually colored hi s own s tatue s , and they were wel l done . He excel led especially i n carving cherubs and children . The ch . of S .
Lorenz o h as the high-altar and patron sain t which Montanes execu ted, and the ch . of S . Juan de la Palma , the draped figure of S.
John . The M u s. of Sev ille has a kneel ing figure of S . Dominickscourging himself
,
” and a Cru cifixion ,” which is a fine specimen of
the work and style of Montanes . Stirli ng thinks if i t were of Carraramarble
,i t would rival the Crucifix of Cellin i.
M o n t e lupo , R afl'
a e lle da (1 503 This sc ulptor left an nufinished autobiography , which is of great interest ; if it could have
412 MONTELUPO MORALES .
be en completed , i t would have been of much value on account of hi sa ssoc iation with the men and eve nts of h is day . He was a pupi l anda ssistant of Mi chael Angelo , and worked in th e Medici chapel and onth e monument to Jul ius 11. Together with Nanni Bigio , he executedthe seated Popes in th e choir of S . M . So pra Minerva, at Rome . Hewas archi tect of the Castle of S . Angelo .
M o n t o rfan o , G i o . D o n a t o , born at Mi lan . Flo u rish ed 1495 . Theprin cipal reason that thi s rather inferior Milanese master i s k nown tou s i s , that he pai nted a Cru cifixi on on the wal l opposite to thaton which Leonardo painted hi s Last Suppe r,
”in the refectory of S.
Maria delle Graz ie ; and those who go there can but notice this workof Mo nto rfano . There a re many figures , and a formal li ne of sain tsi s a great fault in i ts composition ; the figures are correc tly drawn butare not beautifu l i n expre ssion , and the whole effec t i s sti ff and unartistic .
M o n t o rs o li, Pra G i o . A nge lo (1500 Pupil o f MichaelAngelo . He led a wandering and restle ss life , and imitated hi s maste r i n sculpture as closely as a weaker mind can follow a strongerone . He became a monk and a member of the Serv i , at Florence .
He executed port ions of many works , ornamented the ch . of the Doria s at Genoa, executed two handsome fountai ns at Messina, e tc . Hehad no great excel lence .
M o o r, K a re l v a n , born at Leyden (1 656 Pupil of GerardDow , Abraham van den Tempe], and Franz van M ieris. Hepa i nted sacred and profane hi story i n large and smal l p ic ture s , buthi s portrai ts were his be s t work s. He imitate d Gerard Do w i n hi ssmall pictures , and etched a few portraits from hi s own designs
,
among which were those of Dow and Mi e ri s.
M o ra le s , L u is , called th e Divine ,” born at Badajoz (1 509
School of Estremadura. The first Span iard who had a place amongthe masters o f
'
painting i n Europe. Little i s k nown of hi s l ife .
About 1 564 Phi lip II. sen t for h im . He appeared in a,dress so
magnifi cent as to di splease the King, who ordered that he should be
paid a sum o f money and di smis sed . But Morale s declared that hehad spe nt all he had, with the objec t of coming before Phil ip i n adre ss befitting the dignity of the King. Thi s reconc i led the monarch.
Hi s picture s were all of sorrowful , religi ou s subj ect s . Few of th em
have left hi s native country. The Louvre has one of Chris t hearm g hi s Cross ,
” which resemble s Chri st crowned wi th T horn s,
” i nthe Queen of Spain’s Ga l l ., which last i s, perhaps , his chef-d
’oeu vre .
Some of his work s are at Cordova and Seville,and they arcfound in
the churches and convents of Estremadura,but th ey are now rare
He always pain te d on panels . He fin i shed with great care , but hi sdrawmg w as ofte n incorrect , and his colors sombre and sometimescold . He excelled his Spani sh con te mporarie s. When th e KingVi si ted Bada joz in 158 1 , he saw th e arti st in a very di fferent garb
4 14 MORGHEN MORON I .
then pl aced under . the i nstruction of Volpa to at Rome , whmdaughter he afterwards married . He worked for a time in conj unction with Volpato
,and ass i sted h im in engrav ing th e Parnassus
of Raphael and other important works . His be s t known plate s arethe Aurora,
” after Guido ; the “ Last Supper ,” afte r Da Vinc i ;
th e “ Transfiguration , and the “ Madonna del la Segg iola , aftzer
Raphael ; and many portraits which are very fine . Pa lm e ri n i , one ofhi s pupils , published an account o f al l h i s works . Rapha el M o rgh e n
was accustomed to give Palm e rin i an impre s sion from his plate s ina ll their di fferen t sta ge s of advancement, and th i s collec tion waspurchased for £ 1 200 by th e late Duke of Bucki ngham ,
and i s oneo f the most valua ble and complete i n the world .
M o ri n , Jo h n , bo rn at Pari s (16 1 2 Thi s fin e engraver leftmany va l uable plates , among whi ch the portraits are e spec ially fine .
They are etched in a maste rly man ne r , with freedom and taste , andare much este emed .
M o rlan d, Ge o rge , born in London (1 763 So n of anart i s t , he early showed hi s talent for painting. I t i s said that hi sfather, from mercenary motives , forced him to work cont inually , andrewarded him b y the i ndulgence of his appeti te for rich food anddri nk . His charac ter was pit iful, and there are no allev iating poin tsi n it ; he was l iterally as much a brute as those he pain ted .
.Hissubjects were those of rustic l ife
,and his picture s contain many
a nimal s wonderfully wel l pai nted,but h is pigs s urpass all . The
latter part of his li fe he became careles s and s lovenly i n hi s manner ,but the pic ture s of his bes t time are masterpieces i n their way , andare sold at large prices .M o ro , I] . Se e Torbido.
M o ro , Gi o . B a tti sta d'An ge li , born at Verona (1 5 12—1 568
Pupi l of Torbido , whose daughter he married . He was a riv al ofPau l Verone se, and they painted toge ther i n the Ca th . of Mantua.His best work s are in the churche s of Ven ice and Verona .
M o ro n e , D o m e ni c o . An old painte r of whom no authentic account can be given . He was born at Verona, in 14 42, and his namei s mentioned a few times in th e record s of the c ity , but he i s espec ially in teresti ng on account of his son .
M o ro n e , Fran c esc o , born at Verona (14 73 A finepainter who executed many works . li e was the pupi l and a ssi sta n tof hi s father, but seems to have s tudied the works of others . Indrawing he resemble s Mantegna , i n color Montagna , and he imita tedthe softness of the Umbro-Ferrare se scho ol . His work s are toonumerous for any attempt at a description of them . Hi s mas terpieces are i n Verona in S . Maria in Organo , and picture s of his areseen in th e Brera, Lo chi s-Carrara Gall . , Bergamo , Berl i n Mus . ,N a tional Gal l . , e tc .
M o ro n i , Gi o . B a tt ista , born at Albino , near Bergamo (15 10
MORON I MOYA . 4 1 5
Pupil of 11 Moretto , and as a portrai t pai nter s econd only toTitian . It i s said that when the B e rgam e se appl ied to the latter forthe ir po rtraits he was won t to tel l them to go to Moroni i f theywouldhave good pictures . His historical work s are unimportant , bu t ~h i sportraits are i n many gal lerie s . Hi s own l ikeness i s i n the BerlinM u s.
M o rtim e r, Jo hn aH am ilto n , born in Sussex (1 739 Anartist of great talent and power, but his pai nt i ngs are few , and he i sbetter known fo r hi s e tchings than for other work s . He l ived toofast to l ive long . He was the pupil of Hudson , and the teacher andfriend of Reynolds . His picture of S . Paul preach ing to theBri ton s
,
” at High Wycombe , i s well known . The Battle of Agincourt
,
” and the “ Meeting of Vortigern and Rowena are the sub
j e cts o f pictures exhibited i n 1 7 79 . He was elected a member of theAcad . j u st before hi s death . Hi s etchi ngs are wel l esteemed.
M o rto da F e ltri , Se e Luz z o and Giorgione .
M o sta e rt , Jan , born at Hae rlem A good pain terwhose works are in the Mus . at Antwerp , the ch . of N otre Dame atBru ges
,and in some private collect ions . His portrai ts were excel
lent , and al l his figures are portrait- lik e i n effect.M o u ch e ro n , Fre de rik, bo rn at Embden (1 633 Pupil of
Jan Asse lyn . He lived some time in Pari s and settled at length i nAmsterdam . He painted landscapes indifferently well . Some of hi slater work s have figure s executed by A . van de Velde and Lingelbach . Hi s work s are seen in publ ic gallerie s .M o u che ro n , Isaa c , born at Amsterdam (1 6 70 So n of the
preceding, whom he imitated but did not equal . Seven of h i s work sare in the . Dresden Gall. He left a number of good etchings fromhis own designs .M o u n t , W i lli am S . He may be called the comic painter of our,
country. Hi s subj ects are ru stic genre , and i n them he has donefull j ustice to the humorous side of the negro
’ s character . Thenames of some of hi s picture s are suffi c ien t to i nd icate his mannerBargaining for a Horse ; Turning the Grindsto ne ; R afllingfor a Goose ; Farmer’s N ooning ; Dance of the Haymakers
,
’
e tc .
M o y a , Pe dro de , born at Granada (1 6 10 A pupil of Juande Casti llo . A desi re to travel i nduced him to enlis t as a foot- soldieri n the F lemish army . Amids t th e bustle of soldier-li fe he copied the
'
picture s of the Low Coun trie s . The work s of Vandyck fascinatedhim, and , i n 1 64 1 , Moya went to London to become the scholar o fSi r Anthony . The Spaniard was ki ndly received , but to his greatsorrow , hi s in structor died within six months . His improvementhad been su ch as to aston ish M uril lo when he returned to Sev il le .His work s are very rare . In the Louvre there is a large Adorationo f the Shepherds . ” It i s spiri ted and pleasing
,and has somethin g
41 6 MOYA MU fi o z .
of the softness and grace which Muril lo perfected . Mr . Ford has aremarkable picture by Moya
,formerly at Sev i lle . It represe nts a
girl caressing a dusky swan,and , wi thou t doubt , il l ustrated the fable
of Leda,and was originally a nude figure , but probably for fe ar of
the Holy Office , the pa inter threw over her a saffron-colored robe ,and added a e at , a pigeon , and a spaniel , thus converting the heathe nmyth into a Christian maiden surrounded by her pets .M u do . Se e N avarrete .M uli n ari or M o li n ari , S t e fa n o . Flo uri sh ed 1 7 75 . An engraver
of many plate s after the bes t Itali an masters.M ulle r. This i s the name of a number of German engravers who
l ived between 1 550 and the present t ime . John , born at Amsterdamabout 1 5 70, was a pupil of Henry Go ltz ius, and an eminent artis t .His plate s ar e numerous . John Gottfried , born at Bernhause n
(1 74 7 He only engraved thirty-thre e plates . His Madonnadi Seggiola i s considered by some superior to that of RaphaelMo rgh e n . A S . Catherine
,
” after Da Vinc i, and a 8 . Cecil ia ,”
after Domenichino,are among hi s best prints . Christian Fri ederich
von , born at Stuttgart (1 783 So n o f the preceding . Heleft but few plate s , for after he had executed but a sm all number hewas commissioned to engrave the Madonna d i San Si sto ,
” and tothis work devoted his l ife . He labored so con stantly as to destroyhi s health , and did not l ive to see a fini shed print from it . Theproof arrived a few days after hi s death , and was suspended abovehi s body on the day of hi s burial , as the Transfigurat ion hadbeen plac ed near that of Raphael . Several others of the same nameare le ss important .M ulle r, W i lli am Jo hn , born at Bri stol (1 8 1 2 A land
scape painter , principally remarkable for hi s numerou s fine ske tche smade duri ng a journey in Egypt
,up the N ile , and in c ia . After
hi s death the se were sold for £4360.
M u lre ady , W i lliam , born at Ennis, County Clare , Ireland (1 786He showed hi s i ncl ination for art very early, and when
thirteen years old had the good fortune to meet w ith th e sculptorBanks, who took him into hi s studi o and befriended h im . From thi stime h is improvement and advance kept pace with h is years, and hebecame an eminent arti st of genre s ubjects . The Sonnet,
” Firs tLove ,
” The Wedding Gown ,” The F i ght Interrupted ,” The
Wolf and the Lamb,” and The Barber’s Sh ep,
” are t itle s a of partof hi s pic tures , and suggest hi s s tyle of art , i n whi ch he rank s nex tWilkie among Bri ti sh painters .M uno z , S e b a sti an , born at Naval carnero (1 654 He stud
i ed first u nder Claudio Coello , and then pas sed some time i n Rome .
In 1684 he painted with his former master i n the Cath . of Zaragoz a.
Wh en he went to Madrid his work s became popular,and he was
employed in th e Alcaz ar. In 1 688 he wa s made one of the pai nters
4 18 MUR ILLO .
pure ly Spani sh . About the time o f his re turn to Se vi lle h e was em~
ployed by the Franciscans to pa i nt e leven large pictures for theirconvent . The price they paid him was small , but they gave him anopportuni ty to make hi s name , and their house , famous throughoutSpai n ; and from the time that these pic ture s were displayed to thethrongs who came to see and critic i se , th e name of Muril lo was placedfirst among the painters o f rel igious subje c ts in Spa i n . In 1 648 he
8 . JOHN. BY mu stnw .
MadridMus.
was married to a rich and noble w ife, and was enabled to become th esoc ial leader and patron of his order. From this t ime hi s work s weresought by all the rel igious house s of Sev il le . He painted serie s forthe Cath .
, for th e e h . of S . Maria la Blanca,and
.at le ngth , his won
de rful work s for the Hospital de la Caridad . He al so pain ted forthe Capuchins without the wall s . and , at the time o f his death, wasengaged i n a convent at Cadiz , where he fell from a. scaffold and re
c e ived th e inj urie s whi ch proved fatal,whi le pai nting the upp e r part
MURILLO. 419
of the la rge picture of the M arriage of S. Catheri ne .
” The princ i
pal group remains as it was left by h im , and may still be seen in theconvent
,now a hospital
,at Cadiz . He li ved long enough to reach
Sev ille, to arrange his worldly affairs , and died i n the midst of hi sfriends . He was buried i n the ch . of Santa Cruz , beneath a pictureof the Descen t from the Cross ,
” before which he was accustomedto perform hi s devotions . This was in accordance with his own desire . His grave was covered with a slab , on which was carved , byhis direc tion
, hi s name , a skeleto n , and two words, VI VE M o m r v
R vs. The French destro yed this church, and i ts s i te i s now‘covered
with weeds and debri s. Muri llo’s pictures may be divided into threec lasse s : his firs t or earlier manner may be styled cold (frio ) ; hissecond , warm (ca lido) ; and hi s late st , vapory (vapo ro so) . To thefirst period belong hi s pictures of beggar-boys, peasants , and subjectsfrom common l ife . Both his later periods were espec ially devoted torel igious subjects . In the first hi s outl i nes became softer
,and the
figures rounder , than in hi s early work s ; but to the last, or vaporyperiod , belongs that beautiful atmospheric effec t i n which the dist inctne ss of the outl ine i s lost , or shaded o ff, as i n nature . M urilloexcel led in the management of drapery , i n l ight clouds, flowers , andtransparent waters ; and, while he must yield to some Itali an paintersi n knowledge of the accurate rules of art , he was endowed with thepower to touch the heart , to awaken tender emotion s and reli gioussympathies . He has j ustly been called the painter of the Co ncepti on
,
” and has represented this subj ec t w ith unrivalled grace andtenderness . He has varied the age , the style of beauty , and the surroundings of the Virgin , in almost numberle ss pictures ; but allbreathe the same puri ty and spotle ss innocence ; all are the fittingrepresentation of that Mother of Christ who holds so hi gh a place inthe rel igion of the South . It was such pictures as those of Murillothat i n spired the c loi stered devotees, as they gaz ed upon them , dayby day
,to do their peni tential work , and to suffer even death itself,
with the hope that i n the future they should be received with approb a tio n by this sweet Mother of their God. He also pa inted a fewportraits
,which are of great beauty and value ; and in the front of
the church of the Hospital o f Charity there are five , large designs,wrought i n gl az ed tile s , for which he i s said to have made the drawings . He found time in 1 658 to prepare for the establ i shment of an
academy of art at Sev ille . There was much labor i nvolved in thi s,but he was at las t succes sful
,and the first meeting for the purpose of
in struction was held in 1 660. In charac ter Murillo,l ike Velasquez ,
was the favorite of his patrons,and found his friends among his fel
low-artists . He had much good sense,was moderate i n temper
,and
wholly wanting in Andalusian egoti sm . Towards the poor he praet ised the charity which hi s pencil taught ; and his epitaph is by nomeans untruthful , when i t says that he l ived as one abo ut to die .
420 MURIL LO.
The following i s a l is t o f a port ion of his princ ipal works , and th e
places where they now areMoses strik ing the Rock in Ho
re b .
The Mirac le of the Le ave s andFishes .
S . Juan de Di os, ca rryi ng a SickMa n .
The Guardian Angel .The Saviour i n his Youth .
The Baptism of Christ.Eight Saints ; busts ; l i fe-s iz e .S . Ferdi nand
,armed ; ful l length .
The Annunciation .
Three pic tures of the ImmaculateConception .
La Virgen de la Servil leta .
S . John the Baptist i n the Descrt .
Adoration o f the Shepherds .S. Bonaventura and S . Leander .
S. Thomas of Villanueva givingAlm s at the Door of hi s Cath edra l.
SS . Justa and Rufina .
Portrai t of a Bare-footed Fri ar.
Two Landscape s .The Last Supper.The Annunciation .
Three picture s of the ImmaculateConception .
Our Lady o f the Ro sary .
The Holy Family.
S . John Baptist, as a Chi ld, witha. Lamb .
Adoration of the Shepherds .(Ihri st crowned with Thorns .Two picture s of th e Crucifixion .
Conversion of S . Paul .S . Jerome reading .
8 . Jerome in th e De sert .The Porciuncula .
8 . Franci s de Paula .
Old \Vo m a n spinni ng .
Gypsy Girl .The Annunc iation .
Sev ille, Hospital of Charity .
Sev ille , Cathedral.
Sevi l le , Public
6
Sev il le , Ch . of S . Maria la Bla nca .
Madrid Queen of Spai n’s Gall .
Paris , Lou vre .
422 MURILLO MUTINA .
Our Lady , with the,
Infa nt Sav
io u r ; two pictures . F lorence , Pitti Pal .
Th e Virgin , with the Saviour onher Lap .
Dresden , Royal Gall.
Girl , with a Basket of Fruit.S . John Baptist as a Child . Vienna, Imperial Gal l .
S . Joseph and th e Infant Saviour. Vienna , Esterhazy Gal l .
The Holy Family.
u u
A Girl .Our Lady wi th th e I nfant on herL ap. Munich , Leuchtenberg Gall.
Two Boys seated on the Ground . Munich , Pinakothek Gall .Two Boys throwing Dice, with aDog eating Bread .
Two Boys eating Bread and Fruit,with a Do g by their side .
The Holy Family . London , N ational Gal l .S . John Bapti st as a Child , witha Lamb .
Four drawi ngs on Paper . Print Room , British Mus.S . Anthony of Padua, kneel ing ,
with the Saviour in hi s Arms ;life-siz e . Berli n , Royal Mu s.
ENGRAVINGS A FTE R THE WO RKS O F M URILLO .
Engra ver, ARD ELL , James Me . The Virgin , with a Glory of An
gel s ; finc . S . Jerome kneel ing before a Cruc ifix ; fine . S . Franc isde Paula .
Engra ve r , CARMONA , Immanuel Salvador. Virgin and Chi ld ;half-length .
Engra ve r , DEAN , John . S. Anthony of Padua .
Engra ve r , HA LDO U , John Louis . La Toilette du Savoyard .
Engra ver , MAJOR , Thomas . The Good Shepherd .
Engra ve r , SPIL S B U R Y ,Inigo . F light i nto Egypt.
Engra ve r , STRANGE , Sir Ro bert . The Infan t Jesus plai ti ng aCrown of Thorns . 1 78 7
M u sch e r, M i ch i e l v an , born at Rotterdam (1 645 Apupil of Van Temple , Motsu , and Van Ostade . He pa in te d smallconversations and portraits which are excellent. T hey are seen insome publ ic galleries .
M u s is , A go sti n o de . called Agostino Venez iano . Bornat Venice (about 1 490—1 540 An eminent engraver anda pupil of Marc Antonio
,whom he followed with succes s
without being his equal . He engraved many plates afterRaphael . Fine impressions of his plate s are very rare .
M u ti n a or M o de n a , Th o m a s o f. In 1 35 7, the Emperor Charles
MUTINA MYRON . 423
IV. employed thi s pai nter at the castle of Carlste in . In th e chapelof the castle , tw o
’
o f his pictures sti l l remain . Another work in thealtar reces s of S . Catherine’s chapel, at Ca rlste i n, i s doubtlessly his .I t repre sents a Madonna between an Emperor and Empress , and is apic ture of great sweetnes s . A Vera Icon i n the Cath . o f Pragu e , i sattri buted to him , and a Virgin and Child with two warrior saint s inthe Belvedere
,Vienna
,i s i n scribed with hi s n ame .
M u z i an o , G iro lam o (1 528 A Brescian art is t, who studiedunder Romanino. He became one of the best imitators of M ichaelAngelo . ll i s chief work was S . John preaching to the Monk s inthe Desert
,
” i n S . Maria degl i Angel i, at Rome .
M y n , He rm an v an de r, born at Amsterdam (1 684 He
first painted flowers and fruit, and afterwards portraits . Ile residedsome years i n London . Many Engli sh famili es have hi s pic tures
,
which are rare i n public gallerie s. He had one daughtera nd five sons who practisedpai nting in London ; of the seGerhart and Frans were themost successful .M y t e n s , Dan i e l, th e
Elde r, born at the Hague
(about 1 590— 1 656 Anexcellent po rtrait painter.who preceded Vandyck inEngland . Some of hi s worksare at Hampton Court
,and
i n other Engli sh gal leries .Vandyck painted hi s portrait, aud i t i s one of theCentum Icone s publ ishedat Antwerp in 1 645 .
M y ro n . Thi s celebratedGreek sculptor was a nativeof Boeotia , and born aboutB . C. 430. He was remarkable for his diffi cul t attitudesand his power to represen ta variety of forms . Most ofhi s statue s were in bronz e .
The two most wonderfulwork s which he did were th eDi scobo lus,
” and aCo w ,of
which many writers speak .
It was at Athen s , and carried to Rome , i t was placed i n th e templeof Peace. The prai se awarded it proves i t to have been perfec t i n its
MARBLE COPY OF MYRON’S BRONZE D ISKTHROWER .
Massim i Pal. , Rome .
424 MYRON NARDI .
way . Of the quoi t-thrower, we have several copie s ; that i n theMassimi Villa , at Rome , i s undoubtedly the best, and was found on
th e Esquil i ne , i n 1 782 ; others are i n the British Mu s., Hadrian ’s
Tiburtine Villa,the Vatican
,and the Capitoline Mus. I n thi s work ,
he had ful l scope for the exerc ise of hi s power to portray manly v igorand strength . This is true of another statue in the Va t ican repre
senting Marsyas regarding the flutes whi ch the goddess rejecte d .
The representat ion of a momentary action renders the Dise o bo
l us wonderfully effect ive , and we feel as if we must see the throwmade
,and the tense muscle s relaxed , before we can leave i t . It i s an
example of the highest Greek art , i n the representat ion of the physical frame and di ffi cult action , but it has no i ntellectual depth orthought .
N ah ) , Jo hn A u gu sti n e , born at Berlin (1 7 10 A sculptorwho received commission s for the gardens o f Potsdam and Charlotte nburg . He is well k nown by his monument to Mm e . de Langhausi n Hi nde lba nck, Switz erland . This beautiful work i s mentioned bythe poets Haller and Wieland . At Cassel , where he l ived from 1 755 ,
he did many good works , among which the s tatue of the LandgraveWViIliam may be mentioned for excel lence . At Casse l he was madeProfessor of Sc ulpture .
N a in , L o u i s . A n t o in e , and M a tth ie u L e . Brothers, born atLaou , about 1583 ,
1 58 5, and 1 593 . Their works are not separated ,but a re usually marked Le N ain . Their subj ects were genre andlargely from rustic l ife . They are carefully pai nted , and the facesare varied i n expression and often beautiful .N a iw in ck or N a i w y n cx , B L, born at Utrecht about 1 620. Ve rv
l i ttle i s known of the landscapes of thi s pai nter outside his owncountry , but he left two sets of l andscape etchi ngs , numbering e ighteach , that are e steemed by col lectors . B alkema call s his nameN ae nw incx . His baptisma l name i s not known .
N an te u i l , R o b e rt , born at Rheims (1630 A very eminentengraver. He also executed portraits in crayons . His engrav ingsof po rtraits , both after hi s own design s and those of other masters,are held i n high esteem . His manner was peculi ar ; he carefu l lymodelled every shade of the face
,and for the rest of the engrav i ng
employed a different k ind of work . N ante ui l obta ined from LouisXIV. , in 1 6 60, the edic t which dec lared engraving to be distinct andfree from the mechanical arts , and gave engravers the priv ilege s ofother arti sts .N ardi , A n ge lo . An Itali an pai n ter who passe d a large portion
of his l ife in Spain and was painter to Philip IV . He is said to havebeen a pupi l ‘of Paul Veronese , i n who se s tyle he pa i n te d . Hi s worksare seen i n the churches of Madrid .
426 NAVARRETE NEEFS.
Holland has a “ Holy Family ,” and th e Coll . of Lord Lansdowne
contains a portrai t by El Mudo which is a gem. Lope de Vegawrote a lament for his death , and said ,
N ingan ro stro pinto que fuese mudo .
" 1
W hen the “ Last Supper, pai nted by Titian , arrived at the Escorial
,i t was found to be too large for the panel i n the refecto ry
fo r which i t was designed , and the King ordered i t to be cut . El
Mudo was i n great distres s at thi s , and offered to copy i t in a redu ced s iz e i n six months , and to forfe i t his head if he failed to do so .
He al so intimated that he should expect to be made a k ni ght if b ecopied in s ix months what Titian had been seven years in painting .
But Phi lip persi sted i n cutti ng the pai nti ng , to the intense grief ofNavarrete . While he l ived Phil ip did not reali z e his worth , butafter hi s death he often eulogiz ed him, and declared that his Ital ianart is ts could not equal hi s mute Spaniard .
N e agle , Jo hn , born i n Boston (1 799 He began to pain tcoaches
,but be came a portrai t painter i n Phi ladelphia . He made a
good reputation , and married the daughter of the artist Sully . Hi spicture of Patrick Lyon , the black smith at his forge , now i n the Bosto nAthenaeum , gained him much fame . His portraits are i n Indepe ndence Hall , i n the Philadelphia Acad .
,and in the Union League Club
of that city .
N e ale , Jo h n Pre st o n (1 7 70 Thi s eminent Engl ish e n
graver i s be st known by his admirable plates fo r the following works‘History and Antiqu itie s o f lVe stm i nste r Abbey,
” “ The Seats of
Noblemen and Gentlemen of England , Wale s, Scotland , and Ireland
,
” and Views of th e most intere sting Collegiate and ParochialChurches o f Great Britain , i ncluding Screen s , Fonts , Monuments,
N e cke r or N e gke r, Jo ss e de . An engraver on wood, o f the 1 6thcentury . He executed a part of the prints of the Triumph ofMaximil ian ,
” by Hans B urgm a ir. He usually signed hi s plates‘ withhis whole name .
N e e fs , P i e te r, the Elder, born at Antwerp (15 70 Pupi l ofHendrik van Ste e nwyck, the Elder. He painted the same class ofsubjec ts , namely , church in teriors and excelled hi s maste r in tone ande tle c ts of l ight and shade . Hi s torchl ight effec ts are excel len t . Hedid not fancy the picturesque , evidently , for his churches are a lw avsin good preservation and order . But he enl ivened them with figu reswel l arranged . In thi s he was often assis ted by Francke n th e
Younger , Teniers the Elder , and Jan Breughel . Pie te r Neefs , theYounger , painted the same subjects as hi s father , but i n an inferiormanner.N e e fs , Jam e s , born at Antwerp , 1 630. An engraver of the works
1 N o countenance be pa inted that was dumb .
”
NEEFS NEWTON. 427
of Rubens, Vandyck ,and other F lem i sh masters . His best prin ts are
tee med by col lec tors .N e e r, A a rt or A rtu s v a n de r, born at Amsterdam (1 6 1 9
An eminent landscape pa inter who especially excelled in moonlighteffects , and i n representing co nflagra tio ns. Hi s pic ture s are in thelarge European gallerie s . The figu res were sometimes pai nted byother artist s . The National Gall. has a fine one , with animal s andfigure s by Cuyp . His works are marked by poetic feeli ng , clear tone ,and excel len t finish .
N e e r, B glo n v an de r, born at Amsterdam (1 64 3 So n ofthe preceding , and an imitator of Frans van Mi e ri s. He loved topaint elegantly attired ladies ; white sati n was a favori te dress withhim ; he was very skilful al so i n portraits . Hi s landscape s and hi sto rical subj ects are inferior to his genre subj ects. Some of his mostimportant work s are in pri vate collect ions . The Munich and Dresden gallerie s have his pictures . Smith names but forty-three gen resubj ects by hi m , and these give him high rank among pain ters of hi sclass .N e rro c c i o di B art o lo m m e o de
’
L a ndi , born in Siena (144 7His remaining work s are i n the Acad . of Siena. He was of
moderate excellence , but was well e steemed in h is native c ity . Hewas al so a carver and designer .
N e tsch e r, Caspa r , born at Heidelberg (1 639 An imitatorof Terburg and Metsa . Hi s work s are very beautiful . His chi ldren are especially lovely . His small portrait s are numerous andmuch adm ired . Hi s genre picture s are fine , but in historical andallegorical pictures he failed utterly. His composition was tasteful
,
hi s heads fine i n expression , and his execution admirable . He paintedhi s auxil iarie s wi th great taste , and gave to many of hi s portrai tsthe appearance of fancy pictures . The Dresden Gall . i s rich i n hiswork s , which are also seen in large European collect ion s, but i n England they are mostly in private hands . His son Theodore was notequal to h is father in any part icular. Constanti n
,born at the Hague
(1 6 70 He imitated his father with goo d succes s,but never
acquired his excellence . His most admirable work s are hi s smal lportraits . His mythological subjects are weak and dul l . His pictures are i n Continental gallerie s .N e uch a te l, N ic o la s , cal led L uc idel (1 550 An excellent
Belgian portrait painter . His picture o f the Mathematic ian teaching his So n ,
” i n the Munich Gal l .,i s masterly .
N e w t o n , G i lb e rt S t ua rt , born at Hal ifax , N . S . (1 795His parents had left Boston when that c ity was evacuated by theBritish , but. i n 1 803, after his father
’s death,his m o th e z: returned to
Charlestown . Gilbert Stuart was his uncle and i nstructor,al though
they were alienated later i n li fe . N ewton was a friend of Lesl ie,and
they were in London together in 1 8 1 7. N ewton ought to have made
428 NEWTON NICOLAUS .
a go od genre painter, but he would not give the labor necessary forsuch work s ; he d id , however, a few choice thi ngs , which wereenough to indicate what he might have accompl ished . One of hisbe st portraits was a cabinet picture of Washington Irvi ng . His likeness of John Adams is i n the Coll . of the Massachusetts Historica lSociety . Leslie has written his autobiography, which shows him tohave bee n a man of socie ty , with fastidious tas te s . Fo r some yearshis l ife was bl ighte d by a mental di sorder .N ic c o lo de ll’ A b b a ti . Se e Abbati .N i cke le n , Isa a c and Jan v a n . Father and son . Architectu ral and
landscape pain ters of some merit. Their works are seen in someCon tinental galleries .N i c o la ua , M a ste r, of Verdun . Thi s i s the name of th e artist
samso u o vnncom u o THE LION. EXECUTED BY MASTER N ICOLAUS, m 1181 .
From the Verdun altar at Klo ster-Neube rg.
who executed the Verdun al tar at Kloster-Neuberg,i n 1 18 1 . It is
a very curious work , consi sting of fifty -one gilded plate s of brass .which a re engraved in deep outline s which are fi l led with red andblue . The subj ects are Bibl ical , and must have been the work of agreat arti s t, for they are characteriz ed by freedom and noblenessof design and execution . The ill ustration given shows th e forcefulaction and energy of his style . Thi s is of the same class of work asthe shrine of the Three Kings at Cologne and the re lic cases at Aixla—Chapelle and Osnabrii ck. It was a sort of step be tween scu lpture
430 NORTHCOTE OL IVER .
u ted large ly to The Artist ; wrote the Life of Sir Joshua Re yno lds, e tc . ,
and a brief Analysi s of hi s Discourse s ; and a L ife ofTitian . He also publ ished a book of Fables , origi nal and selecte d ,i l lustrated by wood-c uts from h i s own designs .
N u y e n , W y n a nd Jan Jo se ph , born at th e Hague (1 8 1 3Although he died so young, he h ad made himself an env iable reputation as a marine painter . His work s are onl y seen i n rich collec tions .Le Coup de Canon ” i s one of h is chefs-d
’
wuvre , and representsa v iew on the Y o fi Amsterdam , with a yacht from whi ch a gun isfired . It was sold i n 1 850 for £ 3 75 .
N u z z i , M a ri o de lla P e n n a , called Mario da’
F iori , bo rn at Pen na
(1603 A fine flower pain ter. He often pain ted garlands fo rthe decoration of the figure s of the Virgin , sai n ts , e t c
. He alsopai nted festoons and wrea ths around th e figure s o f Carlo Maratti .
Ob re go n , P e dro de , born at Madrid (1 59 7 A goodpainter of histor y
,whose works st i ll remain i n some churche s and
conven ts of Madrid , and al so i n th e private col lec tion s of the samec ity .
Oc h te rv e lt , J. Flourished about 1 6 70. His pictures representfamiliar subjects and are very excellent, though not equal to those ofMe tsu
,whom he re semble s i n manner . His work s are somewhat
rare . His color and l ighting recal l th e manner o f Peter de Hoogh .
Two of hi s be st picture s are i n the Hague and Aremberg gallerie s .Oggi o n e or U ggi o n e , M a rc o d
’
(about 1 4 70 A scholarof Leonardo da Vinc i . Some of his works are preserved in theBrera, but he i s e special ly worth y of notice fo r having made copie so f the “ Last Supper of his maste r . One of these in oi l
,the siz e
of the original , i s in th e Acad . of London ; another i s in the Conventof Castel laz z o, near M ilan . These were pai n ted from the originalfor people acquainted with it , and b y a
'
pupil of i ts author ; i t wouldseem that they should be entitled to much consideration
,mak ing
al lowance , of course , for the differe n t capabili tie s of the master andpupi l .0 11 111 3 011 11, L ando lin , born at Dunningen in Wurtembe rg (1 760
A celebrated sculptor . Af ter h is early studie s underMelch ior , and a residence of two years i n Rome , he settl ed i n Strasburg . He executed many important monumental works
,some of
whi ch are in the cathedral s of Lubeck . Speyer, and S tra sburg. Thesculptor David i s said to have called Ohm ach t th e Correggio ofsculpture . He was an i ntimate frie nd o f -Klopstock ,
of whom hema de several busts . He executed some class ic al subjec ts . HisJudgment of Paris i s at Nymphenburg .
Oli v e r, Isa a c (1556 This Engl i sh miniaturis t was sec
OL IVER ORCAGNA. 431
0nd only to Cooper i n his department of art . His finish of detail s,
such as lace , j ewel s , e tc ., was wonderful . He sometimes copied th e
pictures of other artist s,such as Correggio and Titian . He painted
a few small portrai ts in oil , and very rarely designed historical sub
j e cts. Hi s work s are much esteemed by curious collec tors . His sonPeter (1 601—1 660) was instructed by h is father , and painted in thesame manner . His work s are fine , and sometimes equal , but neversurpass those of his father.0mm e gan ck, B alth asar Pa u l, born at Antwerp (1 755
Pupi l of An to n isse n . An admirable pain te r of landscapes andanimal s
,especially sheep and goats . Hi s work s were m uch sought
during his li fe , and are since i ncreased i n value . His color i s not aswarm as we could wish
,but he depicts nature with great truthful
ne ss, and i t.
is ofte n easy to tel l the season of year, and even thehour of day which he represents i n his work s , from the manner i nwhich he reproduce s the smalle st characteristic s of the scene hepaints. Man y o f his work s are i n private galleries , but they are al soseen i n the Louvre, Brussel s and Casse l gallerie s , the Chateau ofWi lhelmshohe , etc .
Om o de o or Am ade o , Gi o . A n t o n i o (144 7 One of thebe st of the Lombard sculptors . His work s in the Capella Co lle o n i , atBergamo , rank with the most splendid sculpture s of Uppe r Italy ;his other importan t labo rs were done at the Certosa of Pavia .
O o st, Ja c o b v an , the Elder , born at Bruges (1 600 Anexcel len t hi storical and portrai t painter . He acquired i n Italysomethi ng of the manner of Annibale Carrac c i , but in color andreali sm he remained always true to his nationali ty. Many of hiswork s are in the churches of Bruge s . The number of his altar-piecesw as very large . He did not crowd hi s figure s ; he introduced archite ctu ral background s with good effect , and gave fine expre ssion tohis heads . His son , Jacob van , the Younger (163 7 establish ed himself in L ille , and painted i n the same good style as hisfather . His portrai ts were ‘very fine and have even been comparedto those of Vandyck .
O o st e rw y ck, M a ri a v an , born at Nootdorp near Delft (1 630This celebrated flower painter was instruc ted by John
David de Heem . Sh e was famous i n her l ifetime , and pri nces andsovereign s sent to her for her pictures . She grouped her flowersand fruit wi th grace ; her color was admirable , and her finish deli cateand excel lent . Her work s a re rare and much esteemed .
Orb e tt o , L . Se e Turchi .O rc a gn a , A n dre a , real name Andrea Arcagnu o lo di Cione . Ar
cagnuolo, meaning Archangel , has been corrupted into Orcagna .
Born at F lorence (1 329 So n of Maestro C ione , a goldsmith . Orc agna was an architect , goldsmith, sculptor , painter , mosai st, and poet. He first studied his father’s craft, was next in struc ted
432 ORCAGNA .
i n pa in ti ng , by hi s brotherBernardo
,and then entere d the studio of
Andre a Pisano . He painted , with his brother, the Life of the Ma
donna in S.Mari a N ovel la (now repainted) ; the great frescoe s of
Hell and Paradise ,” in the Stroz z i chapel of the same church ;
frescoe s in th e Servi (now destroyed) ; the facade of S . Apolli nare ;
the Coronation of the Virgin ,
" now i n the N ational Gal l. ; and
then,ashas a lways been said , the great frescoes of the Tri umph
From
BEGGARS
BESEECHI
NG
T"
of Death and the Last Judgment, ” i n the Campo Santo of Pisa.
Signor Cavalcase lle doubts the truth of these being the work of
Orcagna ;but if thi s auth or i s right , enough remain s to show that
he was the greate st painter who h ad succeeded Giotto . He unitedthe dramatic force of composition of the F lorenti ne , with the tenderne ss of color of the S ie nese school . He practi sed a ki nd of foreshorteni ng
.His perspec ti ve could not be te sted by scie ntific
rul es,
434 ORLEANS OSTADE.
of i nspiration . She al so made some designs for glas s pain ting . In achapel at Fontainebleau , there i s a glass painting of S . Amalia
,the
patrone ss of her mother, made from her design , and much admiredby connoisseurs . Sh e was as beautiful in her li fe , as i n her art.t e n she proceeded to lVii rtembe rg, she was received with greatenthusiasm . Then she suffered misfortune ; thei r castle was burned ;her health failed
,and she went to Pisa, in hope s of re storat ion ; here ,
a few days before her death , she asked for more li ght in her apartmen t, and spent an hour in drawing .
O rle y , B e rnh ard v a n , born at Brussels (14 7 1 Whenquite young , thi s painter entered the school of Raphael , at Rome .
After hi s return ,he was court painter to Margaret of Austria and her
successor,Mary o f Hungary. He painted a large number of altar
pieces,and was also much employed with cartoons fo r tape s try for
the court . Although b e adopted much of the I tal ian manner,hi s
execution i s always careful , and his color co ol in tone . His picturesare seen in the Mu s. of Brussel s ; ch . of Our Lady , at L ii beck;Vienna Gal l . ; chapel des Orpheli ns , at Antwerp ; Liverpool Insti tu t io n , e tc . The shrine with double wings
,at L i1be ck, i s hi s most
considerable work ; i t represents the Annunciation ; th e LatinFathers ; the Sibyl showing the Vis ion to the Emperor Augustus ; the Vision o f the Apocalypse to S . John ; and theTrinity .
” In many respects, thi s i s an excell ent work . The Gall .of th e King of Holland has several picture s by Van Orley.
Orre n te , Pe dro , born at Montealegre , Murcia (1560 Hev i si ted I taly , and upon his return became a favorite o f the Duke ofOlivarez . He was empi oy ed at Bueno Retiro , and hi s works are nowse en in all large Spanish ci tie s . They are also in the Royal Gall .O rt o lan o , L
'. Se e Benvenuto .
Os , Jan v an , born at Middelharni s (1 744 A distinguishedpain ter of frui t and flowers . His work s are i n great request
,and
rank nex t those of Van Huy sum . They are rare i n publ ic gal lerie s .His son , George Jacob Jan van Os , al so excelled i n the same styl e ofpainting as his father’s ; but another son , Pieter
‘
Gerhard (1 7 76became a distingui shed an imal pain ter . He imitated Paul
Potter and Karel Du Jardin . His works are i n the choices t colleetions , and hi s e tchings from his own designs and those o f other arti stsare much esteemed .
Oso ri o , Fra n c e sc o M e n e se s , born at Sev ille . F louri shed about1 725 . A pupil of Murillo , whose work s he copied perfectly , excell ingparticularl y i n those of children . After th e death of his mas ter b epartly finished th e S . Catherine upon which Muri l lo was engagedwhen he died . The work s of Osorio are i n th e ch . of S. Mart in atSeville , the Hospi tal of Cadiz , and other public places .
Ostade , A dri an v an , born at L ii b e ck(161 0One of the most excel len t among the
Dutch genre painters , for though born at Lubeck
OSTADE OVERB ECK. 435
he went when young to Hae rlem , was a pupil of Frank Hals , andsettled at las t i n Amsterdam . Hi s color resemble s that of Rembrandt
,
and his chiaro- scuro also recall s that master . He had l ittle eye forbeauty of form , or grac e of motion ; his children are rarely pretty ,and his subjec ts are never more elevated than the scene s of commonpeasant l ife . But of these he choose s the best ; hi s works i llustratecontentment and humble happiness
,rather than drunken brawl s and
disgusting orgie s . Kugler well says that hi s pictures afford astriki ng proof that works of art, i n spite of great deficiencies , may yet,if only possessing excellence s of one class , offer high attraction tothe cultivated eye ; the excellence s of Ostade consisting , namely , ingenuine feel i ng for nature , pic turesqueness of arrangemen t, harmonyof color and chiaro-scuro , and extraordinary technical mastery.
”
Smith mentions about 385 of hi s works . Many of the best are inEngland , but they are seen i n al l large European galleries . It i swonderful how their value has increased ; for instance , one sold in1 802 for £ 340 brought £ 1 386 i n 1 844 . He also made numerousdrawings i n semi-opaque color, which are now very valuable , andabout fifty -four etchings from his own design s , which are esteemedh ighly . He married the daughter of Van Goyen , and had a largefamily ; he left Hae rle m intending to return to Lubeck , where hehoped be tter to support hi s household , but his picture s were so muchappreciated i n Amsterdam that about 1 662 he settled there for life ,made the neighbo ring v i llage s the scenes of his study , and gave himself quie tly to the work of pictur ing the short and simple annal s ofthe poor .”
O sta de , Isa a c v an , born at Lubeck (1 6 1 7 —1 6 71 Brother andpupil o f Adrian . He adopted a l ittle different class of subj ects , andrepresented travellers halting at inns, v illage scenes with animate dfigures, etc . He attempted i n many ways to imitate Adrian
,e spe
c ially i n the vines hanging from porches and other portions of cottages .Adrian excelled e special ly in thi s feature of his work s , and Isaa c imi tated him well . He was earlie st appreciated i n England , and hiswork s are somewhat rare in Continental galleries , where pictures ofa much poorer master are sometimes called by hi s name . His pictures are al so of value , and are eagerly sought by collec tors . Hisbe st work s were executed from 1 644 to 1 650.
Ou de n a rde . Se e Audenarde .
O udry , Je an B apti s t e , born at Paris (1 68 6 He espec ially excel led in painti ng hunting piece s and animals , and many o f
hi s work s are seen in the royal palaces of France .
Ov e rb e ck, Fre de ric h , born at Lubeck (1 789 In 1 8 10 hefixed” his residence i n Rome, where he died . He endeavored to teachand prac tise upon the principle that art exists not alone for beauty ,but should be consecrated to the service of religion . He attemptedto rees tabli sh the ascetic art of past centurie s , and gathered about
436 OVERB ECK PACCHIAROTTI.
him in Rome other arti sts who were fascinated with his doc tri ne .
The “ Histo ry of Joseph ” in La Salle B arto ldi , and “ JerusalemDe livered at the Villa Massimi , are grand frescoe s executed underhis direc tion . Among hi s oi l painti ngs are the Entrance of Christinto Jerusalem ,
ch . of N otre-Dame at Lubeck ; Christ on the
Mount of Oli ve s , at Hamburg ; the“ Marriage of the Virgin ; va
r io u s Holy Families ; the Influence of Art upon Rel igion ,”e tc .
Ov e ns , Ju rian ,born at Amsterdam (about 1 620- 1 6 75 Pupil
of Rembrandt . He excell ed in portrai ts and the repre sentation ofnight scenes . The Conspiracy of Claudius C ivil i s,
” i n the TownHall of Amsterdam
,i s a chef-d
’azuvre . In the Huyssi tte nh uys at
Amsterdam there i s a pic ture of seven Regents si tti ng round a table ,whi ch is excellen t for its animation and powerfu l treatmen t .
Pa c ch i a , Gi ro lam o de l, born at Siena (14 7 7- 1535 So n of aHungarian who made himself famous as a founder of cannon . Nothi ng i s known of the tea chers o f Del Pacchia. In 1 500 he was i nRome
,and from 1 508 to 1 5 1 1 h e painted pic tures which are k nown
only by the accounts of them . The earlies t of h is remain ing work sare i n the churche s of S . Christoforo and S. Spiri to at Siena. Theseare i n advance of th e S iene se pic tures of hi s t ime in drawi ng and expression
,and the color i s excellent . He was i n Siena i n 15 15 , but
no work s of that year remain . In 15 1 8 he competed with Baz z i andB e ccafumi for the frescoes for S . Bernardino . In these he appears tohave adopted some of the trai ts of Pinturicchio , but i s s ti ll original.In 1 533 he be came entangled with th e dangerou s Bardotti c lub , andtwo years later disappe ared from Si ena , and nothi ng more i s knownof hi m . Many of the pic ture s which have been ascribed to Pacchiaro tti doubtles s belong to De l Pacchia , who was the superior artist .Of these may be mentioned a Holy Family i n the Siena Acad .
,a
S. Bernard ” i n the Pinakothek of Munich,and a “ Madonna i n
the N ational Gall .Pa c ch i aro tt i , Ja c o po , born at Sien a (14 74 This artist
led a troubled l ife . He was involved i n a pol iti cal conspiracy , andi s said to have fled to France i n 1 535 . He had returned to Siena i n1 539
, when he was banished and declared an outlaw by the government ; through the influence of h is wife he was restored to hi s familyin 1 540, after which time nothing posi tive i s known concerning hi m .
Vasari did not ment ion Pacch iaro tti , and although he executed somegreat work s , he has been comparatively neglec ted by posteri ty . Hewas not equal to Perugino in color
,but i n other respec ts he surpassed
him , and there is no proof of hi s hav ing studied under that master ,as h as sometim e s bee n sta ted . His be st remai nin g work s are i n thechurches and the Acad . of S ie na. I n the ch . of S. Catheri ne there
438 PAJOU PALAMEDES .
he was a member of the Institute . His style was maste rly and at thesame time natural
,not exaggerated . He surpassed th e French sc ulp
tors who preceded him.
CO RONA‘I‘ION o r m y: vm cm . suppo snn TO HAVE mans nxz cm 'm) a nom
1360.
From the Imho ff Altar-piece, at Nuremberg .
Palam e de s. Real name Anton G. Stevens , call ed al so Sta eva e rtsor Stevers ; born at De lft (1 604 He painted interiors wh ichare highly finished and warm in color . His picture s are rare i n public galleries . The only ones of which I k now are in the Berl in Mus .,Frankfort Gall . , and Brussel s Mus. He was fond of representingfashi onable people , and pencil led hi s figu res with great prec ision .
His brother , whose name was Palamedes Sta e vae rts or Stevers , wasa pain te r of sma l l batt le pieces , and not equal to Anto n, though re
PALAMEDES PAL ISSY. 439
sembl ing him in color and drawing . The Duke of Northumberlandhas a col lection of h is work s at Sion House .
Pali ssy , B e rn ard de , born near Agen (15 10 This celebra tedman was a potter , glass painter , chemist , author, and scientificd iscoverer. He was first , as he says , employed in “ portraiture andvitrification .
” He was a fine geometrician, and occasionally surveyedand made maps . He saw , when stil l young , some beautiful Ital ianpo ttery, and spent six teen years in ascertaining the method of enamelpainting
,the making of colors , etc . He endured privation and nu
m e ro u s disappointments , and spent all he could get, so that he and hisfamily were in deep poverty. When at length he succeeded he soonrose to such fame as to be much employed by the Cons table de Mon tmorency
,to have rooms allotted to h im i n the Tuileries , and to be
cal led maker of the King’s ru stic potterie s .” His garden vases andout-o f-door ornaments were very fashionable , and his smal l works
,
such as salvers , ewers , j ugs , etc . , were eagerly sought for . He wasa Huguenot
,and was impri soned in Bordeaux in th e time of Henri Il.
,
when he was se t free at the entreaty of the great Constable andvarious nobles . In the time of the S . Bartholomew massacre he wassaved by Catherine de’Medici , but he .
was at las t thrown into theBastil le
,where he died. His scientific disco veries were very impor
tant,and he antic ipated the results of modern discoveries . He gave
the theory of artesian wel ls and stra ti fica ti o ns, and a method of taki ng soundi ngs . He lectured on his discoveries in 1 5 75
,and inv i ted
cri tic ism and objections to them . Many sc ientis ts accepted his challenge . It has been said that Palissy “ was to chemi stry what LordBacon was to philosophy.
” The following account o f the medall ionwhich adorned the front of his house i s interesti ng The housewhere Bernard de Pal issy lived for so many y ears i s s i tua ted N o . 24
Rue Dragon , but i n fac t the famous enameller never lived in thishouse
,which was buil t during the last years of the reign of Louis
XV.,but i n the house formerly occupy ing the site , which was dem o l
i sh ed toward the end of the reign of Henri III. , shortly after thedeath of Palis sy. The present building i s a very common structure
,
and has for many years been occupied as a lodging-house . Nothingis remarkable beyond the wooden staircase , which certainly belongedto the former house . Upon the front. one reads this in scription inrude le tters
,Ancienne demeure de Bernard de Pal i ssy.
’ Underneath was imbedded the medallion i n question , a marvel lous work ofart i n te rm co tta , enamelled and varnished, of which the subject wasHercules with the N emean l ion , with thi s legend : ‘Pauvreté empéche souvent le s bons espri ts de réussir.’ This last i nscription wasv i sible until about 1 820, when the front was painted and it disappe ared. N o one has si nce thought of restoring it . The medallionalone w as carefully re spected , having been there since the rebui ldi ngo f th e house, that i s to say , more than a hundred years . Lately a
440 PAL ISSY PALMA .
curiosity-dealer looked upon i t with curious eye s . T h i s dealer, whoi s a connoisseur i n obj ec ts of this k ind, saw the owner of the house ,and after some bargaining carried away th e m edall ion . leaving i n exchange the sum of 2500 francs . The space left upon the fron t bythe absence of this enamel , was quickly fi l led by a plaster bu st worthfiftee n francs , and supposed to repre sent th e celebrated potter. Ap
pe aran ce s were kept up , and the ghost of Pal is sy has nothing to say .
The medall ion has already changed hands , and the pre sent ownerasks francs . Fifte e n thousand francs ! The arti st , duri ng hi slife , had trouble to sel l the same for five or six francs .
”
Palm a , G i a c o m o , cal led l l Vecch io .
” Born at Serina,
'
n ca r Bergamo (about 1 4 80 He was Bergamesque by birth and name , but Venet ian i n hi s manner ofpai nti ng . He was origi nal
,and if an imitator at all , i t w as
o f Gio . Bell in i and C ima ; he d id his part with Giorgione and Titianto regenerate Venetian art . He was not great, but i n the compa s si n which he worked , he was a fine designer, a good coloris t, melodio u s i n tone , and sk ilful i n th e management of l ight and shade .
He was fond o f natural backgrounds, and represente d i n them ete rnal summer . Hi s female figures are h is bes t works , and are not excelled i n soft, richly blended tones, elegant bearing, and tastefuldres s . \Ve have no account of his having studied with any greatmaster
,or of his being employed by the state ; but he was much pat
ro n iz ed by the fami l ies of noble Venetians of Cornaro and Friu li , anddwel t much i n their palaces . At the time of his death , he had nofamily but nephews and a n iece , and was a member of the brotherhood of S. Spirito, i n whose vaul ts, at S . Gregorio, at Venice, hedes ired to be buried . His picture s are n umerous, and y et he leftforty-four unfinished when he died . There are no large gal ler ie s inwhich they are not seen , and space for a general description of themcannot be given here ; his al tar-piece at S . Maria Formosa in
Venice i s i n hi s best manner, and i s generally called hi s masterpiece . The centre figure of S . Barbara can scarcely be too highlypraised , and many o f th e surrounding figure s are wonderful ly excellent . This i s especially true o f the figure of the Virgi n (i n the pinnae le ) , bending over th e dead Chri st. This whole work displays hi shappy power of combining a bold touch with v igorous tin t, and yetattai ni ng to harmony and fin ished blending . The Three Grace sat Dresden , said to represent his daughters , i s to o well known to t equ ire mention . It i s said that Violante was his favorite, and the
model for the celebrate d S . Barbara ; but there i s a marked similari ty i n al l hi s female figure s . Vienna i s rich i n such as may beca l led portraits ; there are also two be auti ful one s at the Barberi niand Sciarra palaces i n Rome . Beside s the large number of picture sassigned to Palma with good rea son , there are many in Europeanchurches and gallerie s, catalogued as his , which are of doubtfulori g i n .
442 PALMEZZANO PAPA .
there i s no flow of drape ry , no atmosphere, no fe el ing for color. Inornamenta tion , such as tracery of stems and leaves on pi lasters, fig
8 support ing vase s , e tc .,he was sk i lful and ta ste ful , but generally
speaking, his pictures are l ifeless and angular, with l ittle charm ofcolor
. Man y of his work s are seen i n European galleries . Forl i i sespecially rich in his picture s, and among the most important of hislabors are the fre sc oe s in S . Girolamo . Forl i , and the al tar-piece i n
Orfano tro fio delle Mich e lli ne at Faenz a. All hi s works have be e nattribute d to his master, but i t. i s now proved that great mistakeshave been made in th i s way .
Palo m i n o . Se e Velasco.
Pa n e tti , D o m e n i c o , born at Ferrara (1460—15 1 1 His picture sare preci se and rigid . Garofalo was his pupil , but after he v i sitedRome
,Pane tt i studied hi s works with attention , and much improved
his manner. The “ Maries weeping over the Dead Chr i st,” i n the
Berli n Mus i s the only work of his in any European Gal l . , of whichI know .
Pani c ale , M aso lin o da , born at Florence (1403 Thispai n ter i s wel l known by his frescoe s i n the Carmine , and i s reputedto have been the teacher of the great Masacc io . Masoli no was a pnpil o fGhiberti and Starn i na . His own fame seems to have been lostin that of Masaccio, although his frescoes referred to above havebeen attributed to th e more di sti nguished pupil , which proves a greatresemblance of general effec t and execution . Other work s b y Masol ino have been brought to l ight i n the college ch . of Castigl ioned
’
Olo na , near Milan .
Pan h e la , W i llem , born at Antwerp about 1 600. A painter andengraver, who is best known by hi s clever etchings , whi ch are princ ipally after Rubens, and his own design s . His drawing i s often i ncorrec t , but he had much vigor and spiri t i n execution .
Pa nn in i , Gi o . Pa o lo , born at Piacenz a (169 1 An eminentpainter of architec tural subjects . His perspective was fine, and hi sworks charac teriz ed by correctness and preci sion . He also i ntroducedfigures i nto his compositions . As a colori st, he cannot be especial lycommended . Hi s work s are numerous in the private collect ions ofEngland , and are al so seen i n some palace s at Rome . They havebeen engraved by a number o f excelle n t engravers, such as Lem
pe re ur , Le Bas , Bartoloz z i , and others.Pa n to j a, Ju an de la Cru z , born at Madrid (155 1 Thi s
arti s t may be called the portrai t painter of k ings, for he was muchemployed by Philip H . and II I . in painting numerous pictures ofthemselves and their familie s . Many of these are stil l seen in th egallerie s of Spa in .
Papa . S im o n e , i l Ve c c h i o , born at N aple s (1 430? Saidto have been a pupil of ll Zingaro . Worthy of notice on account ofhis imitati on of the style of th e Van Eycks . S . M ichael , with
PAPA PARROCEL . 443
other saints and the donors of the picture , i s perhaps his best work ;it i s i n the Museo Borbonico.
Papa , S im o n e . i l G i o v i n e , bo rn at N aples (1 506 Noticeable for the simplic ity of his style among th e N eapol i tan manneri stsof his day . His best work s are in the ch . of Monte Oli veto at N aples .Pape , A dri e n de . This artis t i s almost unknown , but hi s two
picture s i n the Hague and Berl in museums prove h im to have beenone of the best gen re painters of his time . He has been called ascholarof Gerard Dow .
Pap ia s . A sculptor of Cyprus who, together with Aristeas , madethe two statues of centaurs i n the Capitol ine Mu s.
. They are ofdark gray marble
,and were found in the v illa of Hadrian at Tivpli in
1 74 6 . They are supposed to be of the t ime of Hadrian , and asbe tter statue s than these have been found representing the samesubj ect , i t may be that they are not original work s , but copies .They are i nscribed
,APICTEACKAI HAHIACA<I>POA1CIEIC, and are of
a good style of execution .
Papi llo n . The name of a family of wood-engravers who flouri shed from 1 680 to 1 7 75 . The younger , Jean Baptiste Michel , wasthe more important . He attempted a revival of wood-engrav ingand wrote a history of that art
,but i t i s comparatively worthless
since the publ ication of better book s on the same subj ect .Pa rc e lli s, Jan , born at Leyden (about 1 59 7 A mediocre
painter of marine v iews .Pa rce llis, Ju li u s , born at L eyderdo rf, 1 628 . Pu pil of the fore
going but a much better artist ; i ndeed, his pic tures are sometimescompared favorably with those of Wil lem van der Velde . His worksare rare ; there i s one in the Berl in Gal l . Both father and sonsigned their pictures with the in i tial s , J . P .
Pa re j a , Ju an de , born i n Spanish America (1 6 10 Theslave and color-grinder of Velasquez , he became secretly an arti s t,and on one occasion
,when King Phi l ip v isi ted the studi o of his
master , he displayed a picture he had painted, and threw himself atthe feet of his Maj esty , begging pardon for hi s audaci ty . Both theKing and Velasquez treated him most k indly, and i t i s said that heserved his master unt il his death , al though he was emancipated fromslavery . He succeeded best i n portraits . His work s are notnumerou s ; the most importan t are the “ Call ing of S . Matthew ,
"
i n the Royal Gall . of Spain ; the portrai t of a Provincial of a rel igiousorder, i n the Imperial Gal l . of Russia ; and a few others , at Madridand Toledo . A portrai t of Parej a painted by Velasquez was i n theGall . of Lord Radnor.P arro c e l, Jo seph . The most importan t member of a family of
painters and engravers who flouri shed in France from 1 6 70 to about1 750. There are two battle scenes by Joseph Pa rro ce l i n the oldColl . of th e Louvre . Cha rles , Ignatius , Pierre , and Stephen were ofthe same family
,but all medi ocre artis ts .
444 PASS PASSEROTTI .
Pa ss or Passe , Cri spin de , th e
Elder . This eminent engraver wasthe head o f a family of arti st s . for heh ad three sons and a daughter who
received the ir i n struc tion from him and practi sed the art of e ngraving. The father and the so n Wi lli am were the most skilful arti s ts,and their pri n ts are much esteemed . The accounts of the li fe of thefather are very unsati sfac to ry. The only thing upon which al l agreei s that h e w as i nstructed by Co o rnh a e rt. He went to England
,but
i t is no t known at what time . lVilliam res ided in that country thegrea te r par t of h is life . The portraits of these engravers are theirmost valuable pri nts . Crispin (the Younger ), Simon . and Magdaleneare the names of those not ye t mentioned. Crispin left very fewplate s ; those of the others are reputable, bu t not equal to the work so f the father and the elder brother .P asse ri , Gi am b a tti s ta , born at Rome (1 6 10 He was a
fond lover of Domenichi no, with whom he lived at Frascati . He al sopai nted the portrai t of the great master (now i n the Ufli z i) , andpronounced hi s funeral oration . Passeri was more a ge nre than anhisto rical painter. He was president of the Acad. of S . Luke atRome, and wrote upon art with great correctness . His chief workwas cal led Vi te dé Pi ttori , Scultori , e Archi te tti , che hanno l avora te i n Roma , e che son morti dal , 1 64 1 , a lPasse ro tt i , B art o lo m e o , born at Bologna (1520 Pupil
of Jscopo Vignola , with whom he v isi te d Rome . After his return toBologna he established an Acad .
, and Agosti no Carracc i was one ofthe pupil s there . He excelled most in portrai ts , and by so me hasbeen es tee med second only to Ti tian in th is department of painti ng.
He was much employed for the Bolognese churches , and in them hi sal tar-pieces are sti ll seen . He studied anatomy very thoroughly, andleft materials for a tre ati se on that subj ec t. He had four so ns whowere arti s ts . We have an ac coun t of a remarkable picture paintedby Passerotti fo r Gio . Battista Deti . I t repr e sented Homer on th e
seashore with a gypsy, a dog , and some shells, while a large numberof sailors in a boat are propounding a riddle to the great Gre ek.
Homer was painted with Passe ro tti ’s own feature s . There are nowtwo portrai ts of Passerotti i n Europe , one be ing i n the F lorence Gall.and the other i n a family pic ture i n the Dresden Gal l . No t longs ince a third one was found in an auc tion room i n Boston . It has thisi nscription
B a nrogo Passs e o'rrr
ve er m SUA MANO se a
a rm ors, D ICTA D’AN I 51 1 1s
B OLOGNA.
DONATO DA ESSO AMasa n G10 . B ATTA . Dm
,
Am 9,
1571 .
446 PATRAS PEALE.
about 1 1 12. The font at L i ege from which the il lus tration i s takeni s a very important work of i ts k i nd . The bronz e workers of Dinantwere so skilfu l that in adjacent province s all workmen in that artwere known as Di nandiers .
Pa ndi t z , Christ o ph e r. A native of Lower Saxony. Died 1 666 .
He was an imitator and perhaps a pupi l of Rembrandt . He wasmuch patroniz ed by Albrecht Sigi smund , Duke of Bavaria , andBishop of Freising . Christ driv i ng the Money-changers from theTemple ” in the Cath . of Frei si ng i s the most important work byPanditz . In the Gall . of Munich are two picture s of a Wolf destroying a Lamb ,
” one of which was painted by th is arti st i n competi tion with an arti st of N urnbe rg. N either one of them i s excel lent ;that o fPa uditz i s th e bette r o f the two, but the judges did not so de
05 65 . B A PT IS TA
6 6 0V0SB APTIZOINA(lva-VENIETAVTEFORTIORone posrneq
name s o n A B AP’
I’
ISMAL nxsrx. a r LAMBERT m u ms , AFTER 1 112.
In S . B arthelemy, L iege .
cide , and i t i s said that he died i n consequence of hi s disappoin tmentand n i o rtifica t io n .
Pa u tre , Je an le . born at Paris (1 6 1 7 This engraver leftan immense number of plate s
,probably 1500. They represent archi
te ctural designs, ornaments , al tars , tombs, fountain s, etc ., and areexecuted with ex trao rdinary faci li ty .
Pe ale , Ch a rle s W ilso n , born in Chesterto n , Maryland (1 74 1The l ife of thi s painter was quite remarkable , and full of
interesting experience s . He possessed an u nusual mechan ical genius.and could work in leather, wood , or metal . The museum which heestablished in Philadelphia illustrated his enterprise and his desire todo goo d to all . But his decided taste wa s artist ic , and he made picture s whi ch proved his talent , be fore he received any ins truction . He
PEALE PENCZ. 447
studied under a Ge rman in Philadelphia , and w i th Copley in Boston .
He then wen t to London and was i nstructed by West . During theRevolution he commanded a corps of volunteers , but at odd times incamp he pain te d portraits , and that of Washington as a Colonel ofVirgi nia troops i s the first authentic l ikeness of that great man , andwas executed i n 1 7 72. This picture i s well k nown from the numerous copies and engrav ings of it . He painted fourteen different pictures ofWashington , th e last one i n 1 783. Fo r some time he w asthe only well-known portrai t painter of America , and si tters came tohim from all part s of the country, Canada , and theWes t Indies . Hewas versatil e i n h is talents , and sawed his own ivory for hi s miniatures , moulded the glasses , and made the shagreen cases .
” His sonRembrandt says of him , His l ikenesses were strong, but never flatte red; his execution spirited and natural.
” His las t work was a ful llength portrai t of himself at th e age of eighty-three years . His mosti nteresting work s are i n Independence Hal l , Philadelphi a, andnumber 1 1 7 i n all . Other valuable work s of hi s are i n the Acad . o f
Philadelphia ; i n th e COIL -
o f Joseph Harrison of that c ity , and in theGall . of th e N ew York Historical Soc iety .
Pe a le , R em b ran dt , born in i neks County , Pennsylvan ia (1 78 7Wh ile young he was assoc iated w i th h is father , then studi ed
with lVe st i n London , and spen t a long time in Pari s engaged inmaking portrai ts o f eminent persons for h is father’s museum . Hepainted two historical subjects which were exhibi ted, The RomanDaughter ” and th e Court of Death ,
” but devoted himself to pe rtrait pai nting . When but eighteen , Washington paid h im the com
plim e n t to si t to him , which so overcame him that he was forcedto seek the assistance of the presence o f his father . Later in l ife hemade a portrai t of Washington which is considered by many thebe st o ne ever painted , and of which Chief Justice Marshall said , Iti s more Wash ington himself than any portrait I have ever seen .
For a long time he was the only artis t who had seen Washington .
He made this picture from Ho udo n ’s bust and his recol lections of
his great subjec t. There have been m any copies of i t by himselfand others . Some of his work s are in the Philadelph i a Acad . andthe Gall . of the N ew York Historical Socie ty .
P elle grin i , G i o . A n t o n io (1 6 75-4 His father was a glovero f Padua who l ived i n Venice . The artist i s claimed by both c itie s .He was distinguished in “France for frescoes executed i n a hall of theHotel de Maz arin (now the Library) . His principal work i s in SanMose at Venice .
Pe n c z , Ge o rge , born at N uremberg (1 500One o f the bes t scholars of Albert Durer ; i ndeed , inengravi ng he i s first among them . He went to Italy ,where , i n the study of the work s o fRaphael, he modi
fied hi s manner , but still remai ned original and N etherlandi sh . His
448 FENCZ PENN I.
hi storica l work s are very rare ; there i s a S . Jerome in the Chapelof S .
Maurice,at N uremberg , whi ch is an excellent pic tu re ; a Venus
and Cupid i n the Munich Gal l . , i s graceful and pleasing . His portraits are more numerous
,and some of them are masterly . Among
th e be st are three i n the Berlin Mus. , one i n the Landauer B riide rhaus at Nuremberg , and that of Erasmus of Rotterdam at WindsorCastle
.He studied engravi ng under Marc Antonio, and closely
attained to the excellence of that master, as may be seen i n his plate
o f the Tak ing of Carthage ,” after Giuli o Romano , the only e ngrav
ing he made after any composition not h is own . His plate s of pe rtrai ts were very fine ; a serie s i llustrative of the story of Tobit aretender and beautiful , a German conception , treated with Itali angrace
.Bartsch describe s 126 pri nts by Pe ncz , and N agler adds
three to th e l i st .Pe nn a c chi , Pi e tro M ari a , born at Trevi so (1464 The
earl ier works of this painter are really remarkable for their Germantype
,and some of them have been marked with the monogram of
Dii re r.He went to Venice
,and his manner so changed that i t i s
difii cult to bel ieve the later works o f his li fe to be by the same hand .
Most of his pictures are in Trevi so and Venice. One of his earlystyle is in the Berl in Mus.
, and represents the Sav iour supported i nthe tomb by two angel s . It i s remarkable for i ts patient fini sh andi ts ugli ness .Pe n n acch i , G i ro lam a di Pi e r
’ M ari a (149 7 So n andpupi l of the preceding , whom he surpas sed . His pic tures areprincipally i n Tre vi > o , Venice , and Bologna , i n which las t c ity h epainted much for the churches . His work s are rare i n publ icgalleries ; the N ational Gall . and the Hermitage have pic tures byhim . After h is early studie s i n Venice , he modified his manner byfam iliari tv with work s o f Raphael and other pain ters, but he alwaysremained essentially Venetian . He was a friend of Sansovino ,Titian
,and Aretino , and some particulars concerning him are con
ta ined i n le tters of the latter. During his last s tay i n Venice , 15351 538 , he painted many palace s ; i n 1542 he was appointed architectto Henry VIII . of England , and made plan s for a residence fo r thatKin g . In 1 544 he was made an engi neer, and commanded the worksi n the s iege of Boulogne . He was throwing a portable bridge overo ne of the ditches before that place when he was k illed by a cannonball .Pe nn i , G-i an fran c e sc o , born at Florence (1 488 A favori te
pupil o f Raphael ’s and one of the heirs to his e sta te ; he also ac tedas his s teward , and on thi s account was called Il Fattore . Heassi sted Raphael in many important works
,such as the Cartoons ,
the picture s i n the Loggie of the Vatican,the s tory of Cupid and
Psyche at the Fa rne sina , and others . He left very few origi nalworks , but he executed fine copies of th e works of h i s master . \Vith
450 I’EKEYRA I’ERUGINO .
tha t a s tatu e of S . John , which was executed fro m hi s model , madewi thou t s ight
,was one of his finest works .
Pe ru gi n o , Pi e tro , born at C it ta della Pieve (1446 Hisfather’s name was Christoforo Vannucc i , who was of respectablefam ily, but had a number of children to prov ide for . The l ittlePietro was apprenticed to a master in Perugia before he was nineyears old , and took hi s name from that c ity . He became th e associate of Piero della Francesca , and at length i n F lorence probablystudied u nder Vcrro cch io together with Leonardo , whose friend he
Pe rugino is considered the founder of that style of paint ing
MADONNA. BY PERUGm o .
In the Pitti Gall . , Flore nce.whi ch Raphael perfected . He brought his figure s ou t from the back
ground, rounded them and threw them in to bold re l ief b y means ofs trong shadows . He did not huddle numerous figures together, as hadbe en the custom in Florence , but produced wel l arranged and morecomple te groups . Considering hi s advance upon what had precededhim , i t i s scarcely possible to say too mu ch -i n his praise ; and yet hiswork s leave so much to be desired . The tru th i s , that by nature hewas rough ; by some he i s accused of being in tensely mercenary , ofathei sm , and the most unlovely trai ts but i t i s not neces sary to beli eve all thi s in order to accoun t for the want we fee l in hi s picture s ;i t can all be explained in the fac t tha t he did not conceive i n hi s soul
PERUGINO PERUZZI..451
th e spiritual, or even the most tender view of hi s su bjects . Howthen could he do more than he has done In techn icaliti es he ex
celled,and did much to make ready for that great ma ster who , i n the
thirty-seven years he had to l ive , had no time to work up to the excelle nce which Perugino, as his te acher , was able to impart to him .
The works of his middle l ife are the best, for i n his later years hispictures are unceasing repetitions of the same subj ect , and have nocharm of suffic ien t depth to awake th e best and truest emotions ofthe heart. The Umbrians were al l charac teriz ed by simpl ici ty anddevoutne ss in their pictures , and were noticeable beyond their contemporaries fo r the ir bri l l iancy of color ; i n al l these points, Perugino maintained the reputation of hi s school . The wal l pai n ting i nthe S i stine chapel , representing the Del ivery of th e Keys to S .
Peter ;”th e Madonna and four saints i n the Vatican Gal l . ; the
Descent from the Cross,
" in the Pitti Gall . ; the Adorat ion ofthe Magi
, inS . Francesco del Monte at Perugia ; and the Virginadoring the Child ,
” i n the N ational Gall . , are among hi s be st works,but there i s no publ i c col lection of any importance i n Europe wi thoutthe picture s of Perugino , and many are in private gallerie s .Pe ruz z i , B aldassare , born at Siena (1 48 1 In 1 501 he was
employed to paint i n the cathedral, which proves his early abili ty .
In 1 504 he went to Rome, where he eventually became a famous arch i te ct and painter. His l ife was eventful and ful l of i nterest
,and
deserves to be studied at greater lengt h than it is possible to give i there . The bu ilding of the Vil la Farnesina fo r the Siena banker
,
Chigi , has perhaps done more than any other work of his to give hima great and lasting reputation . He was its architec t
,and al so exe
cu ted many of its decoration s . Time has so destroyed or defacedthem , that now we can scarcely j udge of their meri t, but the highprai se they gained fo r him in hi s own art-favored time i s wel l knownto us. He was a man of great compass ; an archi tect, mathematician,thorough master of perspective , a sculptor , and a painter. We cannot say that he was cla ssic , and ye t he approaches being so, j ust asEtruscan art i s related to that o f Greece . He does not stand on alevel with Leonardo, M ichael Angelo , and Raphael , but he presse shard upon them . He did much work in Rome ; adorned the frontsof palaces , painted frescoes, etc .
,etc .
,but he can be best studied by
us i n S . Maria del la Pac e , where he labored about 1 5 1 7. Here hepainted numerous scenes from the Old Testament, and the Virgi nwith SS. Catherine and Brigitta . These show the hand of a greatmaster, and in painti ng , he seemed to have reached his utmost height ,for he never excelled them . In 1 520 he succeeded Raphael as archite et o f S . Peter’s . In the next year
,he v isited Bologna , where he
made designs for various architectural work s . During the sack ofRo me , 1 527, Peruz z i was seiz ed , and plundered of all he possessed.
At length he made hi s way to Siena , and was engaged by the gov
452 PERUZZI PHIDIAS .
e rnm e n t at a salary o f five scud i per month . While there , he waschiefly employed in rev ising old fortre s se s, or plann ing new ones . I n1 535 he retu rned to Rome and devoted himsel f exc lusi vely to architec ture u nti l hi s death , two years later . The fe w pictures he pai ntedwhile in S iena only show his dec line from th e height he atta ined inS . Maria della Pace . His paintings are rare i n ga l lerie s ; there are
some attributed to him that are of doubtful origin . Peruz z i was th elas t great S ienese pain ter . He was buried near Raphae l i n the R0tunda at Rome .
Pe sar o ,or II Pe sare se . Se e Can tarin i .
F ase llo . There were two arti sts o f this name . There are veryconfli ct ing accounts of the elder, concerning his name and time ofbirth . By some he i s cal led Francesco , and by others Giul iano.
Several authoritie s agree that he l ived from 1 380 to 1 45 7 . He paintedanimal s mostly
,and is said to have kept numbers of them in hi s
house — even w i ld beasts for the purpose of pai nting from nature .
Francesco Pe se llo , calle d Pe se llino , born at Florence (1426was a son of the preceding and a pupil of Fra Fili ppo Lippi . Hiswork s are very rare , but may be seen in the Florentine Acad .
,the
Louvre , and the Liverpool Insti tut ion . Th ere i s also a gradino inthe Casa B uo naro tti , at F lorence , representing stories in the l ife o fS . N iccolo. He had variety of invention , an imation , and force , anda h ighly fi nished execution .
Pe sn e , Je an , born at Ro uen (1 623—4 An engraver who i smore remarkable for the exactnes s w ith which he imi tated thedifferent masters afte r whom he engraved, than for any agreeabletrait s of hi s own . He left a large number of plate s , many of themaft e r the work s of N iccolo Poussin .
Pe t e rs , B o n av e n tura . bo rn at Antwerp (1 6 14 A painterof marine v iews . His works have a poe tic character
,but are not
always true to nature . They are very rare in galleries,al though
Vienna i s an exception i n this , and has five of his pictures .Pe t e rs , Jan , born at An twerp (1 6 25 Brother of Bona
ventura and a painter of similar subj ect s .Pe ti t o t , Jo h n , the Elder, born at Geneva (1 607 A cele
bra ted enamel pain ter. Some of his miniature copie s of the portra itsof Vandyck were very beautiful . He was a favorite of Charle s I .and Louis XIV. Many of his m iniatures are in the Mus. at Paris .He reque sted permiss ion of Loui s to return to Switz erland , which w asgranted him , after an absence of thirty-six years or more . Bordi er ,a brother- in - law o fPe t i to t
’
s,was his ass istant
,but h is fame is lost i n
that of Pe t i to t, who may be called the inventor of enamel pai nting ,as he first brought i t to perfection . John Pe ti to t , the Younger , w asvery inferior to his father , b y whom he was instruc ted .
Ph i di as , born at Athen s about 500 B . C. So n of Ch arm ide s. Hefirst turned his attention to painting , but afte rwards to sculpture ,
45 4 PIGAL LE PINTURICCHIO.
sculpture has been engraved several times . Pigall e was much employed by Mm e . dc Pompadour, of whom he made a statue . Hi s
finest work i n Paris i s the tomb of Comte d’Harco u rt, i n N otre Dame .
Pilgri m , Ha ns U lri ch ,or Han s U lri ch Va e ch tle i n . Known as
the Master of the crossed Staves,” was a sk i lful engraver. Th e
time of h is birth i s unknown . I t i s bel ieved that he l ived principal lyi n Strasb urg. In Germany he i s considered the i nventor o f e ngraving en cama
’
icu . Eleven of his plates are k nown, and are exact i n design and wel l executed .
Pilo n , Ge rm a i n ,died 1590. A Fr e nch sculptor whose works are
se en at the Louvre, the ch of S . Denis, etc .
P in e da , B e rn a rdo S im o n , i s princ ipally known as th e architec t
o f the Hospital o f Chari ty at the time o f i ts rebuild ing . He employedth e chise l of Roldan i n sculptural decoration , and defrauded him inhi s di vision o f the payments . Pineda was also much employed in theCath . of Sev i l le , when it was prepared for the reception of S. Ferd inand .
Pin elli , B art o lo m m e o ,died 1835 . An engraver who res ided
chiefly at Rome . His etchi ngs o f Roman history, Ital ian costumes,manners
,etc . , are n umerous and well known . He al so etched v iews
i n the neighborhood o f Rome, with groups of bandi tti , to the numberof 200. His drawings i n chalk and water-co lo rs a re much e steemedand are very spiri ted in execution .
Pin turi cch i o , B e rn ardi n o , born at Perugia (1454 He wasoften cal led So rdicch io , from hi s deafness and i nsignifican t appea rance
,but Pinturicchio was hi s usual name . He was a partner of
Perugino . His earl ier work s n o longer exi st . He never perfe c tedh imse lf i n the use o f oil medi ums, but was confined almost enti r e ly totempera . He went to Rome and probably labored wi th Perugino i nth e Sixtine chapel . He afterwards executed almost numberless frescoes i n the churches and palace s of that c i ty . He was first patroniz edby the Re ve re , and then by the Piccolomini . For Alexander VI . h e
decorated the Apartamento Borgi a in the Vatican ; five of these room ssti ll remain in their original sta te. His pictures i n the Castle o f S .
Angelo have been completely des troyed . During hi s engagementsi n Rome h e went twice to Orvieto fo r the execution o f commissionsther e . The amoun t of hi s l abors was surpri sing, but is explai ned byhis great facil ity o f execution and the employment of many assistants .He was not origi nal i n hi s composi tion s ; he loved landscapes, but hecumbered them with too much detail ; hi s figure s of v irg i n s, i nfants,and angel s have a certai n coarseness ; h e used too much gil t andornamentation ; his draperie s were full , but often b adly cast ; hi swork s are either too gaudy or very sombre , no pleasing medium se eming to suggest i tself to h im ; his flesh has the r ed outl i nes o f th eearl ie st tempe ra ; and yet with al l these faults he painted at a timewhen the great precepts of art we re well known , and hi s work s are
PINTUR ICCHIO P10M8 0 . 455
good expo nents of sk il led labor i n art without any striking or excepti o nal power in 'the arti st . It i s scarcely possible here to give morethan a l is t o f the churches in whi ch he painted ; i n Rome they werethe Araceli, S. Cecil ia in Tras tevere, Santa Croce i n Gerusalemme ,and S . Onofrio. In 1 496 he returned to Perugia and undertook analtar-piece fo r
'
S . Maria de’ Fossi (now S. Anna) , to be completedi n two years . This i s the most fi nished o f his work s, and morefu l l of feel ing than any other . He next adorned the col legiate ch . ofSpello ; these work s are fast disappearing from the effects of dampness . He was next called to S iena by Card . Francesco Piccolomini
,
to decorate the Library of the Duomo . Here he painted the ceil ingin a variety of designs , with the shield and arms of the Piccolominii n the centre ; and the wall s with ten scenes from the l ife of E neasSylv ius or Pius II. This work was commenced in 1503, but was inte rrupted by deaths i n the family of hi s patron , and was not com
ple ted until 1 507, he havi ng fi l led various other commission s i n themean time. It i s said with great probabil ity that he was assisted i nthe L ibrary by the young Raphael , and some cri tic s have been wontto attribute the best features of all Pinturicchi o’s pic ture s to a id fromthe same source . But this should not be so . They were assoc iatedmore or less
,without doubt, and it i s not improbable that Raphael
w as one of the many assis tants whom th e master hired in Perugia fo rhi s work in Siena ; but there are many reason s why the credi t of thebe st o f Pinturicchio should not be given to Sanz io, who certainly doe snot need any such praise . There are many circumstances connecte dwith certa i n cartoo ns , many simi larities of figures i n the works o f thetwo masters, which make u s feel sure of their assoc iation , but the seSiena fre scoes are conceived i n the system of Pinturicchio . Thisl ibrary i s one o f the few Italian hall s that retain their original charact er . The frescoes are di scolored and inj ured i n parts , but are , on thewhole
,fa irly pre served . It i s probable that after the completion of
these works the maste r went to Rome, and returned to Siena in 1 509with Signorell i , who stood as godfa th cr to the so n born to Pinturicchioin the beg i nni ng o f that year. He then probably entered th e serviceof Pandolfo Petrucci . His last authentic picture i s now i n thePalaz z o Borromeo at Milan, and is a cabinet siz e o f Christ bearinghi s Cross .” It was painted i n 1 51 3,the y e ar
‘
o f his death . Dreadfulstories have been tol d of the manner i n which his wife Grania treatedhim . It is said that when very sick she left him to die o f starvation ,but this lack s confirmation . His works are seen i n a ll large , and insome smaller collections of Europe .P i o m b o , Pra S eb a sti a n o de l, real name Lucian i . Born at Ven
ice (1485 In early l ife he was destined by hi s father to b e amusician
,but he decided for himself to be a painter
,and gained hi s
knowledge of hi s art from Gio . Bell ini and Giorgione. He excelledin coloring and in breadth of chiaro- scuro. From the very first i t
456 PIOMB O.
was ev ident that he lacked the gift of compositi on , and though hestruggled manfully
,this want and that of elevation seemed to define
th e pos ition he must hold a s a pain ter. Th i s i nabili ty to designgreat subject s did not affect hi s power to pai nt portrai ts ; hi s work si n thi s department were magn ificent. That of Andrea Doria in theDoria Pal .
,i s by some considered the finest portrai t i n the world . I
bel ieve i t i s no longer to be see n by travel lers . A cardinal in theStudj Gall . at N aples , a female portra i t i n the Uffiz i , one i n th e
National Gal l . , and one i n the S tade l Mus . at Frankfort should bementioned . The las t two are claimed to repre sent Gi ulia Gonz aga,the most bea utiful woman in Italy . In 1 533 Ippol i to de ’ Medic i , whowas madly i n love w ith her, se nt Sebast ian with an arme d forceto Fondi to paint her portrait ; i t was completed in a month, and wa ssometimes called the best that he h ad pain ted . The pic ture w a s
sent to Francis I . at Pari s, but i ts present place i s not posi tivelyknown . The fame o f his portrai ts i s al l h i s own , but thi s i s not trueo f hi s other works, for i t i s said that after he went to Rome , M ichae lAngelo assisted him with des ign s which he magnificently colored .
They were certainly ardent friends , and there were some good reasons for i t . They were al ike i n temperament , impulsive , and reali sti c ; they loved nature a li ke ; they hated Ra phae l together ; theyequal ly detested monks and friars they both loved out-door sketching for a recreation ; they were alike in their muscular forms , andboth were left-handed .
‘
Sebastian . went to Ro me by invi tati on o f
Agostino Chi gi ; he firs t painte d in th e Farne sina , which Peruz z i haddesigned
,and , together with Raphael , had adorned fo r the luxurious
banker . Here the i nferiori ty of Sebast ian was apparent , and he e n
de avo red to improve by study under B uo naro tti . It is said that onaccount of the growin g fame of Raphael , B uo naro tti determined toas si st Seba sti an , and so designed for h im to color . Card . Gi ul io de’
Medi c i gave orders t o Raphael and Sebastian fo r pictures of thesame siz e ; they were the “ Transfiguration and the Resurrec tionof Laz arus . When completed they were exhibited , and even by theside of the transcenden t beauty of Ra phael ’s work , the Laz arusw as much admired . I t is certai nly in th e very Spirit of M ichae lAngelo . I t was one of the importan t work s of the l 6 th century.
It was sent to Narbonne by the Cardinal,and is now in the National
Gall . After the death of Raphael, S
ebastian w as cal led the firstpai nter i n Rome . Ili s works were numerous ; some fine ones are inMadrid and St. Petersburg ; many are i n Venice , and th e y are seen i nseveral Continental gallerie s . IVhe n he was made p iomba to re i t wasnecessary for h im to be an eccle siastic
,and his name of L uciano was
given up fo r that by which he i s be st k nown,Fra Sebas tiano del
Piombo. He wrote to M ichael Angelo, If you were to se e me as anhonorable lord , you would laugh at me . I am t he finest ecclesiasticin all Rome . Such a thing had never come into my mind . But God
458 PIRANESI PISANO .
nen t designer and engraver of ruins , archi tectural subj ects, etc . Hehas been cal led the Rembrandt of Architecture,
” on account of hisadmirable management of light and shade , which gave force andv igor to hi s work s . His picture s of ancien t ru ins are not alwaysexac t, as hi s imagination was indulged to some extent, even in representing what was before hi m . He was o f a fiery temper, and d isagreed seriously with Lord Charlemont, so tha t he cut out th e armsof that nobleman where he had engraved them i n his plates , and subst ituted other designs in their place s . He was a member of theLondon Soc iety of Antiquaries . His son took hi s father’s plate s toParis
,where he went as minister fo r the Roman Republ ic . After
the son ’s death in 18 10, they were purchased by Didot , but now be
long to th e government o f Ro me , and are i n the Vatican . Theynumber nearly 2000. His so n France sco a nd his daughter Lauraal so engraved the same class of subj ec ts as di d the father.Pi san e llo . Real name Vi ttore Pi sano . Born at Verona . There
i s much uncertai nty concerning th e birth , education , e tc., o f thi s
pai nter . It i s said that he painted with Genti le da Fabriano inthe Lateran , and that he died i n 145 1 . Many of his work s are preserved i a Verona, his native c i ty, and show h im to have bee n agraceful and attractive painter.Pi san o , N i c c o la , born at Pisa (about 1 206- 1 27 According to
the custom of his t ime he was both arch itec t and sculptor . At theearly age of fifteen he was appointed archi tec t to Frederic II
,with
whom he went to N aples . In th e serv ice of th i s sovereign he passedten years , and then w en t to Padua, where he made the design for th eBasil ica di S . Antonio. The first k nown attempt which he m ade asa sculptor resulted i n hi s alto-ril ievo of the Deposition from theCross,
” which now fi l ls a lunette over a door of th e Cath of S . Martino at Lucca . This i s most excel lent as the work of an untutoredarti st
,as he was at that time , and i t shines by compari son with works
of his contemporarie s which are near i t. The statuette s of the M ise rie o rdia Vecchia at Florence are of about the same meri t as thi sha s-rel ief. In 1 248 N iccola wen t to F lorence to assis t the Gh ib e lline s in their work of destruction ; he was commissioned to overturnthe tower cal led Gu ardam o rto , i n such a way as to destroy the Bapt iste ry ; he overturned the tower , but i t did not fall i n the antic ipateddirect ion , and we may bel ieve that th i s was i n accordance with hisi ntention , although it was attributed to a spec ial miracle
,b y Villani .
During the twelve succeedi ng years he was employed i n maki ng designs for the building and remodel l ing of many churches and palaces .
The ch . of San ta Tri ni ta at F lorence i s one of the best known of h iswork s of thi s period . In 1 260 N iccola establ ished h is fame as asculptor by the magnificent pulpi t which he executed for the Bapti sto ry at Pisa. Of course marks of h is comparative inexperience canbe found in thi s work , but taken al l i n all i t almos t challenges cri ti
PISANO. 459
cism . His next work w as the Are a di S. Domenico , at Bolo gna ,which i s now surrounded with a maz e of beautiful sculptures of whichthe Area is th e centre , and is of great i ntere st as illustrating theart of the 1 3th century . In 1266 N iccola went to Siena to mak ethe pulpi t for the Duomo. Thi s i s s imilar to tha t of Pisa i n ,
manyways
,but not as effective
,because surrounded by other objects of
i nterest , and i n a larger space, whi le at Pi sa the pulpit se ems almo s t
the only thi ng to attract the at tent ion . In 1 269 h e was commissionedto bui ld the Abbey and Convent of La Sco rgo la , which are now in
ruin s . In 1 274 he commenced the fountain of Pem e ia ,which was
his las t work . The authorit ies of the city made severe laws for itspreservation , and i t was con sidered the most preciou s possess ion ofthe c ity. In 1278 N iccol a died , after a life o f great usefulnes s , forhis influence had been fel t through all Italy . His service s could
460 PISANO.
never be estimate d ; he had founded a new school of sculpture had
put behind him the standards of ba rbarism ; i n archi te c ture , too, thesame mav be said , and in the words of Mr. Perkins , He was trulya great man , o ne to whom the world owes an eternal debt of gratitude,and who loo ms up in gigan ti c proporti ons through the mist of fivecenturie s
,holding the same relation to Italian art which Dante holds
to I tali an li terature .
” In h is l ife he was respected and loved by all
who came i n contac t with him , be i t as patron , friend , or servant .Pis an o , Gi o ., born at Pisa (abo ut 1 240 He seems to have
i nherited much of his father’s geni us , but had an entirely di fferent
tas te. Gothic archi tec ture was hi s choice , and he w as fond of e xagge ra tio n and fantas tic ac ti on and expre ssion in sc ulpture . He workedm uch un der N iccola , a nd assis ted h im with the Perugian fountAs early as the mak ing of the S iena pulpi t , he was a mas ter i n hisown right
,and went in 1268 to N aples to fulfil a commi ssion from the
Franciscan s them : he also de signed the Epi scopal Palace . After thedeath of N iccola, th e Pisan s were anxi ous to have Giovanni remai ni n his native c i ty , where he executed importa nt works . The e h . ofS. Maria della Spina was th e firs t example i n Italy of the pointedarchitecture
,and is a most pleasing one . In 1278 he was chosen to
build the Pisan Campo Santo ; i t was the firs t and the most beauti fulo ne of al l I taly . I t i s to o well known to be de scribed i n our limitedspac e , but it seems that nothi ng could have been more fi tti ng for it spurpose than the plan which he adopted . Many of the scu lpture shere were also by hi s hand . The representation of Pisa was thefirs t attempt at mak ing large s tatues in Ita ly, si nce the days of Constantine . It i s a strange , and in many respects an unlovel y work ;and yet i t has great i n ten si ty of expression in i ts principa l figure
,
and displays the originali ty of Giovanni . He gained much reputation from thi s , and in 1286 went to Siena . where he w as commi ssi o ned to b ui ld th e facade of the cathedral . The people of Siena werevery desirous that he sho uld fix hi s home there ; the magistrates madehim a ci tiz en and exempted him from taxes for li fe but he remainedo n ly three years , and went nex t to Perugi a . In thi s ci ty he made a.monument to Urban IV” which no longer exists . From this time
,be
devoted h im sc lf almost Wholly to sculpture . At Arez z o, he made th eshri ne of 8 . Do na te for the cathedral
,which cost (including j ewel s
for th e Madonna, enamels, and silver has-reliefs) flo rins.It
was a superb work of art . His next work was done as a rival to Il
Tedesco ,”a sculptor who had made a pulpi t for the ch . of S . Gio
vanni at Pi sto ja, which was much praised . A new pulpi t w as al soto be made for the ch. of S. Andrea
,and there were those i n Pisto ja
who had so adm ired N iccola Pi sano that they de si red to have his sonto do i t ; he excelled hi s rival in every way ,
and fully supported thereputation b e had already gained . Our artis t now went to Florence .
Thi s was a prosperous time there , and Giovan ni remai ned two years ;
462 POILLY POLYCLEITUS .
400 plates , including those executed by his pupi ls under his supervi sion . N agler describes 1 70 which he be l ieves to be en tirely hisown . They are so uniform in s tyle , that i t i s diffi cul t to select ache/i d
’azu vre . The choice seems to depe nd upo n the taste of each
one who j udge s . That of the Flight to Egypt ,” after Gu ide ,
andth e Holy Family ,
” after Raphael , are almost universal favorite s.S . Charles B o rrom e us admini stering th e Sacrament ,
” after Mignardi s very fine . There were several other engravers o f the same nam eand family .
P o li do ro . See Caldara .
Po lla i u o lo , An to n i o and Pi e ro , born i n Florence i n 1 433 and1 443. Antonio died i n 1498 , but the time of Piero’s death i s notknown . They were goldsmiths and workers in bronz e and silverornaments , and also pai nters . Their pictures were much affec ted bytheir other occupations , and seemed to be copies of thei r other works ;even the colors were such as to suggest bronz e and silver ornaments .These brothers exce l led espec ial ly i n th e knowledge of anatomyand it i s said that An tonio was th e first artist who d issected thehuman body in order to know how to represent i t. Their most exc e lle n t productions repre sented contests of s tre ngth and m uscularaction , such as
“ Hercules and and the Death of An taau s.
"
This is les s true of Piero than Antonio, but appl ie s to both . Antonioi s celebrated as the best goldsmith of his time
,and he rece ived many
important commission s from church and state . He was con stantl y i ncommunication wi th Lo renz o de ’ Medici regarding his art andmatters related there to . He made bronz e monument s for th e Pe pesS ixtus IV. and Innocent VIII. The first i s now in the Chapel of theSacramen t in S . Peter’s . In paint ing, their model was Andrea de lCastagno. It i s d ifficul t to separate thei r work s and sav to which ofthe brothers particular one s be long , but i t i s safe to say that thosewhich are most pictorial in character were done by Piero. Theirmasterpiece is
,without doubt
,th e S . Sebastian i n ’
th e N ationalGal l . It i s a fine work , without being refined or i n the least ideali stic ;i t h as been unduly prai sed by some wri ters . The Archangel andTobit
,
” in the Gal l . of Turin , i s an excel len t example of the ir manner.
Their picture s are i n the differe nt gal lerie s o f Flore nce, in Berlin ,Munich , and Modena .
Po ly c le i tu s , the Elder . Thi s celebrated statuary was probably anative o f Sicyon and a citiz en of Argos . He was the pupil ofAge ladas and fel low-pupil of Phidias and Myron . His t ime was,as nearly as can be told, B . C. 452—4 1 2.
The d i fference be tweenPhidias and Polycleitu s was
,that the former was perfec t i n his
represen tations of the gods , and the latter i n those of men , andeach one was preferre d before the other according to the taste o f theperson judgi ng. Polycleitus received the highes t encomiums of prai sefrom Pliny, Cicero , Dionysi us o f Hali carnassus, Quin ti li an, etc . He
POLYCLEITUS . 463
was a work er in marble and bronz e , an architec t , and a toreuticarti st . He also wrote a treati se on th e proportion s of the humanbody , called Ka i /av, and made a statue o f the same name, i n whichhi s theory was exemplified . Regarding his works which remainthere h as been much discussion . I agree wi th Lubke , who be lieves
HEAD OF JUNO.
L udo v isi Vi l la , Rom e .
the Be rl i n Amaz on , and the copy in the B rae e io N uovo, to bePolycle tan ; the head of Juno , i n the Vil la L udo v i si , i s attributed tothis arti s t ; we give an engravi ng of i t, but doubt its bei ng b y Polyc le itus . He had many pupil s
,and exerc ised great influence upon the
school of Argos .
464 POLYDORUS PORTA.
Po ly do ru s . Se e Age sande r.
Po n te , Fran c i sc o da , Ja c o po da , Fran c isc o da , Gi o . B a t i sta
da, L e an dro da , Gi ro lam a da . Se e Bassano .
Po n ti u s , Pa u1 , born at Antwerp about 1 596 . Pupi l of LucasVo rste rman . He was o ne of the very be s t Flemish engravers , andhis plates are much esteemed . He made many engrav ings afterRubens and Va ndvck. He seemed fully to imbibe the spirit ofRubens
,who was his friend , and , i n truth , he adapted h imself
wonderfully to whate ver arti s t b e copied.
P o n to rm o . Se e Carucc i .Po n z i o . Thi s sculptor i s the Maitre Ponce of the French
,
and probably identical with Ponce Jacqu io . Hi s work s are at theLo uvre and at S . Denis .Po rden o n e , Gi o . A n to ni o L i c i n i o R e gi llo da , born at Forde
none (1484 He was of the same clas s of pai nters as Gi o r
gio ne and Titian , and may perhaps be called a ri val of th e latter .
Hi s composition was very simple ; his heads rarely speak of deeppassion ; and his chief excellence was color. He painted flesh witha marvellous softness. His portrai ts were fine , and he frequentlyrepresented several perso ns on one canvas . we have very few ease lpictures by Pordenone , and those wh ich are attributed to him i n galle rie s, are oftentimes proved not to be his , or are under so muchdoubt. that i t i s unsafe to ri sk a l i s t of them . The Glory of S . Lorenz o Giu st inian i ,
” i n the Acad . of Venice,i s one of hi s fines t work s .
Much has been said of the Woman taken in Adul tery , in the Berlin Mus . , but i t i s so repainted (the heads of the Saviour and theWoman being almost new) , that i t can do li ttle honor to any art i sto f the l6th century . His frescoe s at Venice have nearly all perished .
Po rta , B a c c io de ll a , Fra B a rt o lo m m e o , or II Pra t e , born atSavignano (14 6 9 He was a pupi l of Cosimo Rosel l i i n Florence , and l ived near th e gate of S . Pi ero , from whi ch circumstancewas derived his name of della Porta. He was the i ntimate friend ofMariotto Albe rtine lli . He had acqui red great fame for the beautyof hi s Madonnas , and h ad been commissioned to execute a fresco ofthe “ L ast Judgment
” i n the Convent of S . Marco , about the t imewhen Savona rola went to Florence to preach against the s infulnessof the ci ty . Bartolommeo became th e earnest friend of the preacher.and was so carried away by his influence
,that be burned al l hi s
studie s and drawings of profane subjects and those which repre
sented nude figure s . He abandoned hi s art, and spent his time in thesoc ie ty of the enthusiast . t e n at length Savonarola w as seiz ed ,to rtured , and burned , Bartolommeo too k the vows of a Dominicanfriar , and left his unfin ished picture s to be completed by Albe rt in e lli .During fb u r years he led a most austere life , never to uching hispencil . His superior then commanded hi s practice of hi s art, and b eresumed i t with languor and entire want of in te rest. About th is
466 PORTA FOUR B US .
when hi s powers seemed dai ly increasing. His charac ter was impre ssed o n al l h is works ; when Savonarola was se iz ed he hid himsel f
, and vowed that if he escaped he would become a monk . Thiswant of courage and energy we must admit , but he was en thusiastic ,devout
,and loving in h is nature . His saints and virgins are te nder
,
mild,and full of sweet dignity , and i f we characteriz ed his pic
tures i n one word,hol iness is that we should u se , for i t i s that which
they most express . His boy angel s were beautifully painted, and hisrepre sentations of architec ture were rich and grand . His work s arerare . Besides those we have mentioned , the Presentation i n th eTemple
,
” i n the Vienna Gall . , i s m ost important . The Louvre hastwo of his pictures and th e Berli n Mu s. o ne , but he i s best studi ed inFlorence
,where the larger number of hi s work s rema in .
Po rta , G ugli e lm o de lla . One of th e ables t sculptors among thefollowers of M ichae l Angelo . His most important work was th emonument to Paul UI.
, i n the tribune of S . Peter’s . Two statue s of“ Peace and Abundance ,
” whi ch formerly made a part of thi swork
,are now in the Farnese Palace .
Po tt e r, Pa u l, born at B a khuysen (1 625 One touch ofNature makes the whole world kin .
” The truth of this finds proofin the sympathetic pleasure with which thousands have regarded theeminently truthful representat ions of N ature by this artis t . Hi swork s are made up of few objec t s an Open landscape ,
a few animals, perhaps a shepherd , and thi s i s almost al l . He settled at theHague early in l ife ; he had there full opportuni ty for such studies ashe wished to make . Later he removed to Amsterdam
,and this is
attribu ted to the folly of hi s wife , to whom he was devotedly attached ;i t i s said that she hadmany admirers
,and was detec ted by her hus
band i a l istening to'
one ; he threw a net, which he carried , over both ,and exposed them to the ridicule of friends ; soon after he removedto Amsterdam , where he died and was buried . He had a daughterthree years old , when he died . He was remarkable for the earlyage at which b e attained great excel lence. Though he li ved so fe wyears , he left many work s ; 103 pic ture s and 1 8 etchings
,besides
nume rous drawings and studies of a variety of subjects . Perhapsno one work of his i s so well k nown as the Young Bul l
,
” at theHague . Two other pictures of the same year (1 64 7) are i n privatecollections . The Cassel Gal l . , Amsterdam Mus . , the Louvre, and th eImperial Gall . of St. Petersburg, al l have hi s work s . In the B erlincabinet of engr avings there are four book s of his studies , in theiroriginal boar-sk i n bi nd ings . That he was more successful wi th cat~tle and sheep than with horse s i s plai nly seen i n his etchings . Amongthese “ Le Vacher and Le Berger may be particulariz ed forexcel lence ; but all are fine .
F o urb u s , P i e te r, born at Gouda (15 10 He went early toB ruges , which city has many o f his fine work s . In an age of excel
FOURB US POUSSIN .467
lent port rai t painters, b e ranked very high , and hi s historical subj ectsshow the hand of a good master . He was much considered inBruges ; he served as Dean of the Corporation of Painters , and afterhi s death
,his widow was pens ioned by the town . His son , Frans
Fourbus,the Elder
,born at Bruges (1540 and his grandson,
Frans,the Younger
,born at Antwerp (15 70 were al so good
portrai t pain ters .P o u ss i n , N i ch o la s , born at Andelys in Normandy (1 594
He studied first with Vari n , then work ed with N icholas Duchesne ,and at length
,i n 1 624
,went to Rome
,where his career as an artist
commenced i n reali ty . He entered the school of Sacchi , and re
ce ived some instruction in that of Domenichino , but he formed hisstyle by the s tudy of the an tique and o f Raphael . It i s often said
MOSES AT THE SPRING . B Y N . POUSSIN.
that his works resemble a painted ri liev i . He became almost an an
cient i n hi s modes o f thought , from familiarity with their h i story andcustoms . When first i n Rome , he was i n great poverty , but atlength began to be known and employed . His fame reached France ,and Louis XIII. i nv ited h im to return to hi s own country . He w asgiven apartment s in th e Tui lerie s , and received many honors , buthe longed for Rome again . He made the plea of going for hi s wife
,
and as the King soon died, he never returned. Although be re
ce ived more orders than he could fil l , he asked prices so moderatethat he was never rich ; but he did not desire to be so . Wh en a richcardinal pitied him for hi s lack o f servants, he replied by pityi ng him
468 POUSSIN PRATT.
for his abundance of them . His portrai t pain ted by himself i s in theLouvre . The Seven Sacraments ,
”o f which he painted two series
(both now in England) . are among his important works . His B ac
ch a nalia n Dance ,” N ational Gall . , i s a masterpiece, and in this c lass
of subjects hi s power was truly wonderful . He is accredited withmost perfect k nowledge of the imitation of antique s by Sir JoshuaReynolds and other writers on Art .Po u ss in , Ga spar . Re al name , Ga spre Dugh e t. N icholas Poussin
had married hi s si ster , and was th e teacher of Gaspar , who for thesereasons was called by his name . Born i n Rome (1 6 13 Heshowed so much taste for landscape pai nting that N icholas l ed himto devote himself to that especial ly . His pictures have a dark
,
solemn effect , from th e use of very dark backgrounds .Pradi e r, Jam e s , born at Geneva (1 790 This artist was
li ttle fi tted for rel igious representations , as i s seen in his work s for S.
Clotilde and the Madele i ne , but he excelled i n representing purelysensual female beauty . The fountai n of N i smes is a masterpiece ; thedrapery is noble and distinct i n treatment , and the l ine s beautifullyarranged , while the figures and the whole form o f th e work is fine.The serious and comic Muse s of th e Fontaine Moliere are excel len t .Of h is female figures we may mention his Psyche, and Atalanta , andthe despairing Sappho, hi s last work . His Prometheus
,erected i n
the garden of the Tuilerie s i n 1 832, i s an example o f ho w grand andspirited he could be . There are work s o f his in the Louvre designedafter the antique , which are good i n composition and arrangemen t ofl ines
, a nd display great te chnical sk ill .Prado , B las de l. born at Toledo (probably 1 540 He
painted many picture s for the churche s and convents o f Toledo andMadrid . In 1503 the Emperor of Moroc co desired Phil ip to sendhim a pain te r . Phil ip made an swer that i n Spain th ey had bothord inary and excel lent pai nters , and asked which he would have .
The Moor haughtily repl ied , Kings should always have th e best . ”
Philip sen t Blas del Prado. He remained several years and sopleased th e monarch that he sen t him home with generous gifts . Heexcelled i n painting fruits and flowers , and was accustomed to putgarland s around his picture s of Madonnas and Sai nt s . In th e Acad .
of S . Ferdinand , at Madrid , th e re i s a picture by Prado, of the Virgin , with the Infant , seated o n c louds . Beneath i s a tower , and anun and a man i n a black dress a re kneeling i n prayer . In theQueen of Spain ’s Gall . , there i s a picture of Mary , Infant Chri st, andS . Joseph , attended by SS. John and llde fo nso . This was probablya voti ve pic tu re given to some shrine by Alon so do Vi llegas , who i srepre sented as adori ng the Virgin , who regard s him k indly .
Pra tt , M atth e w , born i n Philadelphia (1 734 He paintedsigns i n a manner which won for him much praise , and al so madegood portrai ts of the leaders of American l ife in his day, which po s
470 PREVITALI FUL IGO .
Belli ni,and a follower of hi s manner. Hi s work s are quite numer
ous . The most important are in Bergamo ; an al tar-piece i n S .
Spirito i s one of the best. The Manfrin i Gall . at Venice , the Berl inMu s. ,
and the N ational Gall . have his works .
Prim a t i c c i o , F ran c e sc o , born at Bol ogna (1490 Hestudied with i nnocenz io da Imola and ll Bagnacavallo, and was th eassi stant o f Giul io Romano six years . His principal work s werefrescoes at Fontainebleau , many of which are now de stro ved. Thesewere an enormous labor ; Primaticcio made the design s entirely , andmuch of the painting was done by N iccolo dell’ Abate . Franc i s 1.
gave Primaticcio the large revenues of the Abbey S . Martin inTroyes
,Champagne . This arti s t was retained i n the service of
Henry H., Francis H.
,and Charle s IX . It has been said that the
ta ste and standard i n art was improved in France by Primaticc io ,Abate
,and Il Rosso, but thi s i s doubtful . The ir design and compo
sitiou,though brilli ant
,were not true ; th ey had far more science
than feeling,and sacrificed everythi ng to freedom and ease of des ign .
The work s of l’rim a ticc io are rare out of France .
Pro c a c c in i , Erc o l e , born at Bologna (1520 A patientand careful pain ter of no great power . He held up to his pupi l s thebe st masters , and stoutly Opposed the manneri sms of hi s time . Hewas the founder of the eclectic school at M ilan establ ished bv hi sson s . Correggio was their model .Pro c a cc in i ,Cam i llo (1546 A mere machinist who turned
ou t pictures i n the most extraordinarily short time . Some of hiswork s were, however, worthy o f a better master . S . Roch administe ring to the Sick of th e Plague , at Dresden
,i s one of his be st
pictures .P ro c a c c in i , Gi u li o Ce sa re (1548—1 6 18) The best pai n ter of his
family . He imitate d Correggio with succe ss , and some of hi s cabinet picture s have been passed for the work s of that master . Thereare many work s of hi s i n the churches and galleries of Milan .
P rud'
h o n , P ie rre , born at Clun y (1 758 He studied inRome , where he became the friend of Canova . He returned to Parisi n 1 789 . He w as not as fond of the imi tation of the antique as wasthen the fashion to be
,and i t was some time before h is talents were
recogniz ed . He was th e teacher of the Empress Maria Loui sa, anda m cmbcr of the In sti tute of France . His pic ture of Crime pursued by Justice and Vengeance ,
” i n the Louvre , i s one of h is mostadmired works . Constance Mayer was his pupi l and friend . She
committed suicide i n 1 821,and from that time Prud ’hon was afflic ted
with a fixed melancholy .
Pu ge t, P i e rre (1 622 A follower of Berni ni , whose sculpture s are se e n at the Louvre and at Versaill e s.Pnli go , D o m e n ic o , born at Florence (14 75 Thi s art ist
was older than Andrea del Sarto , and had studied under other
FUL IGO QUERC IA . 47 1
m asters , but he seems in the end to have attempted to imitate hi m ,
and so well succeeded that his pictures are sometimes mi staken forthose of that master . He i s not a pleasing pain ter, and shows nodeep love of art ; he painted for money , and was a sensual man .
He is said to have died of the plague , contracted i n a low placewhi ch he vi sited .
Pu lz o n e , S c ipi o n e , cal led Gaetano, born at Gae ta (1550- 1 588A portrait painter of such excellence that he has been cal led theVandyck of the Roman school . He also painted some historicalpicture s
,th e best of which are in Ro me .
Py n a cke r, A dam (1 621 This painter went when youngto Italy . His pictures are landscape s , but many of them are enlivened with figure s and animals . His remaini ng works are few
,
probably because he spent much time in adorning the rooms inDutch houses, which was then the fashion . Many of the largeEuropean gal leries have spec imens of h is works . He usually adopteda cool tone , for whi ch reason he excel led i n morni ng scenes. Smithestimate s the number of hi s pic tu re s at sixty-nine .
Q .
Q u aglio ,Do m in ik, born at Munich (1 78 7 This art ist
commenced as a scene-painter , but afterwards devoted hi mself toarchi tectural painting, i n which he became eminen t . His picturesof cathedra l s , and his archi tectural v iews i n South German y , areadmirable .
Q u e lli n u s , A rth u r, born at Antwerp , 1 607. Pupil of Duqu esnoy .
He executed the sculpture s which decorate the magnificen t TownHa l l bui lt i n Amsterdam in 1 648 . The interior figures are simpleand noble in style , and those of the exterior are v igorou s andnatural . He was one of the most able and imaginative sculptors ofh i s time .
Q u e llin us, Erasm u s, born at An twerp (1607 An educatedman and the fri end of Ruben s and Ge vartiu s. It i s said that he wasat one time profes sor of philosophy, but his love for painting inducedhim to vac ate his chai r . His pic tures were very unequal in excellence . They are seen in the churches of Antwerp , and some of thebe s t are i n the Mu s. of that c ity .
Q u e lli nu s , Jo h n Erasm us . So n of preceding , bo rn at Antwerp
(1 629 He vi sited Italy, and became an imitator of PaulVeronese . He used immense canvases . The Coronation of CharlesV. as King of Rome ,
” i n the Vienna Gall . , and the Pool of Dethesda,” i n the Antwerp Mu s.
, are two of his best work s ; the formeri s much the be st .
Q u e rc i a , Ja c o po de lla (1 3 74 So n of a goldsmith , inwhose art he was educated . He posses sed an inventive mind and
472 QUERCIA RAIMONDI.
independen t spiri t, and when he devoted himself to sculpture, hethrew o ff many of the old traditions , and embodied his own lifel ikeconception s o f nature . He labored in Ferrara, Siena, L ucca , andBologna ; i n the latter c i ty he made the sculptures for the portico ofS . Petronio. They are i n his bes t manner, and among the mostattrac tive work s of hi s time ; they were done i n Jacopo wasone of the appl ican ts for the gate s of the Baptistery o f Florence ,which were given to Lorenz o Ghiberti .
Q ue rfu rt , A u gu stu s (1 696 Born at Wo lfcnb ii tte l. Pupilo f hi s father and of Ruge nda s. He imitated Wo uve rm ans. Hiswork s may be seen i n the Vienna, Dresden , and Berli n galleries .He was the inferior of Ruge ndas i n composition , but superior toh im i n impa s to , transparency of color , and carefulnes s of executi on .
R a e b urn , S ir He nry , born near Edin burgh (1 756 A pe rtrai t pai nter of good reputation . Some of hi s best works are in theNational Gal l . o f Scotland .
R a i b o lin i . Se e Francia .
Ha im b a ch , A b raham , born i n London (1 776 An e n
graver whose bes t plate s are after the work s of David Wi lk ie .
l‘
h e y are wel l sui ted to their subj e c t s , and are boldly engraved .
F
fi rst“M
"
, M,
R a im o ndi , M arc A n t o n io , born at Bologna Th i svery eminent engraver studied the art of niel lo under FrancescoFrancia , and commenced engravi ng by copying th e work s of thatpain ter ; he also 00pied after Mantegna and Dii re r , but perfected hisdrawing under Raphael, who favored him greatly , and al lowed himto engrave his drawings . Toge ther, Raphael and Raimondi exerte dgreat influence upon the art of engrav ing
,and the work s of that
time have never been excelled i n drawi ng and clearness of outl ine,though much surpassed in gradation of tone and del icacy of modell ing . It should be remembered that i t was from the drawings , andnot the finished pic tures, of Raphael that Mare An tonio worked .
He was especially remarkable for the exactness with which hecopied ; he seems to have been will ing to lose himsel f entirely i n themaster he reproduced . His l ife may be sai d to have been devotedto mul tiplying the work s o f Raphael . He a l so execute d a few platesafte r M ichael Angelo , Mantegna , Bandinell i , and Giul io Romano .
He was imprisoned on account of some plates after the de signs of thelatter, which were so indecent as to enrage C lemen t Vll. , and i t waswith difficul ty that his release was obtained by some o f the cardi nal sand Bandinel l i. In 1 527 he was in full favor i n Rome
,when he
474 RAPHAEL .
turned to Urbino and pa inted , for the Duke Guidobaldo, Chri s t onthe Mount of Olives ,
” now in England ; and S . Ge orge and theDragon ,
” and S . M ichael overcoming the Monster ,” i n the Louvre .
About thi s time Raphael assi sted Pintur icchio by mak i ng cartoon s forhis paint ings in the L ibrary of the Cath . at Siena . The fame of th ecartoons of M ichael Angelo and Leonardo da Vinci reached his earsand drew him irresis tibly to F lorence . Here a new world was opento him
,and he studied not only the work s of Leonardo and M ichael
Angelo, bu t also those of Masaccio . We no w find ourselve s at the
commencement of Raphael’s second period, i n which he attempted tothrow aside the i nfluence of Perugino . Thi s master was absorbe din reflect ing upon the glorie s of the next world , and i n his worksattempted to represent the perfectnes s o f fervent feel ing. Raphae lnow attempted to represent human li fe i n its variety , and charac teri n i ts i ndiv idual i ty . To this t ime i n Florence we may attribute theMadonna del Granduca now in the Pitti Gal l . ; the Madonna 5m»
rounded by three Children , i n the Berl in Mus . ; and a portrai t of ayouth of eighteen or twenty , one of the ancestors of King Loui s ofBavaria . In 1 505 Raphael was compel led to return to Perugia toexecute the commission s which he had there , one of which was theal tar-piece now at Blenheim . In these days at Florence many di stingu ished artists , young and old , were accu stomed to assemble i n theeveni ng in th e studio of Baccio d’Agno lo . There many things re
l ating to art were discu ssed . Fo r these meet ings and al l th e advan
tage s of Florence he pined . Perugia seemed so smal l and narrow,
that he soon left i t again At the house of Agnolo he expre ssed h imsel f freely , and he made m any friends there , among citiz en s as wella s arti st s . He received commissions from them , and to this time b el ong th e Madonna del Cardell i no or Goldfinch , i n the Uffi z i ; theHoly Family with the Fan Palm , and the portrai ts i n the Pitti Pal .of Angelo Doni and h is wife . From Florence he went to Bologna tom ake the acquaintance of Francesco Francia , and to execute a commission for the governor of that c i ty . At this t ime Duke Guidobaldohad gathered about him , at Urbino, a c ircle of the most bri ll ian t andintellectual people of Italy . Thither Raphael now went, and madefriends there , most of whom were true to him while he l ived .
Among them were Pietro c ho , Andrea Doria, Giul iano dei
Medici , Bernardo da B ibbiena, and Coun t Cast igl ione . He paintedfor the Duke S . George , on Horsebac k kil l i ng the Dragon .
” nowat St. Petersburg ; the portrai ts of the Duke and hi s wife , al so, andother pictures . In 1 507 he complete d , at Perugia , the i ntombmentof Chri st,
” now in the Borghese Pal . at Rome . In this pic ture maybe seen di st inctly the i nfluence of the study he h a dmade of M ichaelAngelo, Leonardo , and other a rti s ts . The Chri st, i n tru th , mightalmost have been painted by Michael Angelo himself. Agai n h e wentto Florence, and soon after pai nted the S . Catheri ne of Alexandri a."
RAPHAEL . 4 75
now in the N ational Gall . ; al so the Madonna of the Tempi fam i ly,now at Munich , for which Louis of Bavari a paid sc udi .
Several other pictu res soon followed , among which are La Viergeau Linge,
” at Paris L a Belle Jardiniere,” in the Louvre ; and the
Madonna with two Chi ldren , i n the Esterhaz y Gall . He became ac
qu a in ted at this time with Fra Bartolommeo . He was stronglyattrac ted by him
,and studied much with him . He learn ed to ar
range his drapery be tter , to lay color more broadly, and to use carmine with sk ill . He had commenced the Madonna del B aldacchino
,
” now in the Pitti Pal . , when he was summoned by th e Popeto Rome . This was in 1 508 . Go e the says , in speaking of Raphaelat thi s time
,Preceding masters had only conducted youth to the
thre shold ; he alone needed to but raise hi s foot to enter wi thin thetemple . At F lorence he was the greate st pain ter of his t ime . Heneeded only th e patronage of such a man as Julius to become the artist that he afterwa rds was . Julius desired that the Vatican shouldbe a kind of city, and every branch of ar t was put i n requisi tion forits adornment . In th e state apartments Raphael executed theParnassus ,
” the Di sputa del S . Sacramen to,” the School of
Athens,” and fifteen small pictures representing Poetry, Philosophy ,
Theology, etc .
, which obtained for him th e title of the philosophicalpainter .” These wonderful work s are t oo wel l k nown , and havebeen too often de scribed , for a word to be added . N o o ne can seethem and consider the age of the arti st
,who in these for th e first
time attempte d large picture s,without wonder and admiration . Many
storie s have been told o f the disagreement between Raphael andMichael Angelo, but we cannot doubt that. they must have honoredand appreciated each other . although they may have appeared l ikeenemies . Certai n i t i s that Raphael was ful l of what Vasari cal l sthe might of h is noble nature .
” He made friends everywhere,and
at hi s appearance , even among pain ters , i ll-humor was banished .
Vasari al so said, Nature, hav ing been conquered by art through th ehand of M ichael Angelo, was in Raphael conquered by art and m an
ners together .
” The influence of such a man is well k nown . Eventhe Pope and the mos t noble m e n i n Rome sought his friendship .
He lived , as no art is t had l ived before , i n th e luxury of weal th , andM ichael Angelo alone avoided him . Th e never-ending dispute re
garding the merits of these two men is wel l di sposed of by Goethe .
He says , Such disputes have not perplexed me,because I have
always l et them alone , and occupied myself with m ore immediateexamination of all that i s valuable and e stimable .” N o t long a f terRaphae l went to Rome, there is reason to bel ieve that he for med anattachment which endured through life . A small hou se
,N o. 20 Con
trada San ta Dorotea, i s shown as the birthplace of his beloved one ,sai d to have been the daughter of a turf-burner. Passavant saysthat she was called Margari ta . Wi thout knowing why
,she is gen
47 6 RAPHAEL .
e rally cal led th e Fornarina. It i s pleasan t to believe her to havebeen the same maiden who was i n his house at the t ime of his death
,
and for whom he prov ided in hi s will . lve can be certai n of nothi ngregarding this story
,but we do k now that th e same female figure ap
pears in many of his pic tures , and may reasonably be thought th eportrait o f o ne he loved, i f not of her whom we cal l the Fornarina .
Her picture i s i n the B arbarin i Pal. at Rome . It represents her s i tt ing i n a grove
,partly dre ssed , as i f j ust comi ng from her bath ; her
right hand pre sses a transparen t ga rmen t to her bosom ; her left handre st s on her lap,
and on th e arm is a gold brac ele t with th e name ofRaphael in scribed u pon i t. Can it be that by thi s b e indicated thatthe beautiful girl was all hi s own ? It i s said that at one time shedrew him so completely away from hi s work that his friend Chigi atlas t dcv i sed the plan of bringing her to hi s scaffold, where she sat thewhole day by hi s side . On th e
e
back of some of his sketches for thepaint ing of th e Disputa
,
” which are sti ll pre se ry ed, four sonnetsare wri tten . Three of these are at Oxford . They are full of ardentaffection , but the last one ends with the expre ssion o f the des ire toregain his peace and resume hi s labors . He was never married
,
although he did not refuse the hand of M aria di Bibbiena, who wasproposed to him . The marriage was constantly postponed, as somesay because he hoped to be com
o
e a cardinal , wh i le others maintai nthat the maiden died, which i s not posi tively known . According tohi s will her remai ns were to be placed beside hi s own as his betrothed,and the inscription prove s that this was done . To the year 1 5 1 1 belongs the Madonna d i Foligno ; to 1 5 12 the Prophet Isaiah
,
”
on a pi llar in the ch . of S . Augustine and many other smaller work swere done while he proceeded with the decoration of the second hal li n th e Vatican . This hall i s called La Stanz a d’Eli odoro . The pictures in i t are intended to il lustrate the divi ne protect ion o f thechurch . The subjects are the “ Expul sion of He liodo rus from theTemple , the " Mirac le of Bolsena,
” the “ March o f Attila,
” theDel iverance of Peter from Prison
,
”God appeari ng to Noah ,
”
Abraham’s Sacrifice ,” Jacob’
s Dream , a nd Moses at the Burning Bush ; al so various smal l al l egorical fig ures , Herm ie , Caryatidaa,which serve as socle pictures under th e fre sco e s . He also executedpictures in the window recesses , which are defaced or have been nowrepai nted . Fo r his work here Raphae l received £335 . Only thefirst two of these pictures were fin ished during th e l ife of Julius II.
The “ Mass of Bolsena i s , without doubt , the most celebrated ofthese work s . It i s a representation of the legend that a pries t whohad doubted the mirac le of transubstantiation was brought back tothe faith by the flowing of blood from the b e st , while he himself w ascelebrat ing the mas s at Bolsena . These pic ture s might al so be conside red as having a secular as well a s religiou s mean ing , fo r th e Popein the pic ture of the March of Attila was a likene ss of Le o . X. ,
478 RAPHAEL .
the Dresde n Gal l . for Roman scudi . It i s alm ) st universal lyacknowledged that i n thi s work the wo nde 1fu l genius of Raphael i smos t directly exhibited . It is full of spiri tual i ty, and marvellous inits subl imity
,and yet a more simple arrangement could scarcely be
conceived . It i s pyramidal in form, and while perfec t in symmetrical
grace , corresponds exactly to the mathematical d iv is ion k nown by theancients as the sce lfo a u re a . This pic ture was pain ted entirely byRaphael,whi ch was a rare occurrence in th e latter years of his l ife .
His las t work,the Transfiguration of Chris t , was unfinished at
the time of hi s death . The figure of the Saviour , th e demoniac boy ,the father
,the figure of S . Andrew , and the k neel ing female i n the
foreground , are the only portions o f thi s work i n which th e brush ofRaphael can be recogniz ed with certainty . Raphael d ied on GoodFriday , which was also his birthday, 1520. All Rome was fil ledwith sorrow for h is death , and crowds surrounded his house , wherethe body was laid out on a catafalque , enc ircled with torches, whilethe Transfiguration stood behind i t . The ceremonies at his burialwere magnificent . He was buried , as he himself had chosen , i n thePantheon of Agrippa . He had also arranged that a statue of theVirgin should be executed by L o re n z e tto and placed over his sepu lchre . The epitaph , w ritte n bv c bo , concludes with these wordsThi s i s that Raphael by whom nature feared to be conquered while
he l ived , and to die when he died .
” By hi s will he gave al l his worksof art to Gi ul io Romano and Francesco Penni . He provided gene ro usly fo r the Fornarina . His house i n Rome was given to Bibbiena . He ordered that a house should be purchased w ith 1000
scudi , the revenue of which should pay for twelve masse s to be saidmonthly on the al tar of his burial chapel . These have been discontinned since 1 705 , on ac count o f the insufficiency of the rent of thehouse . The rest of his property was inherited by his relat ives .One hundred and thirteen years after th e death of Raphael , P0pcGregory XVI . permitted his grave to be opened . His body wasfound i n a tolerable s tate of preservation
,and entire . A second
funeral ce rem o nv was celebrated , which was attended bv eminentart is ts and men of rank , who moved about the church in a proce ssion ,bearing torches , while beautiful m u sic was chanted by an i nvisiblechoir , and his body was again consigned to its resti ng-place .
ENGRAVINGS AFTER THE WOR KS O F RAPHA EL .
Engra ver , ALBERTI , Cherubino. Th e Presen tation . The Re surrection . The Holy Family ; 1582. Jupiter and Ganymede ; 1580.
T he Grac es and Venus leaving Juno and Cere s .Engra ve r, A L IX , John . The Holy Family .
Engra ve r , ANDER LON I , Pietro . The Holy Family. flh e Incendiodi B orgo . The He liodo ru s. Th e Flight of Att ila .
Engra ve r , AUDOUIN , Pierre . La Belle Jardiniere .
RAPHAEL . 479
Engra ve r , AUDRAN, Gerard . Thirteen Hieroglyphical F igures,
i n the Vatican . Fifteen plates called Emblems — o r Cupid andPsyche
,i n a L oggia in th e Farnese Garden . Mose s in the Burning
Bush . S . Paul and Barnabas at Lystra . The Death of Ananias .The De scent of the Saracen s i n the Port of Ostia .
Engra ve r , AUDRAN , John . Our Sav iour i n the Bark,preaching .
Engra ve r, B ADAL OCCHIO , Si sto . F i fty-one plates after Bibl icalsubj ects
,painted i n the Vatican .
Engra ver, B A IL L U . He liodo ru s driven from the Temple .
Engra ve r, BARTO L I , Pietro Sau te . Three sets of friez es,forty
two plates i n a ll. A set of ornaments in figures,forty-three plates
,
i nscribed , Pa re rga a tque ornam enta in Va lica nz'
,etc . The Adoration
of the Magi .Engra ve r, BEATR ICI , N iccolo . Joseph explaining the Dream ,
marked with cipher and hi s name ; one of his best plates . Christ del iveri ng the Soul s from Purgatory , wi th the names of Raphael andBeatrici . T he Ascension , with cipher ; 1 54 1 . S . M ichael overcoming the Ev il Spirit ; marked N . B . L . The Temple of Fortune ;marked with c ipher .
Engra ve r, BEHAM , Bartel . Apollo causing Marsyas to be flayed ;marked wi th a B . on a die . Christ giving his Charge to S . Peter ;same mark .
Engrave r , B E RGER , Daniel . The Virgi n Mary .
Engra ver , B L O EM AERT, Cornel ius . S . Luke paint ing the Virgi nand Infant . The Adoration of th e Shepherds .Engra ve r , B L OOTEL IN G , Abraham . The Marriage of S . Catherine.Engra ver , B ON A SON I, Gi ul io . N oah coming out of the Ark .
Joseph sold by hi s Brethren . The Cup‘fo u nd i n Benj amin’s Sack ;
with the names o f Raffael le and B o naso ne . Christ meeting S . Peter .S . Cecil ia . The Rape of Europa . Venus, attended by the Graces .Engra ve r , BO RGHT , Henry van der . The Dead Christ , supported
by Joseph of Arimathea, from a drawing by Parmigiano,after
Raffaelle ; 1 645 .
Engra ve r, BOULANGER ; John . The Virgin of the Pinks . ABust of the Virgin , i n scribed , M a te r a nvdn
'
lis.
Engra ve r, B REB IETTE , Peter . The Holy Family , with S . John .
Engra ver , BRUYN or B RU IN , N icholas de . S . Cecil ia .
Engra ve r , B o s or VANDEN BO SCH , Cornel iu s . Moses breakingthe Tables of the Law ; 1 550. Moses Presenting the Law to thePeople ; 1 55 1 .
Engra ve r , CARRACCI , Agostino . The Holy Family,with S . John .
Engra ve r , CARAGLIO or CA RA L IU S , Gio . Giacomo . Holy Family .
Another Holy Family , with S . El iz abeth .
E ngra ve r , CA R P I , Ugo da . Jacob’s Ladder . David with theHead of Gol iath . The Murder of the Innocent s. Christ preachingon the S teps of the Temple . Elymas struck with Blindness . The
480 RAPHAEL.
Dea th of Anan ias . The De scent from the Cross. The Dead Chri sti n the Lap of the V irgi n . S . John in the Wi lderness . E neasc a rrying Anchi ses. A S ibyl reading, with a
,Ch i ld holding a Torch .
Hercules s trangl ing Antze u s. Ra tlae lle and his Mi stress .
Engra ve r, CAVA L LERIIS , Gi o . Batti sta . The Animals coming outof the Ark. Moses showing the Tables of the Law . The Mi racleof the Loaves . Christ appearing to S . Pete r . Battle of Consta nti ne and Ma xe n ti u s. The Murder of the I nnocen ts.
Engra ve r , CHAMBERS , Thomas . Rafl'
a e lle’s M i s tre ss .
Engra ve r, CHATEA U'
OI‘ CHASTEAU , Wi l li am . The M iraculou s
Draught of Fishes .Engra ve r, CHER EAU, Jacques. The Holy Family . La Bel le
Ja rdi niere . T he Transfiguration .
Engra ve r, COCH IN , Charle s N icholas , the Elder. Alexander andRo xana ; afte r a drawing by Raphae l , i n the Croz at Coll .Engra ver , Co u c xo x ,
Franc is . The F l ight of Attila .
Engra ve r, COR N RIL L i-z, Michel, the Elder . The Holy Family,wi th
S . El iz abe th . The Murder of th e Innocents. Chri st appearing toMagdalene .
Engra ve r, CO RT , Cornel ius . The Transfiguration . The Battleof the Elephants. The Battle of Constanti ne and Maxe nti us.
Engra ve r, Co ssm ,Louis. The School of Athen s ; large plate .
Engra ver , CO UVA Y , John . The Virgi n and Infant ; D ilecta s mews,e tc . S . John in the Desert .Engra ve r , CON EGO , Domenico . La Fo rn arina . Galatea ; from
th e Barberini Pal . The Entombing of Christ.Engra ve r , DO R IGN Y , Sir N icholas . N ine plate s of the seven
planets , and th e creation o f th e sun and moon ; after the pa in ti ngsi n the Chigi Chape l i n La Madonna del Popolo . The Cartoons ine ight plate s
,including the ti tle . Twelve of the history o f Cupid and
Psyche , and th e Triumph of Galatea , including the title ; afte r thepai nti ngs i n the li ttle Farne sian Gal l . The Tran sfiguration .
Engra ve r, DUP LO S , C laude . The Entombi ng of Chris t. S .
M ichae l d iscomforti ng the Evil Spiri t ; for th e Croz at Coll .Engra ver , EDEL INCK , Gerard . The Holy Family, with S . John
,
S . Eliz abeth , and two angels ; after the pic ture by Rapha el wh ich i si n the Col l . of the K ing of Fran ce ; very fine . The firs t impressionsare before the arms of Colbert , the second are with th e arms , and inthe third th e arms have been cflaced, but the frame in which theywere i nserted remain s .Engra ver , ED EL INCK, N icholas . Portrait of Card. Julius de’
Medi ci . Portrait o f Count Bal thasar Castigl ione .
Engra ve r, ER EDI , Benedetto . The Transfiguration .
Engra ve r , Fm a xz a , Paolo . Mount Parnassus . The Mass ofBo l se na.Engra ver , FL IPA RT , Jean Charle s . The Virg i n and Infant ; for
the Croz at Col l . Christ on th e Moun t of Olives ; for the Croz at Coll.
482 RAPHAEL .
Sacrifice of Isaac . The,
Benedic tion of Isaac , date d 1 522; veryscarce
. Same subj ec t dated 1 524 . The Israeli te s pass i ng the Dead
Se a .The Israel i tes gathering the Manna .
'
Thc Archangel
M ichael . S . Jerome with the Lion . Tarqu in and Lucretia . TheDeath o f Lucretia . Vulcan giving Cupid’s arrows to Venus ; 1 530.
Venus rid ing on a Dolphin,with Cupid holding a Torch . Apollo
and Daphne.The Triumph of Silen us , marked AV, on a tablet .
Hercule s destroying the Nemean Lion .
Engra ve r, NA TA L IS , Michael . Holy Family .
Engra ve r, OTTAVIAN I, Gio . Four plates from the pictures i n LaFarnesina. Jupiter and Ganymede . Juno on her Car. N eptuneon the Ocean . Pluto and Proserpine .
Engra ve r , PAVON , Ignatius . La Madonna del Trono. La Ma
donna di Fo ligno . La Vierge a u Papillon . La Vierge au L’
o i seau.
The Transfiguration .
Engrave r , PA ZZ I . Pietro Antonio . The Assumption of th e Virgin .
Engra ve r , PEIRO L ER I, Pietro. Portrait of the Fornari na.
Engra ver, FERAC, Stephen . The Judgment of Pari s .
Engra ve r, PE RRI ER , Franci s . Ten plates of the angel s i n th eFarnesina . Two plate s of the Assembly of the Gods , and the Marri age of Cupid and Psyche ; from paintings i n the Farne si na .
Engra ver , PESN E, John . Holy Family .
Engra ve r , PICCI ON I , Matteo . S . Luke painting the Virgin .
Engra ve r , PI TAU , N ichola s . Holy Family, with S. El iz abe th andS . John ; very fine .
Engra ver , PO I LLY , Francis , the Elder . The Vision of Ez ekiel .The Holy Family, with Christ standing upon a Cradle . The Virginlifting up a Veil to show the Sleeping Christ to S . John .
Engra ver, PREI SLER , John Martin . The Madonna della Seggia.
Engrave r , PR ESTE L , John Go tle ib . The Descent from the Cro s s .Engra ve r , RAIMOND I , Marc Antonio . Adam and Eve . N oah
sacrific ing after leaving the Ark . God appearing to N oah . God
appearing to Isaac . Joseph and Potiphar'
s Wi fe . David cuttingo ff th e Head of Gol iath . Da‘v id tak ing up the Head of Gol iath ;very scarce . The Murder of the Innocents . The Holy Family ;usual ly cal led “ The Virgi n w ith the Long Thigh . The Virginseated , with a palm-tree i n the background ; called The Virgin ofthe Palm .
” The Virgin seated near a cradle , pre senting the Ch i ldto S . Anne : called “ The Virgin of the Cradle .
” The Virginseated on a Chair , embrac ing th e Infant . The Virgin holding theInfant, and readi ng . The Virgi n and Child ; to whom Tobit , ac
companied by an Angel , i s presenting a Fi sh . The Virgin i n theClouds , holding the Infant Jesus . Christ seated be tween two Columus , upon the St eps , with the Virgi n and Mary Magdalene ;called The Virgin w ith the Steps.” M ary Magdalene at the Feetof Chri st i n the House of S imon the Pharisee . The Last Supper ;
RAPHAEL . 483
called “ La Piece de s Pi eds . ” The Taking down from the Cross .The dead Christ laid on the Sepulchre , with the Virgin with herarms extended . The same composition , in whi ch the Virgi n appear syounger, and has one of her arms naked ; called The Virgin withthe N aked Arm .
” The Dead Christ with his Head on the Knees of theVirgi n , with the Holy lVo m e n , two of the Disciple s, and N icodemus .Christ wi th a Glory, between the Virgin and S . John
,and
,below
, S .
Paul and S . Catherine ; called “ The F ive Saints . The Death ofAnan ias . Elymas s truck bl ind. S . Paul preaching at Athens . S .
Cecil ia with Mary Magdalene, S . Paul , and two other Saints ; therei s a shadow on the neck of S . Cecilia, from which i t i s called TheS . Cecil ia with the N ecklace .” The Martyrdom of S . Fe lici ta . Aset of thi rteen plates of Chri st and the Apostles. The Books of theSibyl s put into the Tomb of N uma Pompil ius . The R ape of Helen .
E neas saving Anchises from the Burning of Troy . Venus appearingto E neas i n the form of a Huntress . The Death of Dido . TheDeath of Lucretia . The Battle of the Sabre . Three of the Angel so f the Far nesina ; representing Venus care ssing Cupid , Cupid andthe Graces , and Mercury descending from Olympus . The Judgmentof Pari s . Vulcan , Venus , and Cupid. The Triumph of Galatea.Moun t Parnassus . The two Sibyls . The Pest ; called “ Il Mo r
betto .
”
Engrave r , RAVENNA , Marco da . A set of twelve plates of
Bibl ical subj ects from paintings i n the Vatican . The Transfiguration . T he Last Supper. The Holy Family ; cal led The Virgin with th e Long Thigh .
” A set of th irteen plates of Chr i st andthe Apostle s . S . M ichael di scom fiti ng the Evil Spirit . The Ra peof Helen . Venus qui tti ng Juno and Ceres . Th e Triumph of Ga late a . The Assembly of the Gods . Venus on the Water, se a ted
'
o n
a Shell. Venus u nder a Tree , tak ing a Thorn from her Foot ; ca lledThe Venus with the Rabbit .” Polyphemus pursui ng Galatea.
Galatea, on a Shell , flying from Polyphemus .Engra ver, RA YMOND, John . The Holy Family ; a circular plate .
Engraver , R ICHOMME, Joseph Theodore . The Triumph of Galatea . Five Sai nts . The Holy Family . Adam and Eve .
Engra ve r, ROTA , Mart ino. Christ appearing to S . Peter ; 1 568 .
Engra ver , ROU SSEL L ET , Gi les. The Holy Fami ly , with S . El iz abeth and S . John , presenting Jesus with a Bird . La Belle Jardini ‘ere . The Holy Family , with S . El iz abeth , S. John , and two An
gel s . S. Michael disco mfiting the Ev il Spirit .Engra ve r, SADEL L ER , Egidius or Gi le s . The Virgi n and Infant .Engra ve r, SAN U TO or SAN UTU S , Giul io. The Marriage of the
Virgin . Apollo and Marsyas, after Correggio ; with the Parnas sus,a fter Raphael .Engraver, SCAL B ERG . Peter . The Entombing of Chri st.Engra ve r , SCH I AVON E , An drea . 8 . Peter and S. John healing
the Lame Man .
484 RAPHAEL .
Engraver , SCR U PPEN ,Peter Van . The Virgin and Chi ld ; 1 661 .
Engra ve r, SCOTTO or SCOTTI , Girolamo. The Virgin in theClouds
,with the Child in her arms . Madonna d i Foligno . Mater
pulchraa dilcctio n is ;after a picture by Raphael , discovered at Ge noa
in 1 823.
Engra ve r, SELMA ,Fernando. La Madonna del Pesce . The Vir
gi n and Chi ld .
Engra ve r , S IMONEAU ,Charle s . Th e Holy Family, with S . El iz a
beth and S . John . The Virgin and Child , with S . John .
Engra ve r , S IRAXI , El i sabetta . The Holy Family ; i nscribed,Elizabe llza S ira n i , s ic incisum expo sa it.
Engra ve r , STR ANGE , Robert , S ir. S . Ceci l ia ; 1 7 71 . Justice1 765 . Meekness ; 1 765 .
Engra ve r, TARDI EU ,Peter Alexander . Chri s t overcoming L n
c ifer .Engra ve r, TESTEL IN ,
Henri . The Holy Family, i n which Angel ssc atter F lowers . S . M ichae l vanquishing Satan .
Engra ve r, THOM A SS I N , Phil ip . A set of plates called Chri stand the Apostle s . ” S . Margaret . S . Cecil ia . School of Athens .The Disputa . The Defeat of the Saracens i n the Port of Ostia . In
ce ndio del Borgo .
Engra ve r , TIIOMA SS IN , Simon . The Miraculous Draught of Fishe s .The Transfiguration .
Engra ver, VAH.L ANT ,IValle ran t. S . Barbara .
Engra ve r , VA LET or VALLET , Wi l liam . The N ativity . TheHoly Family. Melch isedec bringing Presents to Abraham . The
Last Supper .Engra ve r , VA LLE E , S imon . The Transfiguration . S . John in
the Desert .Engra ve r, VANGEL ISTI , Vi nce nz i o . The Madonna and Child .
Engra ve r , V ICENTINO , Gi o . N iccolo. Hercule s ki l li ng the Lion .
A S ibyl readi ng a Book .
Engrave r , Vi c o , V i c u s, or VIGm , Enea . The Entombing ofChris t ; 1 548 .
Engra ve r, Vi cTO R IA , Vicente . Virgin and Child i n th e Clouds ,with a Glory of Angel s , S . John , S . Franc is
,and S . Jerome below.
Engra ver, VIL L AM EN A , Francesco. Th e Holy Family , with S .
John , S . El iz abeth , and S . Anne ; 1 602. Same subj ect , engraved atRome ; 1 6 1 1 . A set of twen ty Scriptural subj ec ts from the Vatican ,called Raphae l ’s Bible .
”
Engra ve r, VO LPATO , Gio . Four Sibyl s ; from paintings i n th e ch .
of S . Maria del la Pace . The Marriage of Alexander and Roxana.Illuminated Plates : The Schoo l of Athens ; The Disputa ; Heliodorus ; Attil a arrested by S. Peter and S. Paul ; S : Peter del iveredfrom Prison ; Mount Parnas sus ; Ince ndi o del Borgo ; The Mass ofB olse na.
48 6 READ REINAGLE.
he prac t ised sculpture only as an amateur . His bu st of Ge neralSheridan will be remembered as an ornament of hi s studio i n Rome .
In 184 1 he went to N ew York , then to B oston , and settled in Philadelphi a i n 1846 . He visited Europe first in 1 850, since whi chtime he has l ived i n Florence and Rome , passing so me i nterval si n C incinnat i . His pictures and his poems have the same characte ristics, as might be expected . They are ful l of aerial grace anddel icacy ; an exquisite refinement and an ideal charm mingle in al lhe did . And yet he sometimes wrote with the spir i t we find i n“ Sheridan’s Ride, and painted with such force as i s seen in
Sheridan and his Horse .
” Hi s portraits are to o well k nown torequire praise . Some of his most charming picture s are his Un
dine,
” The Lost Pleiad ,” and “ The Star of Bethlehem .
” 1 Hispoems have gained him an honorable plac e among the minor poets ofAmerica
,and many o f them are widely known , though none so well
as the Sheridan ’s Ride ,” whi ch has rec eived the largest prai se of
all . His first poems were publ ished in Boston in 1 84 7 ; hi s “ Laysand Ballads ” i n 1848 , and an illustrated edition i n 18 53 . In 1 855The N ew Pastoral was publ i shed, and The Home by the Se afollowed the nex t year . In 1 860 a collecti ve edi tion of hi s work swas i ssued
,and since then his writing ha s bee n b u t occasional . For
about five years before h is death he had scarcely left Rome,and th e
cfl'
e c t of the cl imate told upon hi s health very seriously . He dete rm ined to come home, and when in Liverpool contrac ted a cold ,which ended in pleuro-pneumonia , and he di ed May 1 1 th , only a fewdays after hi s arrival i n N ew York . His sufferings on the voyagewere in tense . and although he rall ied a l i tt le after landing , and hadhope s hi mself of reaching Cincinnati , where h e ardently desired togo, his strength continually failed unti l he passed beyond a ll j ourneys .His friend s are i n all lands, and he was dearly loved for his swee tdi sposition and cordial manners , as he w as much adm ired for hisi ntellectual gifts and attainments. The soc ie ty he graced i n Romewil l feel hi s loss deeply , and h is American friends cherish hi s memory with true affection .
R e gillo . Se e Pordeno ne .R e i n agle Phi li p (1 749 A landscape and animal painte r
of some meri t . He spen t con siderable t ime in painti ng the Sportsman ’s Cabinet , a col lect ion of dog s . These were engraved by JohnScott . Richard Ramsay Re i nagle , son of Philip , was a succe ssfu lland scape painter (1 7 75 He re sided several years i n Italy,and brought to England a great number of sketches , from which hecomposed hi s picture s . George P . Re i na g le (1802 son of R .
R. Re in agle , w as a pain ter of se a pieces, but is be s t remembered for
1 Mr. Clagho rn o f Ph i ladelphia (a genero us friend and patron o f Mr. Road)has in his Co l l . several pictures by th is artist , e xecutedduring his successivev is i ts to Italy, and sh owing hi s pro gre ss from t ime to time.
REINAGLE REMB RANDT. 487
his drawings of ships, sea-figh ts, etc . , on s tone . He was present atthe battle o f Navarino , and painted several work s representing thatengagement .R em b ra ndt v an R y n , born at Leyden (1 607 This great
pain ter was not intended by his parents for the profession which hechose . He was placed in a good school at Leyden
,but very early
man ife sted such a talent for drawing and such a love for i t, as exc l uded everything else from his thoughts . He was therefore placedunder the instruction of J . J. van Swane nbu rg, of Leyden . It i s al sosai d that he was taught by Pieter L a stm ann and Jacob Pinas . I fthe influence o f any maste r can be seen i n the work s of Rembrandt ,i t would be that of L a stm ann , but he so entirely origi nated his own .
manner,that we scarcely realiz e that he was ever taught at al l . At
the early age of twenty-two he establi shed h imself i n Amsterdam,
where he lived u ntil h i s death . He had already attrac ted muchattention, and received numerous commissions . In 1 634 he marriedSaskia N i le nburg, a weal thy young lady of very respec table e o n
n e cti o ns. Sh e l ived but eight years after her marriage , and bore twoch i ldren , but one of whom , Titus , sur v ived her . The years of thismarriage were undoubtedly the happiest portion of Rembran’dt’s life .
Saskia left her entire fortune to her husband , stipulating only thather son should be well educated , and should receive a marriage portion . Rembrandt married again, and had two other chi ldren born tohim as i s proved by the records of Amsterdam , but the name orposi tion of his second wife i s not known . There is very l i ttlematerial for a biographical ske tch of thi s master . It has been bysome supposed that he knew nothing of antique or Ital ian art
,but
we n o w know that hi s strongest passion was that of collecting worksof art and curiosi ti es ; i ndeed , hi s pursuit of these things, and hiswilli ngness to pay large sums for them , was the cause of his ultimatepoverty . In the Court o f Insolvency at Amsterdam is the catalogueof his collection , and this simple and hasti ly wri tten paper throw smuch l ight on the history of Rembrandt . Besides a rich collec tionof weapons, armor , costumes, and uten sil s o f different nations , he hada number of antique sc ulptures, such as the Laocoon,
” a Cupid,”
and busts of Homer and Socrates ; of pictures, he had those of theDutch and N e th e rla ndi sh school s from the earl iest dates , and asmall number by such Ital ian masters as Giorgione
,Palma Vecchio
,
Raphae l, and M ichae l Angelo . His engravi ngs were numerous andfrom the work s of Titian
,Andrea Mantegna
,Vanni
,Barocc io
,
Tempesta , the Carracci , Guido , Spagno le tto , and others . The li stalso mentions a parcel of ancient rags of various colors . Wi ththis knowledge , we can no longer feel that Rembrandt did not choosehis subjects and their treatment from a decided preference and lovefor them , and with sufficient knowledge of what had been done byother artis ts
,i n other nations and times , to be able to decide under
488 REMB RANDT.
standingly for h imself. He wished only to repre sent what he saw ;and of what he saw i t was ever the most strik ing and unusual featurewhich seemed to remain with him . We are too apt to say of anunusual thing that i t i s not natural ; but if we were more acute inour observations, we should soon find that nothi ng can be too strangeto be natural
,and e spec ially when , as i n the case of Rembrandt, the
great eff e c ts are those of light and shade . Have we not all seen alandscape on a dull day, wi th no sun and no shadow, that seemed tameand featureles s And have we not seen th e same place agai n whenthe sun threw out that clump of trees , and shimmered on that brookuntil i t was rippl ing silver , and left al l e l se dark and cold , -so co il
and so dark that the great rock i s blacker than black , and the grassbeyond the sunshine brown in place of green , — and we wonder whywe did not see that there was character and points here beforeNo w ,
this i s j u st what Rembrandt did . He put such eff e cts of l ightand sha de as he h ad seen, and nothing el se . He gave i n every workpoints to fix our eye , and though al l el se was fini shed with ex
qu isi te sk ill , and would bear examination j ust as th e flowers andgrass i n the shade of our real landscape would do i f we wen t to them ,
still we do not c are to search them out . T he one great i nterestholds us and i s enough . His technical powers were marvellous ;his freedom , spir it, and breadth of manner h ad no example beforehim . In spite of all these advantages , he painted ugly and evenvulgar heads ; he disregarded all rule s of art i n costume and accesso rie s ; h e parodied ideal and mythological subjec ts, and painted th ecoarse and common men about him to represen t the personage s ofScripture story but with al l there i s a simpl ici ty
,truthfulness
,and
earnestness that holds and sati sfies u s . At different periods he useddifferent l ighting and handli ng ; 6 . g .
,before 1 633 he used such clear
dayl ight as i s seen in the Anatomical Lec ture,now at the Hague ;
the flesh tint s are warm and clear,and there i s a certa i n fusion in
spite of the free and careful touch . Ever after thi s period he preferred the l ight of wh ich we have spoken , enclosed light , so to
speak ; that which leaves great masse s i n sha dow,and breaks over
certain obj ec t s ; his touch, too , became very Spirited and more di stinct ; h is flesh tones were more golden , and therefore le ss natural .It was i n 1 656 that h is money matters became so i nvolved that hishouse and his precious collection were sold . “re can imagine th egrief thi s must have been to him , and ye t hi s work s do not show i t .The large pic ture of “ Ja cob blessing the Sons of Jo seph ,
”i n the
Casse l Gall . , was painted i n thi s year . Th e etchings are no le sswonderful than the paintings of this great master . He has beencal led the Prince of Etchers . ” He did not use the etching needlealone , but th e dry point al so , and sometimes finished with th e graver.He establ ished a new school of engrav ing , and by his own geniusalone invented a process o f which th e charm i s i ndescribable . His
490 REMB RANDT.
Burgomas te r Six (his great patron) , and of himse lf are the mostremarkable . It i s very hard to sele c t , i n the space w e have , thepictures or engrav ings of which to speak , for he left about 600 of thefirst and 400 of the latter , and they embrace al l possible conceptionsof such subjects as he repre sented . His work s are i n all l arge
gallerie s . The following i s a partial l i st of the more importan t onesThe N ight Watch (his l argest picture) and the Trustees o f theStaalh o f,
” i n the Amsterdam Gal l . the Anatomical Lec ture andth e Pre se ntation i n the Temple , i n th e Hague Gall . ; the Descentfrom the Cross ,
” cabinet , Munich Gall . ; the Woman taken inAdul tery
,a “ Descent from the Cross, and a fine portrait of a Rabbi ,
i n the N ational Gall . ; a Holy Family ,” the Family of Tobit ador
ing the departi ng Angel ,” the Go od Samaritan ,
” two Phi loso ph e rs (so-called) , two portraits of himsel f , and another of a beauti ful young woman
,in the Louvre ; the wel l-known Ganymede ,
” atDre sden
,and a number of pictures i n the Cassel Gall . , among whi ch
are the large picture of “ Jacob blessing Joseph ’s Son s ,” already
mentioned,and a fine po rtrai t of a female in profi le . The Berli n
Mu s. has the picture of Prince Adolphus o f Gue ldre s threateninghis Father in Prison ; thi s i s important among Rembrandt’s worksfrom profane histo ry . Besides all these , the gal lerie s of St . Petersburg and Vienna are rich in his pictures, and a large number arescattered through England in private gal leries ; and those of themagnificent Coll . of the Six famil y , i n Amsterdam ,
should not beforgotten . This great art ist gave expression to his feeling for naturein some rare landscapes . Most of these are in private hands
.I
have seen but one , i n the Cassel Gall . It has a magnificent sky ; i nthe foregr ound i s a bridge , and on an eminence the rui ns of a castleare seen . The color i s glowing
,and the whole composition charm
ing , j ust as we should expec t when we think of hi s landscape etchi ngs . The last home of Re mbrandt was on the Ro z e ngrach t, wherehe died . He was buried in the cemetery of the We ste rke rk,
and theregistered cost of the burial fee s is bu t fifteen florins.
ENGRAVINGS AFTER THE \VORKS O F R EMBRANDT .
Engra ve r , AM STEL , Cornel iu s Plo o s van . A Woman looking outof a Door ; R embra ndt, del. , P . Va n Am stel, fe c it ; 1 764 .
A YoungMa n
, with a Hat on, look ing ou t of a Door ; same inscription ; bothfine .
Engra ver, ARDELL , James Me . Interior of a Chamber,with a
Woman reading and a Child i n a Cradle ; fine . The Angel andTobit. The Tribute Money. Rembrandt’s Mother reading .
Engra ve r, B A IL L U , S . Anas ta tius reading .
Engra ver , BERNARD , Samuel . Th e Nativ ity .
Engra rer, BRINCKMAN , Phil ip Jerome . The Repose i n Egypt ;R embra ndt, inv.
, B rincknum ,fec .
REMB RANDT. 491
Engra ve r, CAMPION , Charles , Comte de Tersan , and hi s brotherJoseph Andre . Abraham and Isaac . Jo b and his Wife .
Engra ve r , CHAT ELA IN , J . B . A Landscape .
Engrave r , COR B UTT , Charles .'
The Old Rabbi .Engra ve r, DAN ZEL , Jerome . An Old Man ; half- length .
Engra ver , EA R LOM , Richard . A Portrait of Rembrandt . Rembrandt’s Wife ; R embra ndt,pinx. Elij ah restoring to life theWidow’sSo n . The Presentation i n the Temple . Susanna and the Elders .Engra ve r, EXSHAU , S . A Bust of an Old Man , with a Round
Hat ; C. Exsha u , fe c. ; 1 758 . The Head of an OldMan , with a Beard ; same inscription and date . Joseph and Potiphar’s lVi fe ; R embra ndt, p inx.
,Exsha u , fec . a qu a fo rte ; scarce . S .
Peter’s Bark in the Storm ; same inscription , scarce .
Engra ve r, GREENWOOD , John . Chri st with N icodemus . Christamong the Doc tors . R embrandt’s Father .
Engra ve r, HA ID , John Gottfried . Abraham offering up Isaac .
Engra ve r, HA ID , John El ias . The N ativity . The Rai sing ofLaz arus .Engra ve r , HOU B RAKEN
, Jacob . The Sacrifice of Manoah .
Engra ve r, HOUSTON , Ri chard . An Old Man with a Beard ; fine .
A M a n seated, with a large Hat on hi s Head ; fine . Bust of aWoman , called The great Jew Bride . An Old Woman pluck inga Fowl . A Man holding a Knife . The Pen-cutter . The Ph ilo sopher i n Contemplation . The Gold-weigher . Christ and the Samaritan Woman .
Engrave r , JANOTA , John George . Bust of a Young Man .
Engraver, L AND RRER , Ferdinand . Samson and Delilah .
Engra ve r, L AWR lE, Ro bert . The Incredulity of S. Thomas .Engraver, LEEUW , Wi l l iam de . Tobit and his Wi fe . David
playing the Harp before Saul . The Portrait of Rembrandt’s Wi fe .A Lady with a Veil ; half- length ; inscribed , M a rianne .
Engra ver, L EPICIE,Bernard . Vertumnus and Pomona .
Engra ve r , MARCENAY , Anthony de Gha y. Tobit recovering hi sS ight . The L ady with the Pearl ; an oval ; 1 768 .
Engra ver, MOREAU , John Michael . The Bath of Bathsheba.
Engra ve r , OR SER , Frederic . Saul and the Wi tch of Endor . ThePresentation i n the Temple .
Engra ve r , PETH E R , Wi ll iam . The Rabbi . An Officer i n Armor .An Old Man with a Beard . The Lord of the Vineyard .
Engra ve r , RAVENET, S imon Franci s . The Lord of the Vineyard .
Engra ver, READ , Richard . A Portrai t of a Dutch Lady.
R embra ndt’s own Plates.
Portraits of himselfRembrandt with his mouth open . 1 630.
The Busts of Rembrandt and hi sWi fe . 1 636 .
492 REMB RANDT.
A Bust of Re mbrandt ; highly finished . 1 638 .
His Portrait,with a Crayon in hi s Hand .
His Portrai t i n a Persian Habi t. 1 654 .
There are in al l twenty-seven portraits of Rembrandt by him self.
The above are the most interesting .
Old Testament SubjectsAdam and Eve i n Paradise . 1 638 .
Abraham sending away Hagar. 1 63 7.
Abraham and Isaac . 1 645 .
Joseph relating his Dream . 1 638 .
Jacob lamenting the Death of Joseph .
Joseph and Potiphar's Wife . 1 634 .
The Triumph ofMordecai .Tobit and th e Angel . 1 64 1 .
New Testament Subjec tsTh e Annunciation to the Shepherds . 1 634 .
The Adoration of the Shepherds ; th ree difie re n t impressions.The Circumcision ; fine .
T he Presentation i n the Temple . 16 30.
The F light into Egypt. 1 658 .
Same subject i n the manner of mez z otin to.Same subj ec t i n the style of El sheimer.The Holy Family . 1 654 .
The Little Tomb .
Th e Tribute Llo ncy .
Christ driving the Money-changers from the Temple .
Chri st and the Samari tan WOman .
Same Subjec t, with Samaria i n the distance . 1 634 .
The Raising of Laz arus . 1 642.
The Great Resurrection of Laz arus . The first impre ssion s o f thisprint are scarce . and the figure running away is ba reheaded . I n th e
second he wears a cap .
Chri st heal ing the Sick ; cal led The Hundred Gui lders Print .The great Ec ce Homo. 1 636 .
T he De scent from the Cross . 1 633.
Christ presented to the People . 1655 .
The Crucifixion . 1 6 58 .
Th e Entombing of Chri st .Christ with th e Disciples at Emmau s . 1 643.
Th e Go od Samaritan . The first impre ssion s have th e tai l of th ehorse white.SS . Peter and John at the Gate of the Temple .The Bapti sm of the Eunuch . 1 64 1 .
The Death of the Virgin . 1 639 .
Devou t SubjectsThe Stoni ng of S tephen . 1 635 .
494 REMB RANDT.
Landscape with Cattle ; arched .
L andsc ape wi th an Obel isk ; arched .
The Mi l l of Re mbrandt’s Father. 1 64 1 .
The Gold-weigher ’s Field . 1 65 1 .
Landscape , with a Cow drinking .
Portra i ts of MenAn Old Ma n with a large Beard .
A Man w ith a Crucifix and Chain . 1 64 1 .
J. Anto nide s Vander Linden , Professor of Physic.
Janus Si lv ius, mini ster , of Amsterdam .
A Young Man meditating. 1 636 .
Manas s eh Ben Israel . 1 636.
Dr. Faustus .Renier llan sloo ,
minister of the Anabaptists . 1 64 1 .
Clement de Jonge,print-seller. 1 65 1 .
Abrah am France .
The Old B aari ng.
Th e Young Haa ring. 1 655 .
John Lutna , goldsmith . 1 656 .
John Asse lyn ,painter.
Ephraim Bonus , a Jewish physician .
Wte nbogardu s ; oval . 1 635 .
John Corneli us Si lviu s.The Banker, or Gold-weigher . 1 639 .
Th e Little Coppe n o l, th e Wri ting-master .The Great Coppe no l. Impression s of thi s plate the whi te or
u nfinished background are very scarce .
The Advocate Tolling .
The Burgomaster Six. 1 64 7.
Fancy Heads of MenThree Orien tal Heads ; i n scribed R embra ndt Venetas . 1 635 .
An Old Ma n with a large Beard .
A Bald-headed Old Man . 1 630.
A Young Man , half-l ength , i n profile .
Bust of an Old Man wi th square Bea rd and velvet Cap. 1637.
The Turkish Slave .
The P hi losopher with the Hour-glass .Portraits of WomenThe Great Jewi sh Bride .
The Little Jewish Bride . 1 638 .
Two portrai ts of Old Women .
“
A Young I’Vo m an readi ng. 1 634 .
An Old lVom a n i n an Oriental Dre ss . 163 1 .
Rembrandt’s Mother . 1 63 1 .
Re mbrandt’s Wife .
An Old Woman sleeping .
REMB RANDT REN I . 495
An Old Woman with Spectacle s.The above are but a part of the print s made by Rembrandt , and
there is a variety of studie s and sketches , some of whi ch are veryfine
,and very scarce .
Engra ver , SAVER Y or SAVRY , Solomon . Christ driv ing theMoney-changers out of the Temple .
Engrave r, SCHIAVO N ETTI , Luigi . The Portrai t of Berchem .
Engra ve r , SCHM IDT, George Frederic . The Portrait of Remb randt . Christ restoring the Daughter of Jairus . Lot and hi sDaughters ; very rare . T he Young Jewess and her Father. TheMother of Rembrandt. The Young Lord. Old M an with theBeard .
Engrave r , SPIL S B U R Y , Inigo . Abraham send ing away Hagar.Engra ver , T ISCHBE IN, John Henry, the Younger . A Moun ta in
ous Landscape .
Engrave r, WA TSON, Thomas . Jupi ter and Mercury with Philemonand Bauci s .Engraver, WOOD , John . A Firel ight .
R e n i , Gu i do , born at Bologna (1 5 75 Son of aprofessor of music, he early began to practi se playing uponthe flute , but soon chose to adopt the profession of a pain ter .
His first in structor w asDe n is Calvart, whom he left i n order to enterthe school of the Carracci, where he became the favorite of L udov ico . When
'
the pictu res of Caravaggio b egan to attrac t attention ,the Ca rracc i were thoroughly alarmed for the fate of true art, andAnnibale i n a lecture laid down the rule s which he considered thebasi s of the highest type of painting . This discourse made a greatimpression upon Guido , and he determined to govern himself by it .Soon the excellence of his works was noticed , and he was upbraidedby his teachers for in solence in attempting to establi sh a new system ;Ludovico at last dismi ssed him from the academy. Guido soon afterpainted a S . Benedetto i n the Desert,
” for the ch . of S . Michele i nBosco ; some of Ludovico
’s fine st work s were i n the same church ,but that of Guido did not suffer by con trast . He went to Rome withAlbano . His first picture painted there, the Martyrdom of S.
Cecil ia , won for him great praise , but i t gained him the enmity ofother arti sts . The power of Caravaggio was so great at that timethat when Card . Borghe se commi ssioned Guido to pain t a picture ofthe Crucifixion of S . Pe te r,
” h e stipulated that i t should be done inCaravaggio’s manner . Guido di d not break the letter of the agreement, but the spiri t of his work made i t very unli ke those of theother master . His succes s called out the hatred of
‘his enemies ;even Albano deserted him but the bitterness of Annibale Carracci ,who was then employed at the Farnesina, was the most important ofal l
,for his invectives being repeated would inj ure him even with pos
496 RENI .
te ri ty . He gained a new tr i umph i n his decoration for Paul V. ofthe private chapel of Monte Cavallo . He had some d isagreementwith the Pope ’s treasurer, and returned to Bologna . He thenpainted several picture s i n his native c ity , the most celebra ted beingthe “ Murder of th e Innocen ts,
” for the ch . of S . Domenico. PaulV. was anxious for his return to Rome , and when he went he. wasemployed at S . Maria Maggiore . His finest work i n Rome , which isalso generally considered his cleef-d
’ce u vre , i s th e Aurora i n the
garden house of the Palaz zo Ro spiglio si . This i s wel l known by theengravings of Mo rgh e n and Frey . After his work was finished at S .
Maria Maggiore , he returned to Bologna and was obl iged to refusemany commissions
,so great was the number he rece ived . When he
sent his S . Michael to the Cappuccini at Rome, he wrote , I wishI had had the wings of an angel , to have ascended into Paradise , andthere to have beholden the forms of those be a tified spirits fromwhich I might have copied my archangel ; bu t not be ing able tomount so high
,i t was i n vai n for me to search for hi s resemblance
here below ; so that I was forced to make an i n trospect ion in to myown mind
,and into that idea of beau ty which I have formed i n my
own imagination .
” It i s said , i ndeed , that his beauty and grace wasalways drawn from the same source ; that he was accustomed to posehis color grinder
,and drawing the outl i ne from him . and arranging
the lights and shades as he saw them , he suppl ied the beauty fromhi s own idea of i t. But the l ife of thi s master was degraded by hi spassion fo r gaming , and at . las t he sent forth unworthy pictures forthe sake of gain ; he was , however , reduced to great distre sses , whichbrought on the fever o f which he died . Wi th the exception of Dom e n ich ino he is considered the most worthy of th e disciple s o f the Carracc i . There i s much grace and beauty i n his work s
,but th e y are
wanting in vigor and strength ; thi s i s e specially true of his malefigure s. There i s al so a tiresome sameness i n hi s female heads
,
which seem to be model led after the antique N iobe . His heads ofChri s t want dignity , and his Virgins are only pretty women ; i nshort, hi s characteris tic seems to be an exal ted and beautiful co nception of beauty, without i ndiv idual l ife or i ntere st an empty abstraetion . In the las t days he multipl ied Madonnas and Cleopatras andkindred subj ects , which are to be seen i n many col lec tions . In ad
di tion to those alread y mentioned , some of his more important work sare a Madonna del la Pieta ” and a Mater Dolorosa at Bologna ;SS . Paul and Anthony , the hermits , i n the Berl in Mus. a Fortune
,
”
an allegorical pic ture , which i s several t imes repeated, and is i n theSchleissheim
, Berl in , and Capitol (Rome) gallerie s . Th e Louvre hasa large number of hi s works . He also left a considerable number ofetchings wh ich have the same charac teris tic s as hi s pain ting s, and areexecuted wi th much grac e and fre edom .
RENI . 499
ENGRAVINGS AFTER THE WORKS OF GUIDO R EN I .
Engraver , AL IAM ET ,Francois Germain . The Circumcision ;
o vaL
Engraver , AN DRIOT or HANDER IOT, Franz . A Magdalene .
Madonna and Bambino .
Engra ve r, AUBERT , M ichel . S. Franci s ; arched .
Engra ve r, AUDRAN , Gerard . The Magdalene ; half-length .
Engra ver, AUDRAN , Benoi t . The Rape. of Dej anira.
Engra ve r , AUDRAN , John . S . Andrew led to Crucifixion . TheMartyrdom of S . Peter .Engra ve r , B AIL LU . S. M ichael vanqui shing Satan .
Engra ver , B AU SE, John'
Frederick . Artemisa . The Head ofChris t .Engraver , BELLA , S tefano della . Three Chi ldren carrying a Pla
teau .
Engra ve r, B ERNARD, Samuel . The F l ight into Egypt .Engra ve r, BOLOGN IN I , Gio . Batista . The Murder of the Inno
cents . S . Peter made Pope . The Crucifixion,after the picture of
the Capuchins at Bologna . Bacchus and Ariadne ; i n three sheets .Engra ver, BOULANGE R , John . The Virgin , with the Child asleep.
The Virgin and Child, with S . John kissing hi s Foot.Engra ver, B OU L L ONGN E , Louis . The Rape of Helen .
Engrave r, CANTA R lN -I, Simone . Fortune with her Foot on aGlobe ; G. R enu s in . ér fec.
Engra ver , CANUTI , Domenico Maria . S. Francis praying ; Dom .
M a . Ca nu ti , fec .
Engraver , CES I or CES I O , Carlo . S. Andrew led to Martyrdom ,
prostrati ng himself before the Cross .Engra ver , CH EREAU , Francois . The Crucifixion .
Engrave r , COR I OLANO , Bartolommeo . S . Jerome medi tating beforea Crucifix . Herodias wi th the Head of S . John . The Virgin , withthe Child asleep. The same subj ect i n chiaro—scuro ; very fine .
Engra ver, COR IOLANO , Gio . Batista . The miraculous lm age ofthe Virgin
,painted by S . Luke , held by three Angel s . Cupid sleep
ing ; i n chiaro-scuro .
Engra ver, CU NEGO ,Domeni co. A Head of Magdalene .
Engra ver , DAVID , Jerome . T he Virgin of th e Rosary ; 1 633 .
Engra ver, DUPLO S , Claude . Bust of the Virgin .
Engra ve r , DUPU I S , N icholas Gabriel . The Death of Lucretia .
Engra ver , EAR LOM ,Richard . Cupid bound . Simeon receiving
the Infan t Jesus .Engra ver, EDEL INCK , Gerard . The Virgin sewing, with the
Child asleep i n a Cradle surrounded by Angel s, called La Couseuse ;fine .
Engra ver, FAUCCI, Carlo . Cup id .
500 RENI.
Engra ve r, FREY , James . The Archangel Michae l . The FourFathers of the Church . Aurora i n two sheets . Bacchus consol ingAriadne , after the departure of These us .Engrave r , FR EZ Z A , Gio . Girolamo . The De scent of the Holy
Ghost ; sc arce .
Engra ver , GREGOR I , Ferdi nando. Venus sleeping . S . Sebas tianhalf- length .
Engra ve r , KA SS EL , Theo dore . Susanna and the Elders .Engra ver , LOR ENZ I , Fra An ton io . S. Domenic taken up to
Heaven .
En 'rra ver , M ICHEL, John Bapti st. Adoration of the Shepherds .
Engra ve r, MORGHEN ,Raphael . S . John i n the Wi lderness . Th e
Aurora .
Engra ver , N ICOLET , Benedic t Alph o nsi us. S . Apollon ia.Engra ve r, PA SQUA L IN I , Gio . Bati sta. The Aurora .
Engra ve r, PICAR '
I‘
, Stephen . The Birth Of th e V irgi n .
Engra ve r, PO I LLY , Franci s the Elder. F l ight into Egypt. T he
Adoration o f the Shepherds ; i n an oc tagonal border . Chr i st i nGe thsemane .
Engra ve r, PR E I SLER , John Martin . David and Abigai l . Semiramis putting th e Crown of N inus on her Head .
Engraver, RAVENET, S imon Franci s . Pai nting and Design .
His own Pla tes.
The Bust of Pope Pau l V. ; Pa ulus V. Po nt. opt. max.
The Holy Famil y,the Virgi n sea te d wi th her Fac e toward th e
Child .
The Virgin with the Child asleep on her Breas t ; engraved i n threedifferen t manners .The Virgin embracing the Child , and holding a Book in her Hand .
The Virgin with the Child giving his Hand to S . John .
The Holy Fam ily , with two Ange l s scatteri ng Flowers ; engravedi n four different manners.S . Christopher beari ng Christ on hi s Shoulders .S . Jerome praying i n a Cave , with a Book and Crucifix .
Th e Virgin seated i n the Cloud s with SS. George , Franci s, Lawrence , and others .Bar tsch de scribe s sixty etchings by Guido .
Engra ve r, ROU S SELL ET, Guido . The Annunciat ion . Four plate srepresenting three of the Labors of Hercule s , and his Death .
Engra ve r, SCHU L z E, John Gottfried . The Ecce Homo.
Engra ver , SHAR P, Wil li am . The Doctors of the Church. EcceHomo .
Engra ve r , S IR AN I . Gio . Andrea . A S ibyl .Engra ve r , STRANG E , S ir Robert. Peni tent Magdalene 1 762 and
502 REYNOLDS .
Boydel l u nderto ok to establi sh his Shakespeare Gall . , Sir Joshuachose three subj ect s for himsel f , the Death of Card inal Beaufort
,
"
“ Mac beth with the Witche s ,” and Puck ,” which last i s one o f hi s
happiest effort s . In 1 782 he experienced a sl ight shock of paralysi s,
but was afterwards quite well unt il 1 789 , when hi s sight was sodefective that he feared he might become bl i nd , and from this t imereli nquished th e use of the brush . He was sick about three monthsbefore h is death
,and died on the 23d of Febru ary
, 1 792. Hisremains
,after lying in state at the Ro yal Acad .
, were buried at St .Paul’s
,near the tomb of Sir Chri stopher Wren . As a portrai t
painter,and particularly as a painter o f children , he is almost n u
equalled,but in historical or poetical composi tion s he fall s far below
the standard of excel le nce . It was hi s custom to receive six si ttersdaily . He kept a l is t o f those who were sitting
,and of those who
were wai ting for an opportunity to be painted . He kept printsengraved from his portrai ts and sketches i n a large portfolio , andsubmitted it to his si tters . When they had chosen the position whichthey wi shed , he copied i t on the canvas and painted the l ikeness tocorre spond At the height of his success he was ac customed to painta po rti a it i n four hours . His si tters’ chairs moved on ca ste rs, andwere rai sed a foot and -a half above the floor. He worked standing ,with great rapidi ty, and used brushes with ha ndles eighteen inches
long. His si ster preside d over his household
,and he lived gen
e ro u sly ,receiv ing com
pany to dinner almostdaily
,and among his
vi si tors were th e bestmen of the time . Hi s
friendship for Dr . Johnson continued throughlife . Percy , Goldsmi th ,
Garrick , and the Burk eswere frequentl y hisguests . The day be
fore Johnson died h e
said,
“ I have threerequests to make , andI be g that you willattend to
.
them , Sir
Joshua : forgive me £30which I borrowed ofyou , read the Scrip
tu re s, and abstai n from using your pencil on the Sabbath Day .
Sir Joshua made and remembe red these promise s . Re ynolds was
LEAR. A STUDY. B Y SIR JOSHUA REYNOLDS.
REYNOLDS . 503
very skil ful i n complimm ts. He painted his name on the norder ofMrs. Siddons’ garment , i n her picture as The Tragic M use .
” Theactress wen t n e a r to examine it , and, see ing the name , smiled. S i r
Joshua bowed and said , I could not lose the opportun i ty of sendingmy name to posterity on the hem of your garment .” He placed greatvalue upon o ld pictures, and said of Titian , To possess a real ly finep icture by that great master , I would sel l all my gallery , - I wouldwillingly ruin myself .” In his eulogy 0 11 Reynolds, Burke says , Infu ll affluence of foreign and domestic fame, adm ired by the expert inart and by the learned i n science , courted by the great, caressed bysovere ign powers , and celebrat e d by di stingui shed poets, his nativehumil i ty
,modesty
,and candor never forsook h im , , e ve n on surpri se
or provocation ; nor was the least degree of arrogance or assumptionvisible t o th e most scrut in iz ing eye i n any part of his conduct or discourse .
” Go od print s of the pictures of S ir Joshua Reynolds weremade by many con temporary engravers , but fine impression s, andespec ially proofs, are becoming rare . Among the best are the follow1110
o
ENGRAVINGS AFTER THE WOR KS OF R EYNOLDS .Engrave r , ARD ELL , James Me . Earl of Bath . Admiral Boscawen .
Mrs . Bastard . Duchess of B uccle ugh . Lady E . Montague . Horace.Walpole .
Engra ver , DO UGHTY ,Willi am . Dr . Johnson .
Engra ver , DICKPZXSON , W. Si r Joseph Banks . L ady Crosby .
Mrs. Mathew . Mrs. Pelham feeding Chickens. Bishop Percy .
Engra ver , D IXON , John . Mrs. Blake as Juno . Duke of Le inster ;1 775 . Dr . Robertson . Ugolino.
Engra ver, F i sHER , Edward . Lady Sarah Bunbury ; full length,very fine . Garrick between Tragedy and Comedy . Admiral Keppel .Lord Ligonier . M is s Palmer as Hope nursing Love . Marqui s ofRockingham .
Engra ve r, GR EEN , Va len tine . Duke of Bedford,with his Brothers
and M i s s Vernon . SirW. Chambers . S ir J. Reynolds,as President
of the Royal Acad . Marchioness of Sal isbury. Three Ladies Wa l
degrave .
Engra ve r, HAWARD . Mrs . Siddons . Prince ofWales , leaning onhi s Horse .
Engra ver, HO USTON , Richard . Marqui s of Granby . Duchess ofAncaster . Franc i s Charteri s .Engra ve r, JONES , J. Boswell . Ersk ine . Fox . Sir Abraham
Hume .Engra ve r , MARCH I , G. Goldsmith . Mrs . Crewe and Mrs. Bou
ve ri e .
0
Engraver, SHARP, IVilli am . John Hunter. The Holy Family ;two plate s , one large and one smal l .Engra ver , SHERWI N , John Key se . The Fortune Teller .
504 REYNOLDS RIB ERA.
Engraver, SM ITH , John Raphael . Lord R . Cavendish . Mr . Du ndas . Mrs. Musters . Duke Of Orleans . Archbishop of Armagh .
Banished Lord .
Engra ve r, ‘VATSON , Thomas . Lady Bampfylde . Mrs . Crewe .
Lord Errol . Lady Melbourne and her So n . Bishop Newton .
Re signation .
Engra ve r , “Y
ATSON , James . Lord Amherst . Mrs. Abington .
Dr. Beattie . Edmund Burke . Dr. Hawke swo rth . Dr. Johnson .
Duchess of Marlborough and her Daughter . Countess of Waldegrave .R e y n o lds , S am u e l W i lli am (1 7 74 Thi s ce lebrate d.
mez z otinto engraver executed no less than 300 plate s a fter the work sof Sir Joshua Reynolds, beside s numerou s portrai ts and hi sto ricalsubjects after other masters , almost en tirely modern painters . He wasskilful as a designer of landscapes, and ma de some sketches in O i l.R i b alta ,
.Pran c i sc o , born at Castel lon de la Plana (155 1This arti s t i s the head of the school of Valenc ia, and one of the be sth i s torical painters of Spain . He first s tudied i n the c ity of Valencia
,
where he fe ll i n love with the daughter of his master ; her hand wasrefused him by the father, but the young couple parted with mutualvows of constancy . He spen t several years i n Italy, and wh e n
'
h e
agai n went to Valencia had no difficulty i n obtai ning hi s bride . Hehas been compared as an artis t with Domenichino . The Spanishpainters were given to the repre sentations of extremes ; ei ther excruciati ng agonies or transporting ecstasie s were most frequentlytheir subjects ; they seem not to have had as mu ch middle ground asother nations . Ribalta i s no exception to this rule . Valenc ia isricher than any other place in his work s ; many of them are i n theColegio Patriarca, i n a chapel , where his Last Supper plays animportant part i n the ceremonie s of Corpus Chri sti . His N aili ngto the Cross shows plainly i ts superiority to i ts surroundings i n theMuseo . Another famous work of his
,also i n th e Colegio, i s S.
Vicente de Ferrer on his sick-bed v is ited by the Saviour and severalsain ts . There i s a picture by Ribalta i n the chapel of MagdaleneCol lege, Oxford . He painted man y fine portrai ts of the prominentperson s of Valenc ia . Out of Spain his work s are very scarce .
R i b alta , Jua n de , born at Valencia (1 59 7 So n o f Francisco . Th ey died the same year. Juan gave proof of hi s powers ate ighteen , when he painted the Crucifixion now i n the Mu s. ofh is native ci ty. There i s confusion concern ing the separation of th ework s of the fath er and son . Juan painted more than thi rty portraits of the notables of Valenc ia for Don Diego de Vi ch , who gavethem to the convent of S . Jerome . Th ere i s a work of his in theDre sden Gall . representing Pope Gregory XV. surrounded by Cardin als .
R i b e ra , Jo se f de , called I] Spagnole tto , bo rn at Kativa , 1 588 ;
506 RIB ERA RICCIO.
Madrid to St. Pete rsburg . His best point was i n the del ineati on ofanatomy. His pictures now in the Q ueen of Spain
’s Gall . are S .
Bartholomew,
” before mentioned ; Ix ion on the \Vh e e l; Jacob’sDream ,
” etc . At the Escorial there i s a picture of Jacob wateringth e F lock of Laban ; i n the Cath . of Valencia , an Adoration ofthe Shepherds ;
” and at the Louvre , a frightful repre sentation ofCato o f Utica . He painted many portraits, whi ch are scatteredthrough the collec tion s of Europe . He al so left about twenty etchings which Bartsch reckon s among the most remarkable engrav ingsi n aqua-forti s . The following are his principal platesThe Martyrdom of S . Bartholomew .
The Penitence of S. Peter .The Dead Christ ex tended on a Linen Cloth .
S . Jerome , with an Angel blowing a Trumpet .S . Jerome reading , with a Skul l on the Ground.
Bacchus made drunk by Satyr s .Portrai t of Don John o f Austr ia on Horseba ck .
ENGR AVtNGS AFTER THE WORKS o r SPAGN O LETTO (R IBERA) .
Engra ve r, AM ET1 .LER , Blas . S . Gregory perform i ng a M irac le .
Engra ve r , BALESTR A , Gio . Archimedes .Engra ver , DAU L LEE, Jean . Diogene s with the Lante rn .
Engra ve r , F ISCHER , Joseph . Ch ri st with th e Doctors .Engra ver , FORKE , Simon . Jacob tending Laban ’s F lock .
Engra ver , INGOU F . Francois Robert. Adoration of the Shepherds .Engra ve r , Lo m s , Aristide . Mater Dolorosa .
Engra ve r , Pi rTER 1 , Gio . Marco . S . Peter deli vered from Pri so n .
R icc i , A n to n i o , called B arbalunga , born at Messina (1600A pupil of Domen ichino . He is o ne of th e best pai nters of Sic ily .
and founded a schoo l at Messina a fter he returned from Rome .
R i c c i , S e b a sti an o , born at Bel luno (1659 A decorativepainter who executed many work s i n England in the days of QueenAnne . He was a feeble imita to r of Paul Veronese .
R i cc i , M arc o , born at Bel luno (1 680 N ephew o f the preceding . IIe pai nte d landscape s i n the manner of Titian , and al soetched several plate s from hi s own design s .R i cc i a re lli . Se e Volterra.
R i c c i o . A ndre a , real name B rio sco ,called Riccio from hi s curly
hair (14 80 Hi s mann er of sculpture was grotesque and extravagan t . His work s were overloaded with . ornament and detailun ti l the design was lost in the mass . Hi s chief works were two re
l iefs from the l i fe of David , i n the choir screen of S . Anto nio ofPadua ; the famous candelabrum , eleven feet high , in the sam echurch ; a monument to two physi cian s of the Della Torre family ofPadua, and four bronz e rel iefs in the Acad . of Venice, whi ch seem tobe long to hi s early period .
R ICCIO RIETSCHEL . 507
R i c c i o , D o m e n i c o , called B ru sa so rci . Born at Verona (14 94He has been cal led the Titian of Verona
,but he was no
more than a mediocre painter. His best work s ar e i n hi s native c ity,
where they are much valued . Hi s son, Feli ce (1 540 was fondof painting on marble , which he did with great sk il l . His pictureson orien tal alabaster were especially pleasing .
R i do lfi , Ca v ali e re Car l o , born at Vicenz a (1 602—1 660 Thisartis t i s better known for hi s writings than his pictures . He hasbeen called the Venetian Vasari ,
” and was the pri ncipal authori tyconcern ing Venetian artists down to hi s own time . He was le ssmannered in hi s painting than most of his contemporarie s . TheVisi tation,
” i n the ch . of the Ognissanti , i n Venice , i s his chefd’
azu vre . He al so painted many portraits .R i em e n sch n e ider, Ti lm an , born at Osterode in the Harz Moun
tains , probably about 1 460. He went to Wurz burg , where he rose tothe rank of head Burgomaster i n 1 520. In 1525 , after the Peasant
’sWar, he was deprived of his offi ce, and unti l hi s death i n 1 53 1
,he
lived in retirement . His work s i n sculpture are num erous, and th e
major part of them are i n Wi irzbu rg and its immediate v icin ity .
The monument of the Knight Eberhard von Grumbach , i n th e ob . atRimpar , was probably his earl iest work . In 1 4 95 he was commissio ned to execute for Bamberg Cath . a magnificent monument tothe Emperor Heinrich II . and hi s consort Kunigunde . This was notcompleted unti l 1 5 13 , and is one of his-principal work s . The figuresof the Emperor and Empress l ie on a large sarcophagus ; they aremore than life-s iz e
,are good portraits , and furn ish an excellent rep
rese ntatio n of the fantast ic 1 5th century costume . Upon the sarCOphagus five scenes from the lives of the imperial pair are depicted withgreat attention to technical execution ; the figures are al so graceful ,but there i s a lack of dramatic l ife and free action . We have notspace for a l ist of his work s, which embrace many monuments andrel igions subjects . A bant-rel ief representing the Lamentationover the Dead Chri st, m the ch . at M a idbru nn , i s probably his latestwork . It is executed in sandstone . The N icodemus i s bel ieved tobe his own portrait.R i e tsc h e l, Ern st (1804 A pupil of R anch . He went to
Rome,and settled in Dresden after hi s return . He executed the
statue of King Friedrich August of Saxony fo r the Zw inge rh o f atDresden , when but twenty-seven years old . Hi s chief excellence was
(like hi s master) that of the delineation o f character i n portraits ta tues . Those of Lessing , at Brunswick , Luther, at Worms , andGoethe and Schiller, at Weimar, are of the hi ghest
.
type of thisbranch of sculpture ; that of We ber , at Dresden , i s also admirable ini ts delicate simplic ity. The group of the Virgi n and Dead Christ ,
”
which he executed for the Frieden sk irche at San s Souci , i s a be anti ful expre ssion of the deep rel igious feeling of thi s master. Hi s
508 RIETSCHEL R IZI .
smal ler representat ion s of mythi cal subjects, and hi s rel iefs, are fullof charming grace . Of his statue s o f Luther and Le ssing , L iibkesays
,he “ has produced with imperi shable power , i n monumental
form,the intellectual and moral ideal s of th e nation , i n th e person s
of their noblest representativ es .R i e tsch o o f, Jan Cla a sz e , born at Hoorn (1 652 A pupil
of B ackhuyse n ,whose style h e imitated with success . Though infe
rior to his master he ranks high among the second clas s of pain tersof the Dutch school . Two of his pictures, one a calm , and one astormy sea
,are i n the Amsterdam Mu s.
R i ga ud,Hy a c in th e , born at Perpignan (1 659 The m ost
di stingui shed French portrai t painter of hi s time . He often por tray edthe King , Louis XIV.
, and had many of the i l lustrious personages ofEurope for h is s i tters . In his day the French Acad. did not recogn iz e portrai t pai nters , and Rigaud was admitted as a special honor,submitting only a sketch of the Crucifixion . His pictures are toouniformly finished, and lack freedom of handling . He was u nfortu
nate i n th e costume of his time ; if he could have painted nature instead o f perukes , his work s would certainly be m ore pleasing now .
Th ey'
are numbered by hundreds .R i le y , Jo h n , born i n London (1 646 A good portrai t
painter, and one of th e best in England at the time o f his death . Hewas very modest ; “Valpole says he might have made a great name ,had he possessed one quarter 'as much van ity as Kneller . His portrait s of the Lord Keeper North at Wroxton Abbey , of Bishop Burnet , and of Dr . Busby , were among his best works .R in c o n , A n t o n i o de l, born at Gu adalaxara (about 1 446
The first Spanish pain ter of distinction . I t i s believed that h e s tudiedi n Italy . He painted the portraits of Ferdinand and Isabella theCatholic
,but the se works are now known only by copies . His prin
vipal remaining pictures are seventeen composition s of the Life of theVirgin ; these are i n the ch . of Robledo de Chavela , near the Escorial, as one goc s from Madrid to Av ila .
R i z i , Pra y Ju an , born at Madrid, 1 595 ; died at Rome , 1 6 75 .
So n of Antonio Riz i of Bologna . His mother was a Span ish woman .
Pupi l of May no . He was early di stinguished,and painted si x pic
tures of the Pass ion of Christ,and Martyrdoms of Saint s , for the
conven t of Mercy . I n 1 626 he took the cowl of S . Benedict at th emonastery of Monserrate . The next year he went to study theologyat
- the College of San Vicente,at Salamanea . One hundred ducats
were requi red yearly from each student . The Abbot refu sed to re
ce ive Riz i for want of the money , but at length allowed him two daysin which to obta in i t . In that time he painted a Crucifix ion ,
”
which relieved him of h is d ifficul ty , and he continued to pay fo r h iseducati on by means of his brush . He returned to his conven t , wherehe held several offi ces , and was at las t made Abbot of Medina del
5 10 ROB B IA.
o f'
Flo re nce ; but he soon began to model i n w ax with an ar dor sounusual that i t i s surpris ing to find so li ttle remaini ng of the workdone before he was forty-five years old . The only memorials of thattime are th e has-re l iefs i n the s ide of the Campanile towards theDuomo, and two u nfin ished reli efs i n th e Uffiz i . The first representMusic , Philosophy , Geometry, Grammar , and Astronomy ; Plato andAri stotle ; Ptolemy and Eucl id ; and a m an playing the lute . Theu nfinished ones are the Imprisonment and Crucifixion of S . Peter .In the U tii z i are al so the rel iefs made for the balustrade of an organi n the Duomo . These were un dertaken in 1445
, and most decidedlye s tabli sh his claim to high rank among Ital ian sculptors. suf
MADONNA IN TERRA-GOTTA. B Y LUCA DELLA RO B RIA.
fer nothing from their present position,which gives an Opportuni ty
for minute examination of them . They repre sent youths dancing ,singing , and playing on musical instruments . It has been said thatLuca studied with Ghiberti , but this needs confirmation ; he however l earned bron z e casting from some one
,as h e made th e doors of
th e sacri sty of th e Duomo . He executed one of the fine st of th emany ci nque-cento tombs for the Bishop Benoz z o Fedcrigh i of Fiesole . A portion o f the decorations of this tomb were enamelled tile spa i nted with fruits and flowers i n the ir natural colors . In this e n
amel painting Luca excelled , and he made i t so prominent that i t hasbeen known as Robbia ware , but he did not by any means i nven t i t ,
ROB B IA RODE.5 1 1
as Vasari says , for i t had been used by the ancient nations , and fromtime to time by the Ital ians also. Luc
’
a made some changes by coloring his enamel for certai n portion s of th e backgrounds, such as theplants
,draperie s
,e tc . He left many of these works , which are beau
ti ful, but we cannot afford room to give a li s t of them . There aretwelve medall ions representing the Months , in Kensington Mus.
,sup
posed to have be en executed by L uca for the decoration of a writingcabinet for Piero di Cosimo de’Medici . One of the most beautifulof all these work s of hisi s the Coronation of the Virgi n in th e
altar-piece in the ch . of the Osservanz a near S iena . Andrea, thenephew of Luca, h ad worked m uch with him , and by his will sharedhis property wi th another nephew , Simone , who was a shoemaker.After his death hi s secret of enamelling was carefully guarded by hisfamily
,and was a fortune to them. They made a system of poly
chromatic archi te c ture . Andrea and his so n ,Luca II , were em
ployed eleven years in decorat ing the Ceppo Hospital , at Pi sto ja ,with a friez e whi ch repre sents the Seven Acts of Mercy . Theeffec t of this enamel paint ing i s bri ll iant . Pope Leo X. employedLuca II . to pave the Loggie o f the Vatican with colored ti les . Gio
vanni and Girolamo , brothers o f Luca H., also worked i n Robbia
ware,and the lat ter went to France and was much employed by
Franci s I. in de corating hi s chateau de Madrid, i n the Bois de BouIOgn e .
R o b e rt , L o u i s L e opo ld, born at N eufchatel (1 794 Thisartis t excel led i n depicting genre or real li fe scenes . I-Ii s especialwant was excellence of color . The sentimen t and action of his pictures i s good. He i s best k nown by thre e pic ture s representing thel ife of Italy at the di fferent seaso ns that of Spring i s th e Fete ofthe Madonna del Arco ; summer is th e Reapers of th e PontineMarshes wi nter at Venice , the Departure of the Fi shermen ofthe Adriatic ; the fourth was not finished , when he died by his ownhand
,si tting before his ease l , i n Venice . The spring and summer
scenes are in the Louvre .
R o b e tt a , born at F lorence and flourished about 1 520. By somecritics h e i s considered merely a goldsmith , but his prints certainlyentitle h im to a place among the early engravers of Italy , of whichh e may be called the last . He was a member of the club of artistscal led L a Co mpagn ia del Paj u nla . About thirty pri nts remainingnow are attributed to him
,and are more valuable for their rari ty than
any other qual ity .
R o b usti . Se e Tintoretto.
R o de ,Ch ri st ian B e rn ard. born at Berlin (1 725 The mostnoted native historical painter of the time. of Frederick the Grea t.He was much employed in decorative work s,by that monarch . His
ce il i ngs at San s Souci are among the bes t of them . He also left 1 50etchings of li ttle value.
5 12 KO B LAS RULDAN .
R o c las , Ju a n de las , born at Sevil le (1 5 130 Palominocal led Ro cla s a doctor , for he took a degree i n medic ine before hedetermined to become a painter and wen t to Ven ice to stud y . Afte rhis return to Sevi lle he was constantly employed , and many work s ofhis remain in that city . His coloring was excellen t , his knowledg eof anatomy perfect , and h is composit ion goo d. The R o va l Gall . ofMadrid has but o n e picture by him a small one, representingMose s strik ing the Rock ; i t i s called The Calabash
,
” from a womandrink ing eagerly from a gourd . In th e ch . of S . Is idore at Sev il le i s the pic ture o f the death of that sain t , wh ich i s con sidered hisgreate s t work . The S . Iago in the Mu s. of Sev i l le repre sen ts thesaint as riding over the Moors , and i s full of fiery spirit ; i t i s a chefd'
oeu vre several other fine picture s of his are i n the same collec tion ,but some critic s think the Conception ,
” i n the Acad .
, better thanthese .
R o epe l, Co nrad, bo rn at th e Hague (16 79 Pupil of Constanti n N e tsch e r. He painted portraits for a t ime , but at last devo ted himself to frui t and flower pieces . He imitated the manner ofJan van Huy sum very successful ly. His pic tures are in the Dre sdenand Cassel gallerie s .R o gm an , R o land, born at Amste rdam (159 7 Th e rare
landscape s of th is maste r are much li ke those of Rembrandt , and ar e
m i stake n for the work s of the latter. Two of his pic ture s are in theCasse l Gal l . He also l eft thi rty-three plates etched care lessly with asl ight hand .
R o ke s, He ndrik M art e n z , called Zorg . Born at Rotterdam
(1621 It. i s no t known with whom this painter studied , buthi s subject s are l ike those of Brower . His composition , drawing,and execut ion are good ; better than his color . A F i sh-marke t,
” inth e Van der Hoop Col l . at Amsterdam i s one of his best works .There are al so excellen t k itchen scenes and similar subj ects in theLouvre , Munich , and Dresden gallerie s .R o ldan , Pe dro , born at Sev il le (1 624 A member of a
distingu ished family , and the last of the great carvers o f Spain .
Among the first of his celebrated work s was the high-al tar i n th echapel of the Biscayans i n the Franc i scan convent , which was e xc
cu ted i n oak or cedar . At the t ime of the re storation of the Hospital of Charity , Roldan executed an immense piece of sculpture for thecentre of the re tablo of th e high-altar of the church . The Eu
t ombm e n t of Our Lord ” i s the subject represented , and i t h a s a
pecul iar i nterest as being the last fine work of painted sculptur e i nSpain ,
’ that ca n be compared with the works of Jun i and Hernandez .
Roldan al so executed bas-rel iefs i n s tone at Jaen for the exterior ofthe cathedral . 1113 native ci ty abounded with his work s . His devotion to his art w as such that he con sidered every moment los t thatwas spent on other pursuits . He married a lady of good birth , and
5 14 ROMANO ROMNEY.
immensi ty of labo r performed ; when considered i n de tail i t i s wan ti ng i n power , and in many respects emphatical ly coarse . The frescoe s of scenes from the hi story of Rome in the Villa Lanti
,and a
friez e i n an upper saloon of the Farne si na , executed before he leftRo me , are hi s best works of thi s k ind . A fine alta r-piece , pa i nte dorigi nal ly for the Fugger family of Augsburg , i s above the high-al tarof S . Maria del l ’ Anima at Rome ; another al tar-piece , i n S. Stefanoat Ge noa , represents the martyrdom of the sain t , and is an important work ; i t was painted very soon af ter Raphae l
’s death ; theseare the best of hi s large rel igious pictures . The easel pi cture s ofGiul io Romano are not numerous , nei ther can any be spoken of asvery excel len t . A few are i n private collec tions in England , andthe Louvre and Manfri n i gallerie s have several . Profes sor T.
Phi llips speak s thus o f hi s style : “ Day and n ight are commixed inh is effec ts ; l ight s and dark s are arranged at will , and often in totalv iolation o f the principle s of nature . Colors are heaped together ofthe most v iv id hues , such as sunshi ne or the pri sm only can produce ,ac compan ied by shades of deeper color, or o f the blackes t n ight ;while the lights and shadows are fr equently interrupted in theirco urse with out any possibil i ty of assign i ng a reasonable cause . Itsbri ll ianc y and vigor have acquired for it too much applause from th atportion of the world which has give n i ts attent ion to pictures . I tsgreat defect s have been overlooked because of the beauties and thepower of imagination united with them , but which in reali ty theyobsc ure or deform .
” He also ca l ls i t an ev il art founded on art ,and at variance with nature .
” It i s a regret that some prints sti llexist which were engraved by Marc Antonio after the design s ofGiul io , and are of so v ile a character as to be revolting to every sen seo f decency . They are accompanied by sonnet s from the pen ofAret ino
,which are
, i f poss ible , more di sgusti ng than the prints .R o m b o u ts , The o do re , born at Antwerp (159 7 Sai d to
have studied unde r Abraham Jansen s . In 1 6 1 7 he wen t to Italy ,where he painted historical work s successfully . Ho ubrakcn give s anaccount of hi s atte mpted rivalry o f Rubens , but th is lack s co nfirm ation . He h a dmany excellence s, and fine feeling for composition andbeauty . His execution was finished, but hi s flesh colors were toobrown and heavy . His pictures are few . Hi s chef-d
'
azu vre i s aDe scent from the Cross
,
” i n the Ghent Cath . The Antwerp Mus.
has an interesting work of his which represents S . Augustine en tertaining Chri st in the garb o f a pilgrim .
R o m e y n , W i llem . F louri shed 1 660- 1 680. A pa i nter of landscapes with animal s , who imitated Du Jard in successfully . His loveof nature was pure
,his drawing good, and his composition pic ture sque .
His work s are i n the Muni ch , Dresden , Berli n , and Amsterdamgallerie s .R o m ne y , Ge orge , born in Kendal , Lancashi re (1 734
ROMNEY ROSA. 5 15
The pri vate l ife of this painter was pe culiar . He married beforegoi ng to London
,and left his family i n Kendal , v isi ting them but
twice in thirty-seven years . In 1 799 he returned to them for theremainder o f his days . In London he rapidly rose to fame andfortune , and in 1 7 73 went to Italy, where he remained two years .His best poin ts as a painte r were v igorous drawing and expressiveform . He di vided the honors of portrai ture with Sir Joshua Re yno lds, whose color surpassed that of Ro mney. Fl axman praised h imi n high terms . His be st efforts were poe tical subjects and cartoons ;many of the latter have been destroyed . His works are i n the F i tzwilli am Mu s.
,Cambridge , and in the Royal Institution , Liverpoo l .
R o o s , H e i n ri ch , born at Ottendorf in the Palat inate (1 63 1Pupil of Jul ien Du Jardi n and Adrian de Bye . He settled in Frankfort i n 1 6 7 1 , and passed the remainder of hi s life there . His pic ture sare landscape s with animals ; h e
’
o fte n i n troduced ruins , fountains ,e tc . \Vh ile his pai nting cannot be compared with that of Adrianvan de Velde or Paul Potter i t is yet adm irable . Hi s feeli ng fornature was refined , the drawing of hi s an imal s excellen t , and hiscomposition agr eeable . His sheep were better than his cattle . Colorwas h i s weakest point , therefore hi s etchi ngs , forty-two in number ,are finer than his pic tures ; they are rare and much priz ed , and asan etcher he rank s with the be s t Dutch painters . His an im als aretruthful
,hi s foreshortening admirable , and his succes s in represen t
ing the pecul iar coats of the different animal s i s wonderful . Hischiaro—scuro i s also good . Hi s work s are i n the Mun ich , Dre sden ,Vienna
,and Berli n galleries, and in the S tadel Institute at Frankfort.
R o o s , Phi lip, cal led Rosa di Tivoli , born at Frankfort (1655So n and pupi l o f the preceding . He settled at Tivol i
,and
painted l ife-siz e figures and an imals in a decorative style ; they are
not agreeable . Hi s subj ects were sometimes his torical,as that of
Noah surrounded by al l k inds o f animals , now in the Dresden Gal l .I n the Vienna Gall . there i s a v iew of the Fall s of Tivoli
,which is
powerfu l i n color. The Gal l . at Cassel has some of his be st pic tures .R o sa , A nn a di , born at N aples (1 6 1 3 A pupi l
of Francesco di Rosa and Massimo Stanz i o n i . Sh e se
quired a good reputation as an historical painter , andmarried Agostino Beltrano , a fellow-pupil
,who murdered
her in a fi t of j ealousy . Sh e was noted fo r her beauty as wel l as forher talent . It is now quite impossible to speak i ntelligently of herworks, as she labored conjoin tly with Stanz io n i and with Bel trano .
R o sa , S alv a to r, born near N aples (1 6 1 5 This painterw as a man of varied talents , and was a poe t and music ian besidesbeing a wonderful art ist. His fa ther was an educated man
,and e n
co uraged his son in hi s taste s for art ; he had also a relative who’ was
an artis t and assi sted him in hi s pursu its . His masters were Spagne letto and Aniello Falcone. In 1 635 he went to Rome
,and
,with
5 1 6 ROSA .
the exception of interval s passed at Viterbo , Vol terra, and Florence,he resided there until hi s death . It i s said that in his youth he asso c
cisted with bandits , and there i s an element i n hi s repre sentations ofwild scenery and the men he picture s i n its mids t, that leads u s tobel ieve that thi s i s true . He certainly painted the portrai t of Masan ie llo more than once , and is said to have j oined the Compagn iadella llIo rte , of which Aniello Falco ne was captain . He made manyenemies by hi s i ndependence and his satirical procl iv i tie s . He wrotesatire s on Music, Poetry, Painting , “far, Babylon , and Envy, andthough they were not publi shed until long after hi s death , i t was wel lknown that he had writte n them , during hi s l ife . He married a Flore ntine woman , who had be en his housekeep e r , only a few days beforehi s death . She had borne him two son s , one of which , Augusto ,alone su rv ived him . He was buried i n the ch . of S . Maria degl iAngeli
,where a monument. i s erected to his memory. The pictures
of Salvator Rosa are historical , genre , and landscape subj ects , and hewas not i nferior i n portrai t painting . In the first and last (hi storicaland portraits) , he fo llo ved the N a tu ralisti , and yet some of hi s hi sto rical work s are impassioned ; but h is landsc apes are hi s characteri st ic work s . Jagged rock s and moun ta ins , wild dells and lonely defile s, with here and th ere robbers , hermits , or soldiers, make his mosteffect ive pic ture s . There i s a deep sense of desolation and almostfear i n them , that i s most impressive . Again his views are as quietand simply serene as those of Claude , while the figure s are the in teresting element , and are ful l of poetic fee li ng and fantastic conception ;but in spite of al l hi s varied gift s , and in spite of the degree o f exce lle nce which attended al l hi s efforts , i t i s i n hi s wildes t and lonelie stpictures that he speak s most to me they are the expression of himself ; the others are the expression of h i s remarkable acquirements .Perhaps hi s best historical work i s the Conspiracy of Catil i ne ,
” i nth e Pitti Pal. In the same place there i s a portrait of a man in armor , with a wild gloominess in i t which makes i t fasc i nating . Therei s also a battle piece of hi s i n the Pitti , but there i s a better one i nthe Louvre . The Augsburg Gall . has some. of his be st landscapes .The Vienna Gall . has a good representation of a Warrior doingPenance ,
” and the Berl in Gal l . has a sea pie ce ; so we see him underal l aspec ts , and never without power . Many work s of his are i npri vate collections i n England . They can be purchased now only atenormous pri ce s . His etchings
, o f which he left about ninety, aremasterly i n execution and have great expre ssion in the heads , wh i lethe chiaro-scuro i s wel l managed .
ENGRAVINGS AFTER THE WORKS OF SALVATO R ROSA .
Engra ver , BROWN E, John . Apo l lo and the Muses granti ng Lon
ge vi ty to th e Cumaean S ibyl . S . John preaching i n the Wi ldernes s.Engrave r , Csccm , Gio . Battista . Ca ti line ’s Consp iracy .
5 18 ROSEL L INO ROSS I .
R o se lli n o , B e rn ardo (1409 This architect was employedby N icholas V . to restore the palaces o f ancient Rome , and to buildpalaces at Orvieto and Spole to and baths at Viterbo . This Pope h adal so conceived the idea of recon structing S . Peter’s and enlarging theVatican
,so as to make an immen se monastery , or a l ittle city by i tself,
e spe c iallv fo r the servant s of the church . He had asked Rosellino tomake him a plan for al l thi s , but death ended hi s schemes , andalthough the art is t found another patron i n the famous Piccolomin i
,
Pius IL ,he was intent only upon the improvement of Pienza , his na
ti ve place . Rosell ino there buil t a cathedral , a palace , a canonica, anda municipal palace . This archi tect also buil t the Piccolomini Pal . atSiena , and variou s other arch itectural work s in that c ity . Bernardofound some time to devote to sculpture , and executed several elabo~
rate monuments ; but two of h is choicest works in th i s w a y are abust of the young S. John , and a portrait bust of Battista Sforz a ,bo th i n the Ufii z i Gall .R o se llin o , A n to n i o (1 427 Called Antoni o del Pre co n
solo from the quarter o f F lorence i n which he was born . He was afi ne sculptor and i s said to have s tudied under Donatello , but hi sstyle re semble s Ghiberti . The expres sion of h is face s was full ofsweetness and grace ; he had al so dignity of treatment combinedwith del icacy. Some of hi s be st work s were the monument to Card .
Portogal lo at S. Miniato, near F lorence ; tha t of Mary of Aragon inMonte Oli veto at N aple s ; a rel ie f of th e Nativi ty , over an al tarin the same
'
e h ., and a rel ief of the Adoring Madonna ,
” in theU tfiz i . There are smaller work s by Anton io i n the ch . of SantaCroce at F lorence , i n the Cath . of Prato , and in the U ffiz i .R o sse lli .Co s im o , born at Florence (1 439 This art i st exe
cu ted large frescoe s which are sti l l pre served . He i s not by anymeans an incomparable pai nter , fo r hi s compo sit ions are crowdedand wanting in effective unity . Here and there hi s figures have dign i ty and grandeur , and he has some skil l i n detai l s . His best worki s in the ch . of S . Ambrogio at Florence , and repre sents the Mi rae le of the Sacrament . ” Sixtus VI . employed him i n the decorationof the Six tine chapel , where his be s t effort was the Sermon on theMount .” It i s sa id that Cosimo realiz ed his incompe tency whencompared w ith the other painters employed there
,and used much
gold and orn amentation i n order to please the untrained eves of thePope . He succeeded in his wish for the t ime
,but his reputation
ga i n s nothing by the ruse .
R o ss e lli . M a tt e o , born at Florence (15 78 T here aremany good work s by this painter i n h i s native c ity , and he becamea very popular teacher of pai nting . The Triumph o f David ,” i nthe Pitti Gall . , i s one of his bes t pic ture s .R o ssi , Pro pe rz i a de
'
, born at Bologna (1490 The oneI talian sc ulptre ss . She was born about a year afte r the return of
ROSSI. 5 19
her father from the galleys, where he had passed eighteen years ,having been condemned for manslaughter . Sh e seems to have inhe ri ted a v iolent temper, and was twice arraigned in cour t for d isplaying i t . Antonio Galeaz z o Malvasia de’ B o tt igari was her devoted lover , and d id not marry until long after her death . Sh e w as
very beautiful. Wh en Pope Clement VII. v isi ted Bologna i n 1 530,
he de sired to see her , but she had died a few days before . Sh e wasin struc ted i n drawing by Marc Antonio Raimondi , and first devotedherself to i ntaglios so minute as to require great delicacy o f handl ingand vast patience . She carved a glory of saints on a cherry-s tone ,upon whi ch s ixty heads may be counted . Thi s i s i n the cabine t ofgems at the Uffiz i . Other microscopic works execute d for CountCamillo Grassi are preserved by his descendants i n the Palaz z oMan ili . Sh e next turned to arabesques , marble ornaments , lions ,gri ffins, vase s , eagles , heads , etc . Sh e modelled the bust of CountGui do Pepol i now in the sacri s ty of the basil ica of S . Petron ius .Sh e was employed to assis t i n fi ni shing the reli efs about the portalwhi ch Giacomo della Querc ia had left unfinished . Sh e also executedtwo has-reliefs now i n the sacristy , which represent “ Joseph andPotiphar’s Wife ,” and “ Solomon receiv ing the Queen of Sheba.
Her later work s seem to have been much i nfluenced by her contactwith 11 Tribolo , but are stil l i nteresti ng .
R o ssi , Fran c e sc o . Se e Salv iati .R o ssi , R o sso de
’
, called by the French Maitre Roux , born i nFlorence (14 96 Thi s pain ter was an imitator of M ichaelAngelo and Andrea del Sarto. After painting i n several c ities ofItaly he went to France , and was employed at Fo n ta i ne ble au byFrancis I. He was an agreeable and handsome man
,and became a
great favori te with the King . He was wel l versed in poetry,music
,
and general li te rature , and was in the full tide of popularity when hewas robbed of a co nsi de rable sum of money . By some mean s hissuspicions were fixed upon his assi stant
,another F lorent ine painter
,
Francesco Pel legrin i ; the latter was put to the torture , but nothingcould be proved agains t him, and the j udges declared him innocent .Rossi suffered such acute remorse for hav ing thus wronged an n u
offending man , that he at last to okh is own l ife . His work s are notnumerous i n Italy . There i s a large Madonna and saints by him inthe Pitti Pal . , and a fresco i n the court of the SS. Annunz iata , representi ng the Assumption of the Virgin .
” But few of his picturesremai n at Fontainebleau . . In the Louvre there is one of his few easelpictures , The Rival Songs o f the Muses and the Pierides ; i t i sone of his best .R o ssi , Jo hn Ch a rle s F e lix , born at Nottingham (1 762
Principally known by his sculpture s i n S . Paul’s Cath . The mostnoted are the monuments of Lords Cornwall i s , He a thfie ld, and Rodn ey . He was appoin ted sculptor to th e Prince Regent , and em
520 ROSS I ROVEZZANO .
ployed in Buckingham Pal . He was al so sculptor to King Wil l iam
R o ta , M arti n o , born i n a town of Dalmatia
(1532‘
3- 1 586 An eminent engraver whose work sin good impression s are now rare . The Las t Judgment
,
” af terMichae l Angelo
,i s considered hi s chef-d
’
azuvre . After this,some of
hi s portra i ts are most excel len t . His Battle of Lepanto,
” a strangecomposition of his own , i s extremely rare . There have been veryexact copies made o f hi s Last Judgment by other engravers .R o th e nh amm e r, Jo h ann , born at Mun ich (15011 At the
end of the l 6 th century the northern painters had lost many o f theirdistinct ive characteristic s from constant study of Ital ian art . Rothe nh amm e r had made the work s of Tin to retto h is model s
,and while
he imitated them,he stil l pre served some trai ts of the German taste
and style . He painted some large pic tures , but hi s be st work s, andthose by which he is generally known , are easel pictures , i n whichthe figures are his , and the landscape executed by Jan Breughel orPaul Bril . Hi s earlier work s are hi s best. He married i n Ven ice
,
and was extravaga nt i n hi s habits, so that he often pai nted hastily ,for money
,pic ture s i nferior to hi s best efforts . Hi s work s are in all
large gallerie s . Many of them are te nderly fused i n execution,but
his later pictures have brick-red flesh tones, and greenish shadows,which are displeasing.
R o u b illi a c , L o u i s Fran co i s , died This sculptor,al though
a Frenchman,i s best k nown by hi s work s i n England , to which
country he early went. At firs t Sir Edward lValpo le was his friend ,and assi s ted him unti l hi s works establi shed hi s reputa tion and hewas constantly employed . Hi s monuments and statues are num erou si n England .
R o u lle t, Je a n L o u i s , bo rn at A rles (1 645 Th i s excellentengraver s tudied under Jea n Lenfan t and Franci s Poilly . Hi s pri ntof “ The Marie s with the Dead Chri s t,
” after Annibale Carracc i, i san admirable specimen of hi s sk i l l . He remained ten years i n Italy
,
and acquired much readi ness i n representing the works of Itali anmasters .R o ux , M ai tre . Se e Rosso de’ Rossi .R o v e z z an o , B en e de tt o da , real name Guarlo tti , born at Ro ve z
z ano , late in the 15th cen tury . He did not succeed as a sculpto r ofstatues , but as a worker of small figure s and ornaments he was remarkable . A very beauti ful chimney-piece i n the Casa Rosell i, and thedecoration s of th e tomb of Piero Sode rin i , i n the Carmine at F lorence . are some of the best examples of his style . His greatestwork was a tomb for the founder of the Convent of Val lombrosa ;but thi s was destroyed i n th e s iege of 1 530, and only some portionsof i t are preserved i n the Gal l . of Tuscan sc ulptors at the Ufii z i .In 1 524 Ro ve z z ano went to England , and was commi s sione d by
522 RUB ENS .
and culti vated m ind contributed to acquire favor wherever he went .\Vhen in Rome he had been commissioned to pai nt the tribune of S .
Maria in Val li cella, and after his return from Spa in he proceeded todo so. He then went to Genoa, whither hi s fame had preceded him ,
and was immediately employed . He had now been seven years ah
se n t from hi s home , when he was recal led on account of the i llnessof his mother
,who did not l i ve unti l he reached her . He then
settled i n Antwerp,built himself a house with a charming studio, and
in 1 609 married his firs t wi fe,Isabella Brant , who died i n 1 620.
leaving two sons,to whom Ge varti us was tutor . During these years
he led a very regular and industrious l i fe . He had many schola rsand di d an immense amount of work . It was then th at he executeda large po rtion of th e clwfs—d
’
ce uvre which have immorta l iz ed hi sname and enriched the world . He was accu stomed to have some oneread to him whi le he painted , and his choice fell on history or poe try ,which served to enrich hi s mind with the le arning h e so loved . Hecould read and speak seven languages , so that ancient and modernwri ters were al ike known to him . He has been accuse d of allowi ngh is pupils to paint pictures dur i ng these years which he approprinted to himself , but he refuted these accusations and proved ho wuniversal was his gen i us , by completi ng with his own hands picturesOf ahno st every k ind . In 1 620 he was inv ited to France by Mariede ’Medici s , for whom he executed many great work s . In hewas sent again to Spain by the Infanta Isabella . His m ission was adelicate one , but he fulfi l led i t to th e sati sfaction o f Philip IV. andthe Duke of Olivares . \Vh i le in Spain he painted many grand andimportant picture s, some of which are splendid examples of his gorgeons colori ng . Upon hi s re turn to Flanders he was sen t to England to try to effec t a peace with that country . He was successful ,and was kn ighted by King Charle s i n 1 630. He also received thishonor from the King of Spain . It was in 1 630 that he married theyoung Helen Fo urm e nt , a niece of his firs t w i fe . Sh e was but sixteen years old . She bore him five children
,survived him , and mar
ried again . Both hi s wi ve s so often served him fo r model s that theirforms and face s are familiar to the world . After his re turn fromEngland he was treated with much consideration in Flanders . Hesoon was forced by gout to confine himsel f to easel pictures . Hel ived luxuriously, and was a collec tor Of beautiful things of variousk inds . After his death a portion of h is collect ion was sold for more than
sterling at private sal e . He died i n 1 640 and was buriedi n h is private chapel i n th e ch . o f S . James
,which i s decorated with
a magnificent work of his own . His family ere c ted a monument tohim upon which i s inscribed an epitaph written by c arti us. As apainter there seems to be but one adj ect ive de scriptive of Rubensmagnificent alone expre sses the effect Of his color ; his system Of lev-lelling his subj ec t to his style was magnificent ; hi s faul ts were mag
RUB ENS . 523
n ifice n t ; and if yo u sometimes fee l him to be gross or vu l gar, he i s somagnificently . In painting he was certa inly an un iversal genius .The work s ascribed to him are about 1800 i n number ; of coursemu ch of the actual labor was performed by hi s pupil s , but there i ssomething of him se lf i n them all . They embrace historical
, Scriptu
ral,and mythologica l subj ects, por traits, an imals , gen re , and land
scapes. In hi s style he i s a strange and del igh tful combination ofSouthern and N orthern art ; his technicali ties and arrangement areItali an ; hi s figures , even when they represent our Saviour and th e
most. h'
oly men,are i n real ity German peasants, Spanish kings , or
somebody else whom he has seen . How biza rre i s the way in whichhe mingles earthly prince s , antique , mythical personages , ancientgods , and the members of the family of Marie de
’ Medi c i s l and hedresses them all in the latest fashion of hi s time
,and in the most b e
coming co lo rs l and i s no t thi s very mixture magn ificently strange ?But i n order to enjoy a large portion of his work s it i s be st to forge this subjects
,forget th e names by which they are cal led
,and Observe
each figure as a separate portra i t then you feel hi s power ; pa r ex
emple , i n the picture whi ch hangs above hi s -tomb, forget that it i s arepresentat ion of any subject , and look only for the portraits of h istwo wives . How charming they ar e ! th e one so bril liant and energetic
, th e other so shy and thoughtful , both in their way magnificent .But if you look at i t as an Adorat ion of the Vi rgin
,
” i t wi l l seemas if th e spiri t of Fra Angelico and other holy painters stood besideyou, and helped you not to forget how the spiritual can be communica ted by the brush when i t i s guided by fai th and prayer , and to
distinguish between thi s work and those of a purer type. Rubenssuggests so much that I could go on and on , selecting v irtues here ,and critici sing fault s there ; and i t would be a pleasure to do it ;but my mission is only suggestive , and my space w ill only al low meto give a li s t of a few of hi s pictures i n the various departmentsi n which he worked . In h is eccle siastical pictures the Descentfrom the Cross
,
” i n the Antwerp Cath . , stands first ; indeed it maybe considered the chef-d
’aau vre o f all his works . Rubens received the
order for this picture from th e Company of Archers in 1 6 1 1 , and i twas completed and i n i ts place th ree years later . The masterlycomposition and elevated expression of the heads, j oined to i tsbreadth of execution and excellence of finish , render it a marvellou sproduction . The wi ngs
,which repre sent the Visitation ,
” and th e
Presentat ion i n the Temple,” are al so fine examples of the master ’s
best manner . The Elevation of the Cross ,” i n the sam e Cath .
, i svery d ifferent in effect . It i s overwhelming i n i t s portrayal of v iolent and agitated emotions
,and could only have been done by a great
master,but it i s almost frightful i n i ts dramati c force . His altar
piece s were so numerous that i t is d ifficul t to select those o f which tospeak . The Antwerp Mus . h as the Communion of S. Franc is ,
”
524 RUB ENS .
the Incredul ity o f S . Thomas , a S . Theresa which i s del icatein feeling ; a charming “ Holy Family ,
” a splendid Adoration ofthe Kings ,
” and others of great excellence . The M irac le of theBraz en Serpen t,
” i n the Madrid Gal l . , i s one of his mos t powerful
CH ILDREN. BY RUBEN S.B e rl in Gal l .
conce pti on s. The Belvedere Gall . at Vienna i s rich in hi s w orks'
of
thi s cla ss, and others are in the Pinakothek of Munich . The Cruc ifixio n of S . Pe ter,
” i n the ch . of that sain t at Cologne, i s mas terlyb eyond description, but repulsive in i ts naked truth fulness. Among
526 RUB ENS.
Four stu di es o f Li ons ; i n sc ribed, Va ri e L eo n um Icones, a P . P.
Engra ve r , BO ET IUS , Christi an Frederick . A Woman holding aPot of Go als, and a Boy blowing .
Engra ve r , B O L SW ER T , Boetius Adam . Judgment of Solomon .
Re surrec tion o f Laz arus ; very fine . Th e Las t Supper, P. P . R ubens ,pinr . B o e t. A. B o lswert, so very fine .
Engra ver , B O L SWERT , Sch e ltiu s A . The Braz en Serpent ; thebe st impre ssions have the word An trre rpiaz at the right hand corner,wi thout the name o f G. Hendrix . The M arriage of the Virgin ; thebe st impre ssion s have the name of Hendrix
,without the word
A ntw e r/n'
az. The Annunciation ; th e best impressions have th e
address o f M . Va nrle n Ende n . The N ativity ; best impressions sameaddre ss . The Adoration of the Magi ; th e same . Return of the
Holy Family from Egypt ; the same . The Feas t of Herod,wi th
Herodi as presenti ng the Head of S . John to her Mother . TheMirac ulou s Draught of Fishes ; i n three plates . Chri s t crucifiedbe tween the Thi eves ; G. Hendrix, e t c . The Crucifixion ; a Soldieron Horseback pierc ing the S ide of the Saviour ; 1 631 ; extremelyfine . The Crucifixion , with Jeru salem in the distance ; M . I
’a nden
Enden , e t c . The Dead Chri st i n the Lap of the Virgi n,wi th S .
Francis . T he Resurrection ; M . Va n /fen Ende n . excudit. The Asc e nsio n ; th e same . The Four Evangeli sts . The Fathers of theChurch ; M e . L awers, ere . The Des truction of Idolatry ; i n twosheets ; the same . Th e Triumph of the Church ; in two shee ts ; thesame . The Immaculate Conception ; A nt. B o nenfa nt, er a . TheAssum ption ; arched ; M . Va nden Ende n , exc . The Assum ption,with one of the Disciple s l ifting th e Stone of the Sepulchre ; the impre ssion s w ith the address of G. He ndr ix are posterior ; and thosewi th the name of C. Van M erlen are retouched . The Infan t Jesusembrac ing the Virgin ; M . Va nde n Enden , er e . The Virgi n holdinga Globe , and the Child holding a Sceptre . The Holy Family, withthe Infant Jesus and S . John cares sing a Lamb . Th e Holy Family ,with a Parrot on a Pill ar ; A . B o ne nfa n t, exc . S . Ignatius and S.
Franci s Xav ier . Education of th e Virgi n by S. Anne ; the bestimpression s are without the name of Hendrix . S . Cecil ia ; very fine.S . Theresa at the Feet of Chri st . i n te rcedi ng for the Soul s i n Pur
ga to ry ; ill . Va nden Ende n , ere . The Contin ence of Scipio . Si lenusdrunk , supported by a Satyr, with another F igure ; be s t impression shave th e name of B o lswcrt only , without the addre ss .Engra ver, B OR REKEN S , Matthew . Th e Immaculate Conception ;
R ube ns, pinx. All . Va nden Enden, exc . S . Franc i s Xavier ; on awhite ground ; same inscription . S . Ign atiu s ; same inscription . S.
Barbara, with a Tower on her Head ; R ubens, p inx . ; M a tthew B or
rekens, so . scarce .
Engra ver , CA UKERKEN , Corn eliu s Va n. The Roman Chari ty.
S . Anne wi th th e young Virgi n Mary . T he Martyrdom of S.
L ievinus ; the be st impre ssion s are be fore the name of De Holla nde r.
RUB EN S . 527
Engra ve r, CAYLU S , Anne Claude Phi l ippe , Compte de . A set ofthirty Heads after Ruben s and Vandyck , from the Croz at Col l .Engra ver, CHAMBERS, Thomas. S . Martin div iding his Cloak .
Engra ve r, CHA STIL L ON ,Loui s de . The Fates spinn ing the Destiny
o f Mary de’ Medic i .Engra ve r , C LO UET, Peter . The Descent from the CrOSS ' R ubens,
pinx C. J. M egssens,‘ exc. The Epitaph of Rubens , wi th acces.o . i es . Th e Death of S . Anthony ; R ubens, pinx. fine and scarce .
S. M ieh ae l discomforting the Evil Spirit ; R ubens,pinx. The Gardenof Love ; the firs t impress ions have F lemi sh verses ; fine and scarce .
Eng ra ver , CO L L AER T ,Hans . The Title to th e “ Bibl ia Sacra ;
fine . The Title to the Ke rkclyke Hi storie ;” fine . Th e Title to
th e Vaders Boeck ; fine . Twelve plates for the hfi ssal ofMoretus . Subject s from the l ife of Chri st and the Virgin .
Engra ve r, COLL IN , Richard . Esther before Ahasuerus .Engra ver, DALEN , Cornelius Van . The Four Fathers Of the
Church . N ature adorned by the Graces.Engra ver , DO ES , Anthony Van der . The Marqui s of Caste llo
Rodrigo.
Engra ve r, DUCHANGE, Gaspar. F ive o f the plates o f the Luxembourg Gall .Engra ve r, B A B LOH , Richard . Rubens ’Wi fe ; R ube ns, pinx. The
Holy Family. The M agdalene washing the Feet o f Christ . Nymphsand Satyrs . Meleager and Atalanta . The Death of Hippo li tu s.
Rubens’ So n and hi s N urse , with Frui t on a Table .
Engra ver, ERTINGER ,Franc i s . The Hi story of Achil le s, i n e ight
plate s .Engra ver, EXSHAU , S. A Girl carrying a Basket of Cherries, with
two Boys , each carrying a Gu n .
Engra ve r , FA B Eu , John, the Elder . The Heads of the Ph ilo sopli ers .Engra ve r, FA UCCI , Carlo . The Crown ing of the Virgin . A Bac
ch analian subject .Engra ver, FESSAR D , Stephen . A Flemish Festival .Engra ve r , GA LLE, Cornel ius , the Elder . John Van Havre. The
Virgin Mary under an Arch ornamented with Flowers by an Angel .Judi th cutting o ff the Head of Holofernes ; fine . The FourFathers of the Church . PrOgne showing the Head of her So n to herHusband . Seneca i n the Bath . A N aked Woman gri nding Colors .Engra ver, GALLE , Cornelius, the Younger . Venus suckling th e
Loves .Engraver , GA YWOO D , Ro bert . A set of Lions and Leopards .Engra ve r, GOUPY , Joseph . Diana hunting with her Nymphs .Engrave r, GR EEN, Valentine . The Descent fro m th e Cross . The
Visitation . The Presentation i n the Temple .
Engra ve r, JEGHER , Chri s topher . Bust of a man with a th ick
528 RUB ENS .
Beard ; i n chiaro-scuro . Susanna and the Elders . The Repose inEgypt . The Infant Jesus and S . John playi ng with a Lamb. Coronation of the Vi rgin . Temptation of Christ . Hercule s destroyingFury and Discord . Si lenus drunk , supported by two Satyrs . TheGarden of Love .
Engra ver , JODE , Peter de , the Elder . The Decol lation of S.
John ; oval ; scarce . Christ giv ing th e Keys to S . Peter ; fine ;the best impressions are before the address of Vanden Enden . Thecrowning of S . Catherine .Engra ver, KAS S EL, Theodore . An allegorical subjec t of Abundance .
A set of four plate s representing the Triumph o f Galatea . A Tri tonembrac ing a Se a Nymph . A Nymph i n the Arms of a Se a Go d, anda Faun seated on a Rock with two Children and a Goat . A B e ar
Hunt. A Landscape with a Man driving a Cart, and a Man andWoman with Oxen . A Landscape (a companion) cal led
“ TheMi lkmaid .
”
Engra ve r , LA SNE , M ichael . The Holy Family . S . Franc is ofAssi s i receiving the Infant Jesus from th e Virgi n . S . Francis dePaula receiving the In fan t .Engra ve r , LAUNAY , N icholas de . The March of Silenus .Engra ver, LAUWER S , N icholas . Portrait of Isabella , Infanta of
Spain , and two Children. The Adoration of the Magi . Chri st before Pilate . The Dcsce nt from the Cross . A Pieta, wi th MaryMagdalene . The Trumph of the N ew Law ; in two sheets .Engra ve r , LAWR I E, Robert . The N ativi ty .
Engrave r, LEEUW, Wil l iam de . Lot and his Daughters . Danieli n th e Lion’s Den . The Mater Dolorosa ; scarce . The Martyrdomof S . Catherine ; fine and scarce . Four large plates of huntings ,namely
,the Lion Hunt, the Boar Hunt , the Wolf Hunt, and th e
Hunti ng of th e Crocodi le and Hippopo tamus .Engra ver, LEMPEREUR , Louis S imon . The Garden of Love .
Engra ve r, L o m , Alexis . The Education of Mary de’ Medici .Time d iscovering Tru th .
Engra ve r, LO UYS or Lo Y s , John . Loui s XIII . , King of France .
Anne of Austria. Phi lip IV., King of Spain . Eliz abeth of Bourbon .
Diana and her Nymphs resting after the Chase .Engra ve r , MAR INU S , Ignatiu s . The F l ight i nto Egypt ; a n ight
piece . S. Ignatius curi ng the Sick . S . Franci s Xavier rev iving aDead Person .
Engra ve r , MARK , Quintin . Susanna and the Elders . Alexanderand Diogenes .Engra ver, MA SSE, John Bapti st . Mary de’ Medic i , Queen of
Henry IV .
Engra ve r, MA SSON , Anthony. The Assumption of the Virgin ;fine and scarce . The Braz en Serpent ; i n two sheets ; fine .
Engra ver , MATHAM , James . Sam so n andDe l i lah .
530 RUB ENS .
Engra ver , Q U ELL IN U S , Erasmus. Sam son k i l l ing the Lion . ALandscape
,wi th a Dance of Children and Young Satyrs ; E . Q u elli
n u s,fec . ; rare . The M adonna .
Engra ve r, R ID ING R R , John El ias . A Lion Hunt .Engraver , SOM PEL or SOM PELEN ,
Pete r Van . Th e EmperorCharles V . Chris t with the Di sc iple s at Emmaus . Th e Cruc ifixion . Juno and Ixion .
Engra ve r, SOUTM AN ,Peter . The Fall th e Angel s ; the first im ~
pressions have not the address of the younger B a u eta t. The Defeato f the Army of Sennacherib . Chri st givm cr the Keys to S . Peter .a design by Rube ns after Raphael . The Last Supper . Drawing byRube ns after Leonardo da Vinci . The M irac ulous Draught ofF i shes . The Holy \Vom e n at the Tomb of Christ . The Crucifixion .
Consec ration o f a Bishop . The Rape of Proserpine . The Triumphof Venus . Silenus supported by a Satyr and a N egress . A B e arHunt ; 1 642. The Wolf Hunt . Hunting of Lions . Hunting of theCrocodile and Hippopotamus .Engra ve r , SPILSB U RY ,
In igo. A Boy eating Grape s . TwoMonk s reading .
Engra ver, SU RR UGU E, Loui s . Venus nursing Love .
Engra ve r, SU Y DERHO EF , Jonas . Phil ip III . , King of Spai n .
Albert,Archduke of Austria . Isabel la Clara Eugenia , Infan ta of
Spain . Th e Fal l of the Angels . The Madonna . Bacchus supportedby a Satyr and Moor . The Hunting of the Lion and Tiger .Engra ver, SWA N EN B U RG,
Wi l l iam Van . Lot and h is Daughters .Christ and the Disciple s at Emmaus .Engra ve r , VIS SCHER ,
Cornel ius . The Las t Judgment . TheVirg in and Infan t crown ed by Angel s . Achil le s discovered at theCourt of Lycomedes .Engra ve r, Vo ne nMAN , Lucas , the Elder . Charel de Longueval
,
Count of Busque i . Fal l of the Angel s . Lo t and his Daughtersleaving Sodom . Jo b tempted by hi s IVif
’
e, and tormented b y
Demons . Susanna and the Elders . The N ativity . Adoration ofthe Magi ; one of his best prints .
‘
The same subj ect,differently
composed : The Holy Family , with S. Anne . Another Holy Family ,i n which the Child embraces the Virgi n . The Return from Egypt .The Virgi n and Child , w i th S . John playing with a Lamb. TheTribute Money. The Descent from the Cross ; fine ; the firs t impre ssion s are prev ious to the address of Com . Va n ill e rlen . TheAngel appe ari ng to the Hol y Women at the Sepulchre . S . Franci sreceivi ng the St igmata . The Martyrdom of S . Lawrence . MaryMagdalene renounc ing the Vani ties of the lVo rld. The Battle of theAmaz ons ; a large prin t on s ix sheets .
Engrave r , WATELET , Claude Henry . Venus nurs ing the Lo ves .Engra ver, WA UM AN S , Conrad . De scent from the Cross . The
Assumption of the Virgin .
RUB ENS RUSTICI . 531
Engra ver , WITDOECK ,Hans . Melch isedcc presenting Bread and
Wine to Abraham ; 1 638 ; proofs before the letters are very rare .
The Nativi ty ; thi s plate has undergone several changes . TheAdoration of the Magi ; 1 683 ; the date i s probably a mi stake . TheElevation of the Cross ; i n three shee ts ; 1 6 38 ; hi s be st pri n t.Chri st with the Di sciples at Emmaus ; there are some impressions ofthi s plate printed i n chiaro- scuro, under the direct ion of Ruben s ,which are very scarce ; 1 638 . The Assumption of the Virgin ; 1 639 .
The Holy Family,with S . John . Another Ho lv Family, wi th S .
El iz abeth . S . Cecil ia .
Engra ve r , WY N GAER DE, Franc is Vanden . Christ appearing toMary M agdalene . Samson kill ing the Lion . The Nuptials of Pe leusand Theti s . A Bacchanal
,in which Bacchus i s drinking from a cup
,
i n to which a Bacchante i s pressi ng the j uice of the grape .
Engra ver, ZUCCHI , Lorenz o . The Crown ing of S. Catherine .
His own Pla tes.
S . Franci s re ceiving the Stigmata.
Peniten t Magdalene .
S . Catherine ; designed for a ceil ing .
An Old \Vo m an holding a ligh tedo
Candle for a Boy to light another . When Rubens etched this plate but few impression s we ret aken , which are now extremely scarce . It was afte1wards finishedby another person .
Portrai t of an Engl ish M in i ster ; signed , P . P . R ubens, feci t.R ude , Pra n qo is (1 785 This sculptor had striking v irtues
,
and some glaring faults of manner. He seemed to represen t nature,
u pon one occasion , i n a manner purified by classic study, and again ,i n i ts rude st real i ty . His Mercury ,
” i n the Louvre,a N eapol ita n
F i sherman , i n same Gall . , and a statue of Joan of Arc , fo rm e 1 ly i n
the Luxembourg garden s,were the happies t of hi s works . His
statue of Marshal N ey ,and the haut-rel ief on the Arc de l’Eto ile ,
were much exaggerated , and Lubke says most truly that the figure ofBellona in the last work look s l ike an equestrienne standing on twohorses . Hi s execution was always able , and is well shown in th emonument of Godefroy Cavagnac i n Montmartre , but the wholedesign i s in the extreme naturalistic style, whi ch always seems coarseand shock ing.
B uga nda s , Ge o rge Ph i li p, born at Augsburg (1666 Apain ter of battle scenes of no great meri t . He is better known byhis thirty etchings and more than 100 mez z otin t engrav ings , thelatter afte r his own designs .R u sti c i , G i o . F ran c e sc o (14 76 A fellow-pupil wi th
Lionardo under Verro ch io . Many of his work s are lost or destroyed .
The principal one remaining i s a bronz e group above the northernportal of the Baptistery at Florence . The subj ect i s the Preaching
532 RUSTICI RUYSDAEL .
of S . John Bapti st . The forms (espec ially the nude figure ) are
grand i n freedom of ac tion , and the drapery is in Gh ibe rti ’s purestyle . The guild o fmerchants who ordered i t failed to pay the priceagreed on , and
’ thi s so depres sed Rustic i that he undertoo k no morelarge work s . After th e expulsion of the Medic i from F lorence hewent to France , and was variously employed by Franc is I . But heredisappointment fol lowed the old man , for he was engaged at the timeof the King’s death i n modell ing a colossal equestrian s tatue of him .
Rustic i di d not long survive hi s patron .
R u y sc h , R a ch e l , born at Amsterdam (1 6 64 Daughter ofthe celebrated professor of anatomy, and pupil of Wi lle ui van Aelst .Sh e devoted herself to flower painting. Her single spec imens areexcel lent , but her power of combining many in artistic arrangementwas not so good . Sh e pain ted unti l she was eighty years old . She
married,but always signed her work s with her maiden name . Sh e
i ntroduced insects into her picture s, which were admirably drawn andfinished . Her color was cool
,like that of her teacher. The Hague
,
and Munich gal leries have pic tures by this pain tress .R u y sda e l, S o lo m o n , born at Haarlem (1 6 10 Pupil of
Jan van Goyen . His pic tures are u sually views o f canal s borderedwith tree s and house s , monotonou s and thoroughly Dutch . Some ofhis best work s are i n the Munich , Dresden , and Berl in galleries .R uy sda e l, Ja c o b , born at Haarlem (1 625
‘
3 Youngerbrother and probably a pupi l of Solomon . He is emphati cal ly thefirst of Dutch landscape painters . He most frequently representedthe level
,unintere sting scenery of Holland ; these pictures are almost
melancholy,but his excellent drawing , his perfect management of
chiaro-scuro,his powerful , w arm color , and his admirable execution
combine to make up a rare perfec tness . There i s gr eat variety i nhi s touch ; he knew how to use his brush i n the most minute , andalso i n the broadest manner. He espec i ally loved to represent a wideexpan se as if v iewed from an elevation , and frequently placed thespires of a town i n the far dis tance . He painted some sea v iews i nwhich the water was always agi tated and often very rough , and thesky heavy with clouds . Very rarely b e represen ted hi ll s and rock swith foaming cataract s ; a few pictures have a dark lake at th e baseof a rocky steep ; there i s i n these a sort o f fasci nating gloom rarelyexpressed i n pai nting.
-In some of hi s dark pic tures h e i ntroducedgleams of sun shine
,which are extremely picturesque i n effect. Ile
deeply fel t th e poetry of th e N orthern nature about him , and rendered i t most happi ly. His pictures number abou t 448 , and are seeni n al l large European gallerie s ; there are many (more than inprivate Engli sh collec tion s . The Chace , ” th e Monastery
,
”a nd
the Jewish Cemetery,” i n th e Dresden Gall . , are al l mas terpieces .
He also left seven spirited etchi ngs executed in a sl ight bu t effec tivemanner .
SACCHI SANDRART.
pic ture o f S . Romualdo , i n the Vatican , i s a far-fam ed work ; thesain t i s relating a v is ion to five brother monks ; they are al l clothedi n white , and this i s rel ieved by th e shadow of a large tree , i n soski lful a m anne r as to obviate the feel i ng o f want of varied colorwhich would be expected . It has been called one of th e finest pictures i n Rome . The characterist ic s of Sacch i 's works are grav i ty
,
simpl ic i ty, and harmonious tone .
S a c h tle v e n , Co rn e li s , born at Rotterdam (1 6 12—1 682 Apainter of in terior scenes
,poul try, and various homely or domestic
subj ec ts . His design far excelled his color , and hi s execution wasvery careful . His poultry are marvel lously to the li fe . His work sare at Dresden
,and in the Cologne Mu s. there i s a “ Concert of
Cats,with an owl leading , which i s good . The few etchings by this
artis t are cleverly done .
S ade le r. This i s the name of a family o f engravers numberingthan six . They flourished from 15 75 to 1 6 70. Brusselsr home . John , Rapha el , and Gile s were the more imTheir plates are numerous and are executed almost
enti rely with the graver . John and Raphael were brothers , and settled i n Venice , where they executed many works , and where Marcus
,one of the younger ones, was a wel l-known publ isher of prints .
S a e nre dam . Jo h n , born at Leyden (1 5 70 Pupil ofGo ltz ius. His sk il l i n the use of the needle could hardly be surpassed, but his subjects were too often distorted forms, which di splayed hi s execution without bei ng pleasing as a whole . Some ofhis work s are no w priz ed highly on accoun t of their rari ty .
S a le rn o , A ndre a da. Se e Sabbatin i .S alm e ggi a , En ea , called Il Talpino , barn at Bergamo (1556
A successful imitator of Raphael . His best works are i nthe churche s and Gal l . of M ilan .
S alv i a ti , Ce c ch i n o de l. So cal led from Card . Salv iati who washi s friend and patron . Real name Francesco Rossi (1 5 10—1563)He was an important arti st of hi s time , but that t ime was o ne o f
decl ine i n everythi ng bu t technical sk il l ; thi s was well developed .
Salviati worked in Venice , Florence , and Rome, and visi ted France,where he did not remain long . There i s a smal l pic ture of Charityin the N ational Gall . , by thi s artist .S alv i , Gi o . B a tt i s ta . called Sassoferrato from his birthplace
(16051 Supposed to have been a pupil of Domenichi no. II(
copied after Raphael , Titian , and Perugino, with good effec t. lUs
favorite subj ects fo r original pictures were Holy Families andMadonnas, and in these h e showed deep feel ing ; they are sweet inexpression , pleasi ng, and sometimes finished with great care .
S an c h e z-Co e llo . Se e Coello .
S an ch e z -Co n n . Se e Cotan .
S andra rt , Jo a ch im v o n,born at Fra nkfort (1 606 This
SANDRAR'
I‘
SANGALLO. 5 35
art ist deserve s mention fully as much for h is writings upon art,as
for his pictures . Hi s li terary work was voluminous and valuable .
He acqu ired some distinction in h is day as a painter of hi s to ry andportrai ts . He is said to have v is ited England , from which he wentto Italy
,where he passed some time in Rome and Venice . After
his return to Germany he l ived at Amsterdam and Stockau,but
settled at N u rembu rg , where he published his books . His picturesare se e n in many Cont inental gal leries . Perhaps his best work is i nthe Town Hal l of Amsterdam , and represents the Archers Companyof that city
,at th e entry of Mary de’ Med ie is.
S an dv o o rd, D . D . Very li ttle i s known of this painter beyondhis name . A picture of four ladies, called the Regent pic ture
,
proves that he was m ore sk il led in portrai ts than i n his torical painting ; of the latter see hi s Chri st at Emmaus in the L ouvre . Thefir s t picture i s in th e We rkhuys at Amsterdam
,and i s dated
1 638 .
S an ga llo , G i u li an o di , born at F lorence (1443 One ofthe most famous arch i te c ts and engineers of his t ime in Italy . Earlyi n l ife he practi sed wo o d-carving with hi s brother Antonio . He wasafterwards much employed as an architec t by Lorenz o de ’ Medici .While Alexander VI . was Pe pe , Sangallo was employed in Rome,and when Jul ius II. succeeded to the po n tifica te he expected to beappointed archi tec t of S . Peter’s , but Bramante was chosen ins tead.
When L e o X . became Pope , he offered the post to Sangallo, whothen decl ined on ac count of his age and i nfirm i ti e s. M ichae lAngelo was a friend to Giul iano di Sangallo and was much withhi m i n Rome .
S an gallo , A n t o nio di (1450 Brother of Giuli ano and
induced by him to abandon wood-carving for th e study of archi te cture . He completed a palace commenced by his brother at Savona
,
and went to Rome . Alexander VI . employed him to convert theMausoleum of Hadr ian i nto a fortres s , th e Ca s tle of S. Angelo.
The abil i ty which Antonio then displayed establ ished his fame , andhe was employed in many impo rtant work s.S an gallo , A n to n i o di , born at Mugello (about 1482 The
nephew of the two preceding architects . His name was Picconi,
but he adopted his mother’s name , Sangal lo . He was i nstructed byhis uncle s
,and afterward s by Bramante . The Card . Alexander
Farnese,afterward s Paul III.
,was his patron , and employed him to
bui ld his palace i n th e Campo di F iori , which is one of the fineststructure s of Rome . Other works of his were the restoration of theVatican
,the erection of th e Paul ine chapel , a palace for himself i n
the S trada Giulia , and the wonderful model o f S . Pe ter’s now preserved i a th e Vatican . He was a ppointed architec t of S . Peter's in1536 , and dida great work there i n enlarging the piers and strengthe n ing the foundati ons .
536 SANGALLO SANSAVINO.
S an gallo , B asti an o di , born at Florence (148 1 A cou s inof the preceding and called Aristoti le from his knowledge of pe rspe ctive . He studied under Perugino , and then copied the famouscartoon of M eh ae l Angelo with great dil igence. He distingu i shedhimself l ater , i n F lorence , both as an archi tec t and pain ter, andVasari has wri tte n of him at some length .
S angallo , Pran c e sc o (14 98 So n of Giul iano . Pupil ofAndrea San sav i no . His clcef-d
’oeu vre was the statue of a superior
of the Florentine Certosa, and is in the centre of a chapel of thatconvent ; he is but mediocre when compared with the great mas ter sof the 1 5th century .
S ansa v i n o , A n dre a Co n tu c c i di M o n te , born at Monte SanSavino (1460 Every one who has studi ed the rise and
BRONZE GROUP o r THE BAPTISM o r cm u s'r . BY ANDREA SANSAVIN O,
A im ur 1500.
progress of the art of sculpture knows that i n th e early part of the15th cen tury i t was at i ts best i n Tuscany
,and al though Michae l
Angelo came after thi s , he was one of the rare men who are governedby no time or c ircumstance . Of the artis ts who followed this besttime , Andrea Sa nsa vino i s one of the very be st. His father was a
538 SANSAVINO SANTAFEDE.
figures were hi s best . He establi shed school s in Florence , Rome ,and Venice , and upon th e latter city he impre ssed himself as fewma sters have ever been able to do
,for go where you will “
in Venice,
THE ENTOMBMENT o r CHRIST. BY JACOI’O SAN SAVINO .
From the B ronze Gate o f the Sacristy o f S . Mark, Ven ice .
some work of his meets the eye ; and when we con sider how versatilewere th e work s demanded of him , we cannot be surpri sed that someshould lackdeep feel ing, and seem to us conven tional and superfi cial .S a n ta -Cro c e , Fran c e sc o R i z z o da . F louri shed 1 507- 1529. A
feeble painter , and an imitato r of Carpaccio and Gio . Belli ni . Butfew of h is works are known, and these meri t no espec ial notice .
S an t a -Cro c e , G i ro lam a R i z z o da . Flouri shed 1 520—1 549 . Thereare few European gallerie s that have not specimens of the picturesof this painte r, who was pretty and tame in manner , and not equalto the artis ts of hi s time .
S a n ta fe de , Fra n c e sc o , and his son Pa b ri xi o . These pain tersdeserve honorable mention among the pupil s of Andrea Sabbatin i .
SANTAFEDE SARTO. 539
Ma ny of their work s are at N aples . The father -flo u ri sh ed about1555 , and the son thi rty-five y ears later.S an te rre , Je an B ap t ist e , born at Magny (1 65 1 Pupil
of Bon B o u llo ngne . He painted portrai ts principally ; th ey are wel lfinished
,and th e hands deserve Spec ial attention . Of his historical
works,the best i s Susanna and the Elders ,
” i n the Louvre .
S ara c en o , Car l o , born at Venice (1 585 A fol lower ofCaravaggio . A M iracle of S. Bruno ,
” i n S . Maria dell’ Anima,at
Rome,and a Judith,
” i n the Manfri n i Gall . , at Venice , are attraetive pictures ; the first for its color and grace , and the last for theexpression of the face o f Judith ; her old servant receives the headof Holofernes i n a cloth
,which she holds with her teeth and her
right hand ; her astonishment i s wel l expressed .
S argen t , H e n ry , born i n Gloucester, Massachusett s, i n 1 7 70.
T h i s painter followed various occupations ; was a merchant andso ldier , and became distingui shed in pol itical l ife . He received someinstruction from West and Copley i n London . His portrai t of PeterFanu e il i s in the hal l named for him ; th ree of h is portraits belong tothe Massa chusett s Historical Soc ie ty , and his Crucifixion o f Christ ”
i s owned by the Roman Catholi c Socie ty of Boston . He also painteda Dinner and Tea Party ,
” the Tailor’s News and the StarvedApothecary .
” He spent much time upon a' representation of theLanding of the Pilgrims,
” but i t was destroyed by being rolled onfresh pine
,the sap of which caused the decay of the picture , so that
i t f e l l to piece s i n unrolli ng .
S a rra z in , Ja cq u e s (1 588 Several work s now in theLouvre were executed by thi s scu lptor , among wh ich the bust of theChancellor Pierre Segu i e r i s worthy of notice .
S ar to , A ndre a de l, so cal led from hi s father’s trade a tailor’s .Real name Andrea Vanu cch i (1 48 7 Pupi l of Pietro di
Cosimo,but i n general style a follower of Fra Bartolommeo . He
confined hi mself to rel igiou s subjects , but his pictures wanted whathis character lacked , namely, earnestness, determination , sincerity.
He did not choose his subjects from th e same pious motives by wh ichthe holy friar was governed . It i s incomprehensibl e that he couldever have been so estimated as to gai n the tit le of “ th e faul tless ,but in order to be
,hest apprec iated he should be studied in Florence.
His frescoes i n the cloi sters of the convent of the N unz iata, and atthe Scalz o, are the best of his work s . The time taken fo r them waslong, and his progre ss may be seen i n them . The Madonna del Sacco
(1525) i s hi s chef-fl’aeu ure i n wal l painting ,
and was done about fourteen years later than the “ N ativity ,
” both being i n the convent ofthe Serv i (N unz iata) . This is a lunet te fresco and i s known andprai sed the world over . The easel pictures of Andrea are in all
large collections ; they are chiefly Madonnas, Holy Families , andaltar-pieces of like subj ects . They are by no means of th e hi ghest
540 SARTO.
type ; h is female heads are a ll represen tation s o f a si ngle person,
varied only by changing the pose ; there i s nothing of the ideal . AMadonna in th e Tribune of the F lorence Gall . i s one of hi s very be st .The private l ife of Andrea was so unfortunate that his artistic careercould but be weake ned by i t
,and i t was h i s good fortune that his
fame as a pai nte r was not des troyed , a s was h is reputation for hone sty and virtue . He hecame enamored o f Lu
cre z i a Fede while shewas still a wife
,and
when she became awidow he married her
,
i n spite of h is knowledge of her v i le character and the opposi tionof his friends . Her i aflu e nce led him to desert dependent relativeswhom he had cared for
,
to commit many naworthy acts , and at las t toappropriate to his 0use a large sum ofmoney with which h e
had been intrusted bythe Ki ng of France forth e purchase of work sof art. He had receivedgreat k indness fromFranci s, and left Paris
w ith this m o ney , promi si ng to return to fulfi l hi s engagements ; i ti s said he took an oath to do so ; but the avarice and wickedness ofh is wife prevai led , and all that could have made Andrea de l Sarto aman
, was lost. Bitterly he repe nted,but Franc is could never forgive
him,and the world has never forgotte n h i s need of forgiveness . Te n
years more he l ived and painted , and to the last was fond of his il ls tarred wife . In purity and digni ty , his earlier compositions are farthe b e s t , and though his scope was never large , his arti stic meritswere suffi c ient to gai n for him a n honorable rank
,which his works
wi l l always hold .
“ DONNA. B Y ANDREA DEL B ARTO.
ENGR AVINGS A FTER THE WORKS OF ANDREA DEL B ARTO .
Engra ve r, ALBERT I. Cherubino . Bapti sm of Chri st ; 1 5 79 . M irafcle o f S. Phi l ip B e n izzo .
Engra ve r, AUDOU IN, Pierre . Chari ty .
Engra ver , B LOEMAERT , Corneli us . Marriage of S. Catherine withS . John .
542 SAVERY SCHEDONE.
woods . His Paradise in the Berl in Mus. i s a goo d specimen o f
his work s .S av o ldo . G iro lam o .
born at Bresc ia . Flo urished about 1 540.
An imitator of Tit ian . He. was an" able arti st , no doubt , but his history i s not well k nown
,and i t is diffi cult to speak of him . Some
good crit ic s beli eve that his work s are i n many gal lerie s and are.
attributed to other pain ters . Hi s work s are seen in the Manfri n i .
U ffiz i , and Berli n ga lle ri e sfS c an a b e c o h i . Se e Dalm asio .
S c a ram uc c i a , L u i gi , cal led Il Perugino (1 6 1 6 He wasnot only a painter
,but al so a teacher , and a wri ter on art . He was
a pupi l of Guido’s and settled at M ilan where he had hi s school . Hepubl ished in 1 6 74 at Pav ia a work on th e cxe clle nce s of the Itali anpainters . Hi s portrai t i s i n the Acad . of S . Luke at Rome , of whichhe was a member.S ch ado w , Jo hn Go t tfr i e d, born at Berli n (1 764 After
stud y ing some time i n Rome h e was appointed court sculptor at B e rl i n . Hi s work s are unpretending and l ifelike i n effect . Among hisbest work s are the statue s of Coun t von de r Mark in Berlin , andFrederick the Great at S tett in . Hi s son , John R udolph Schadow .
was very gifted but died young . He studied u nder Canova andThorwaldsen
,and i s wel l k nown by his statue of a girl fasten ing
her sandal,which has been ofte n repeated . At the t ime of h is death
he had modelled the group of Achilles protecti ng the body of Penth e si le a ,
” which was fi ni shed by VVo Iif (1 786S ch afi n e r, M a rti n . Flourished 1 499—1535 . A painter of Ulm .
lIe modified his realist i c manner , and mu st have studied some Ital ianwork s . He excelled i n the represen tation of the innocence o f younggirl s
,as i t i s seen i n a picture of female saint s in th e Berlin M us.
His best work is a se rie s from the li fe of the Virgin, now at Munich .
His portraits i n the Besser chape l and sacristy of the Ulm Cath .
prove h im to have excelled i n thi s department of pain ting .
S c h alke n , Go t tfri e d, born at Dort (1643 Pupil of Hochstraeten' and Gerard Dow . He vi sited England i n the t ime of lVi lli am III. He painted portrai ts and some Scriptural subj ects, but hi sforte was scenes from common l ife , by candle-l ight . Many of themare no w i nj ured by change o f color. His work s are seen in theLouvre , Munich , Vienna , Dresden . Berl in , and Amste rdam gal lerie s,and a few are at Buck ingham Palace .
S ch e do n e , B a rt o lo mm e o , born at Modena (about 1 580Duke Ranucc io was hi s friend and patron , and he formed himself bystudy of Correggio. L arge work s by Schedone are rare. and hi s
pictures are be st seen in the Gal l . of N aples . The smal l n umber ofhis work s i s attributable to hi s lov e o f gaming , i n whi ch b e wastedhis time
,and died , i t i s said , from di stress of mind , on account of
losing i n one n ight more than all he posse ssed in the world .
SCHEFFER SCHINKEL . 543
S ch e fi e r, Airy , born at Dort (1 795 An eminent pai nter .
He may be styled a Romanticist . Hi s picture of Francesca da. Rimin i
,from Da n te , i s known the world over. There i s sadness of a
certai n sort i n all his works ; no hope, no cheerfulnes s . His picturesfrom Faust , M ignon , Beatrice , and others of thi s cl ass , are highlypoet ica l . He a lso represented Scriptural subjec ts, such as “ L e
Chris t Consolateur,
” L e s Douleurs de la Terre ,” Ruth and N a
omi,
” etc . His work s have been engraved by Girard , He nriqu e l
Dupont, Blanchard, and others.
ENGRAVINGS A FTER THE \Y ORKS OF A RY SCHEFFER .
Engrare r , B ER’
N ARM , Jacopo . S . Cecil ia, half-length .
Engra ver, BLANCHARD , Auguste Jean Bapti ste Marie. Christu sRemunerator .Engra ve r, CAL AM ATTA , Louis . Francesca da Rim ini .Engra ve r , DUPONT . Christus Consolator .Engrave r , L O UI S , Aristide . M ignon regretting her Country .
Mignon aspiring to Heaven .
Engra ve r, THEVEN IN ,J . Ch arle s. The Charitable Child .
S c hi av o n e , A n dre a , called Medo la . Real name Andrea Medo la,Lo Schiavone , that i s, the Sclave . Born in Dalmatia (1 522He settled i n Venice , became a follower of Titian , and a fine colorist .He w as so poor that he was forced to pain t house decoration s
,and
other l ike matters , which inj ured him ,for he des igned and executed
too hastily to do it well . His pictures are seen i n good collections .and priz ed for their extraordi nary power of color . He left severale tchings , some from his own designs, and others after Parmigianoand other artist s .S o hi e v e lb e in , He rm a nn (18 1 7 The principal work s of
thi s sculptor are i n Berl in, and are characteriz ed by a poetic co nception which displays the rich imagination of the artis t. The grandfriez e which depicts the ruin of Pompeii
, and i s i n th e Greek courtof the new Mus . at Berl in
,i s a work which di splays all h is power .
I t i s but a model i n stucco . It i s full of fascination,and meri ts being
better known . He left some fine i ncomplete works,and hi s compar
a tive ly early death leaves us l ittle more than the Opportuni ty toimagine wha t he might have done had he li ved .
S ch i lli n g, Jo h an n es . The sculptor of the groups of Day andN ight ” of the B riihl Terrace at Dresden .
S c h inke l, K arl F ri edri ch (1 78 1 This archi tect was astuden t and enthusiastic lover of Greek art . He was forced to modify his plans to suit the requirements of th e l ife of hi s time , but sofar as he was able, he carr ied out the principles of Hellen ic art. Hi sfine st work s are the theatre, the Museum,
and th e guard-house ofBerl in . His influence conti nues since hi s death
,and hi s principles
are fol lowed i n the work s of h is pupils , espec ially .i a regard to fineness of ornament and detail .
544 SCHLUTER SCHONGAUER
S c h lute r, A ndre as , born at Hamburg (about 1 662 Anarchi te ct and sculptor . The plastic ornaments of the arsenal atBerli n were by his hand ; the heads of dying Warriors above the
windows i n the court-yard are wonderfully fine . His chef tl’te uvre was
th e equestrian statue of the Great Elector , for the long bridge atBerlin . The palace s of Potsdam and Charlotte nburg were muchdecorated by Sch lii te r. A tower which he was erecti ng in 1 706
proved faulty i n cons truction , and was pulled down . This causedhis di smi ssal from work at the Pal . of Berl in , and completel y brokehis spirit . In “
1 7 13 he was summoned by Peter the Great to St.
Petersburg , but died i n a year from that t ime .
S ch o e nfe ldt , He i nri ch , born at Biberach (1609 Pupil ofJohann Siche lbe in , and afterwards went to Italy . His work s areu nequal , and he treated al l k i nds of subjects . His mythological picture s are very attrac tive , but his al tar-pieces and rel igious subjec tsare be tter . He executed numerous works fo r churches , one of thebe st being a Cruc ifixion ,
” i n Wii rzburg Cath . Jacob and Esau ,"
in the Vienna Gal l . , i s al so one of his happiest efforts . Several ofhi s picture s are i n the Dre sden Gal l .
S ch o n ga u e r,M art in , commonly called Martin Schon . This artis tflourished on the Upper Rhine , but where or when he was born i snot pos iti vely k nown . As nearly as can be j udged he was anative of Colmar
,and l ived from 1 420 to 1488 . He was a very im
portant artist for his t ime . Very few of his paintings remain, andthose are not equal i n excel lence to hi s engrav ings . He is called thepupil o f Rogier van der Weyden . His engravi ngs a fter hi s owndesign s prove him to have excelled Rogier i n feel ing for beauty andspirituality ; hi s power of i nvent ion was good . and he executed withan imation and spiri t . Hi s most importan t pic ture ‘remaining i s thato f the Virgin i n a Rose Garden ,
” i n S . Martin's ch . at Colmar ;next to thi s are the Virgin and Child ,
” the S . AnthonyHermit
,
” and the Annunciation,
” i n the Civic Library of Colmar,formerly i n a monastery at I senheim ; the Death o f the Virg i n,”
N ational Gal l . , i s probably his earl iest k nown work ; there i s acabine t picture i n th e Munich Gall . represent ing David wi th thehead of Gol iath ,
” and a few others,mostly in private hands, but the
above-mentioned are those by which he i s general ly known andj udged . A li st of hi s plate s from hi s own designs i s given below ;that of the “ Temptation of S . Anthony i s said to have beencopied by M ichael Angelo , and the “ Bearing of the Cross wasadmired by Raphae l
,while the Conversion of S . Paul is beyond
anythi ng of the German school of the same time in excel lence . Heis j ustly a very celebrated engraver , and may be cal led the fatherof this art in his country . Many critic s consider his Fl ight i nto
546 SCHONGAUER SCHWANTHALER.
appears abo ve . A Gen tleman and Lady walk ing ; Death appearsbehind a Tree i n the Background . The Last Supper . Crucifixionof S . Andrew . A set of small
,uprigh t prints , representing the Life
and Passion of Chris t .S ch o re e l, Jan , born at Sch o re e l (1 495 This painter was
probably the first of his country who introduced Ital ian art -i ntoIlo lla nd. He loved to travel , and went to Jerusalem . On hi sre turn he arrived i n Rome just when Adrian VI . was made Pope .
Sch o re e l was employed by him because he was his countryman,
rather than from a love of art . The pic ture s known to be bySch o re e l are very few . An authentic o ne i s i n th e Town Ilall ofUtrecht ; i t represents the Virgi n and Child , with donors , i n alandscape , and i s a decided imi tation of Michael Angelo and Raphael .This shows him to be a good draughtsman ; other work s called byhis name are of v igorous conception , warm color , and excel lentexecution .
S c h o te l, Chri sti an , bo rn at Dort (1 78 7 This arti s t wasa very eminent marine painter . His work s resemble those ofB ackh uyse n , but are more spiri ted and more freely e xecuted . Hispicture s are much priz ed ; several are in England . There i s a finespec imen at th e Hague .
S ch ri ek, O tt o M a rs e ns v an , bo rn at Amsterdam (16 1 3Often wrongly call ed Marce llis. T he founder and b e st painter ofthe plant and insec t school . He excelled i n representing flowers
,
birds’ nests,serpents , butterflies , e tc ; he w as true to nature and
powerful i n color . Two of his work s are i n the Dresden Gall .S ch u t , Co rn e lis , born at Antwerp (1 59 7 Vandyck
painted the portrai t of Schut among the eminent arti s ts of hi s country. He was a follower of Rubens , but was very weak in comparisonwith that master. He painted many decorative works and alsoecclesiastical subjects . His pic tures are i n the galleries of Viennaand Antwerp . There is much confus ion in the accounts of arti stsby the name of Schut.S ch ii t z , Ch ri sti a n Ge o rge ,
the Elder , born at Flo rcsh e im (1 7 1 8A good pain ter of smal l v iews on the R h ine and Maine .
His work s are numerous . They may be wel l s tudied i n the StadelInstitute at Frankfort.S c hw an th ale r, L udw i g (1802 This sculptor made
repeated v i si ts to Rome , and seems to have chosen fo r his model ,the antique as revived by Thorwaldsen . His chief work s are i nMunich
,and comprise the i nterior decoration s of the Glyptothek ,
those for the new Konigshan , two marble groups for the \Valhalla ,the statue of Bavaria , fifty -four feet i n height , twelve gil t bronz estatues of Bavarian sovereign s
,and various other statues . He had
marvellous i nventive powers and a surprisingly fruitful imagination ;i n these part iculars he rank s with th e first o f modern arti sts ; but
SCHWANTHAL ER SEGHERS . 547
i n spi te of these gifts his work s seldom ri se above what we termdecorative art , and are deficient i n power in spite of some mostexcellen t elements .S chw a rt z , Ch ri s to ph e r, born at Ingolstadt . He studied at
Venice and afterwards held a high position in the Bavarian court,
but we can say l ittl e i n pra ise of his works , which may be seen inthe Munich Gall .S c o tt , Jo hn (1 7 74 An eminent Engl ish engr aver, who
excel led in representations of al l k inds of animals . His horses and(logs are espec ially fine , and some of his plates are much esteemed .
S c o tt , S am u el, died 1 772. A good painter of sea pieces .S c o tt , Da v id, born at Edinburgh (1806 An artis t of
wonderful imagination , but negl igent in execution and often e xtravagant i n conception . His works are quite numerous when we consider his early death . lVe have not space to enumerate them .
S cre ta , Car l , born at Pragu e (1 604 He .went to Romewith lVilh e lm Bauer , and there studied th e best works of the Italians.He acquired a wonderful power o f copy i ng and preserv ing the characte ristics of different masters . His own work s are numerou s . Heloved to illustrate the legends of the saints , and evidently painted hisfigures from model s ; they are very l ife-l ike . He is said to havetwice painted his own portrai t i n the garb o f a saint . He was oftenextravagant in hi s attitude s his best works are excellent in chiaroscuro ; he had good invent ive powers , and displayed much elevatedfeel ing ; he used his brush with Spirit , and yet wi th softness . Someof hi s fine work s are in Prague .
S e b a sti an o , Pra . Se e Piombo.
S e gh e rs or Z e ge rs , G e ra rd, born at Antwerp (1 589Pupil of Van Balen and Jan ssens . He studied i n Italy al so
,where
he became an imitator of Caravaggio . He went to Spain , and execu ted work s for Phil ip III. He amassed a large fortune after hisre turn to Antwerp , and was honored there by being elected dean ofhi s guild . He painted historical, sacred, and profane subj ects . Someof his finest work s are in the churches of Antwerp, and have beenwel l engraved . Vandyck painted his portrai t, whi ch Pontius e u
graved .
S e gh e rs or Z e ge rs , Dan i e l, born at Antwerp 1590
Brother of the preceding. This eminen t flower painter used colorswhich may be called fadeless in some respec ts ; no red rose s endurelike hi s. He usually painted garlands around the pictures of othermasters
,in stead of painting whole pictures of his own . This he did
for Rubens,Cornel iu s Schut , Diepenbeek , and Q ue lli nu s. His
flowers were u sually highly finished , although at times they resembledecorative painting. He could not exec ute all h is commissions , sopopular did his works become . They may be seen in most European gallerie
548 SEMOLEI SESTO.
S em o le i , D . Se e Fra nco .
S e n e fe lde r , A lo i s , born at Munich (about 1 7 7 1 Etch ingon s tone w as a los t art which was rediscovered or reinvente d bySenefelder. His patient labor and hi s difficulties make a full accountof him very in tere sting . He publ i shed one i n 1 800, and N aglergives i ntere sting fac ts regarding hi s works , pupils , etc .
, i n hisKii nstle r Lexicon .
”
S e qu e ira , Do m i ngo s A n t o n i o de (1 760 - 1 823 Many work sby this Portugu ese painter are at L isbon . He was i n Paris i n 1 823 .
and his picture of the Last Moments of Camoens ” was muchpraised by Gerard , Vernet , and other arti sts . His pictures are veryvaried i n charac ter , embra c ing all sorts of subjec ts , but the largerportion are rel igious .S e rge ll, Jo h ann To b ia s (1 736 This Swedish sculptor
studied i n Rome, and executed antique subj ects , such as Cupid andPsyche
,
” Mars and Venus, e tc . His be st work s are i n the Mus .of Stockholm .
S e rm o n e ta , G iro lam a S c i o lan t e da (1 504 Th e disc ipleof Perino del Vaga , and one of the bes t arti sts of his t ime . AnAdoration of the Shepherds ,” pain ted by him , i n S . Maria dellaPace
,at Rome , i s a good example of his bes t manner.
S e rra , M igu e l, born i n Catalonia (about 1 653 Thispain ter ran away from his mother, who abused him , when eigh t yearsold
,made his w a v to Marse illes , and began to study. He worked
dil igently,and when seventeen painted an altar-piece which es tab
lish ed his reputation . He wa s constantly employed , and became veryrich . He was appo inted painter to the King of France , and elec tedto the Acad . for the meri t o f a picture he sent to Paris . It i s saidthat he pain ted his easel picture s very rapidly, and that one morn ingsome people waited on h im to request him to execute an altar-piece :the arrangements were made
,and he asked them to remain to dinner,
and left them to walk i n the garden . Meantime he finished th e
pic ture , and was able to show it when the meal was served . Duringthe plague of 1 721 he became poor by gi v ing al l he had for th e
sufferers . After i t was over he resumed his labors cheerfully . Hepainted two pic tures illustrating the horrors he had seen , and sentthem to his son i n Pari s , to be presented to the K ing . Th e sonsold them for his own profit . This inj ured the father’s reputati onver y much . He did not long survive this trouble .
S e s to , Ce sare da , cal led Cesare M il ane se . Flourished about1500 The early work s of this painter resemble those of Leonardo .
and he is often cal led his discipl e . Later i n life he was in the schoolof Raphael at Rome , and that master was his friend . The union ofthe Roman and M ilanese manner
,which appears in h is later work s, i s
not altogether pleasi ng . His work s are seen i n Ital ian collection sand at Vienna . He sometimes pai nted figure s i n the landscape s ofB e rnaz z ano .
550 S IGNOREL L I SIM B RECHT.
have not spac e for a description o f these great work s , but they areworthy of al l th e prai se and admiration which is given them .
'
1hearchi tectural parts are in the be st classic style , th e angel s are beau~
tiful and graceful,the imps and the los t ones struggle with inde
scribable energy , and are most fittingly represented, and , i n short ,there i s a sk ilful arrangement and suitable ac tion in all. S ignorellial so painted i n the Sixti ne chapel a large fresco of the Histo rv ofMoses , and even there he holds an honorable place among the greatpainters whose work s surround hi s. Hi s fresco is grand and suitable
FROM THE LAST JU DGMENT. BY SIGNORELLI .Pa th . o f Orvieto .
to h is subjec t i n its arrangement and proportion s . His Madonnas ,Holy Famil ie s
,and other subj ect s are seen i n al l the large European
gallerie s . He generally signed them Luca Carto ne nsis or Co ri tiu s.
S i lv e stre . A family of French engravers, five at least , i n number ,who flouri shed from 1 645 to 1 76 7 . Israel Si lvestre was the most important (1 621 and left more than 1000 print s . His subj ectswere principally landscapes , v iews, and publ ic fe st ival s .S im b re ch t or Zim b re ch t , M a t th i a s , born at Munich ; died 1 680.
The few existing pic ture s by thi s master show him to have been avery successful imi tator of Raphael . Ili s color was war m and power
SIMB RECHT SMY B ERT. 551
ful ; hi s composition was simple and hi s draperie s graceful , while afine feel ing run s through all h is works . Several of them are i n thechurche s o f Prague, where he died of the plague .
S im o n e a u , Ch a rle s , born at Orlean s (1 639 The worksof this engraver embrac e a variety of subj ects , and are well esteemed .
His brother Louis and his son Philip were also engravers .S ira n i, Gi o . A n dre a (1 6 10 A pupil of Gui de Reni
,and
a good imitator of that master . His daughter Eli sabetta was a wonde rful artis t (1 638 Although her career was o f short duration she executed more than 1 60 pictures . Her work s are seen i n theBologna Gall . When she died it w a s suspected that she was poisonedby her m aid, but no proof of thi s was obtained . Bartsch describesten etchings which he bel ieve s to have been executed by ElisabettaSiran i ; they are in a spirited style , with th e extremities finelymarked.
S li n ge landt, Pe te r v an , born at Leyden (1 640 This pupil of Gerard Dow was only remarkable for his laborious execution ,which excelled that o f ‘ h is master . His subjects were ge nre , andmostly of very homely scenes . His pic tures are seen i n several Contine ntal gallerie s.Sm i tka , R o b e rt , bo rn at Wigton (1 752 Thi s arti st was
first a coach painter,and hi s earl ie st success was in hi s pictures i llu s
tra ting Don Quixote .
” He was so much occupied i n designs forbook s that his works are not numerous . His subjects were usuallyfrom Cervantes, Shakespeare , Milton , or classical sto ries and legends.He was the father of the arch itect, Sir Ro bert Smirks .
S m i th , Jo h n . Flo u ri sh ed about 1 700; died 1 720. The mostskilful mez z otin t engraver that had appeared in the t ime in which hel ived . His pri nts number 500 at least , and are very fine . Someportra i ts after the pictures of Sir Godfrey Knel ler are among thebest of hi s work s .S m i th , Jo hn R aph a e l (1 750 So n o f Thomas Smith ,
alandscape painter. He excelled i n mez z oti n t engrav i ng ; his portraits are especially fine ; many of them are after Sir Joshua Reyno lds. This art i st was so fond of pleasure that hi s work s are com
para ti ve ly few , numbering about 1 50.
S m y b e rt , John , born at Edi nburgh (1 684 His name hasalso been spelled Sm ibert and Sw ibe rt. In early l ife he was a housepa inter , but went to London , and then to Italy, and at last came toBoston and establ ished h imsel f as a portrait pain ter . His picturesare valuable as the best pic tures we have of the early divine s andother notable person s of N e w England , rather than as works of art .These portraits are i n Harvard and Yale College s
,i n the Ma ssach u
setts Historical Society , atWorcester , Mass . , and in several familycollections i n different parts of the country .
‘His portrait of DeanBerkeley and hi s family , now at New Haven, i s a picture of great i h
552 SMY B ERT SOLARIO.
te re st , and the best work known to be from th e h a nd.o f Smybe rt.
It i s n ine by six fee t i n siz e,and con tai n s e ight figures , the artist
h imself making one of the number . The work s of thi s arti s t wereth e best pain ted in America before the Revolution . Allston thusspeaks of his copy of Vandyck
’
s Card . Bentivogli o , now at Harvardt e n I saw the original I h ad to change my notions of perfec tion
,
but add s , I am grateful to Smyb e rt for the in struction he , or ratherhis work s , gave me ; and it i s true that he greatly assi sted theN ew World painters who followed him .
S n ay e rs , Pe t e r, born at Antwerp (1 593 A painter ofscenes from military l ife . His pic tures are very animated and possess the rare v irtue (i n such su bject s) of distinctne ss . He alsopainted excellent l andscapes . He was made court painter to Archduke Albert , at Brussel s , and was employed by the Spanish court .The Vienna Gal l . affords better opportunitie s fo r j udging his work sthan any other , but hi s pictures are seen in several large Europeancollections .S n y de rs , Fran s , born at Antwerp (15 79—1 65 Thi s great ani
mal pa i nter was the pupi l of Hell Breughe l and Van Balen,the friend
and co -worker of Rubens and Jordaens , and closely al lied i n friendship to Vandyck , who painted his portrait . He executed an imals i nthe landscape s of Rubens, and the latter painted figures in the workso f Snvde rs. Like Ruben s he cou ld represent his an imal s i n ac tion
,
i n the most exc iting moment of the combat or the chase . His culinary subj ects were admirable, both for his sk ilful pai nting o f singleobject s and for his manner of grouping them . His pictures were i ngreat demand , and princes and nobles were hi s patron s at home andabroad . Phil ip V . of Spain gave him large commissions . His work sare i n al l the large European gal leries, and in pri vate collection s i nEngland .
S o ddo m a . I]. Se e Baz z i .S o gli an i , G i o . A n t o n i o (abou t 1 4 91 The pupil and
imitator of Lorenz o di Credi . His work s sometimes pass for thoseof his master , al though he was inferior to him . Some of hi s Madonnas are graceful and pleasing .
S o i aro . Se e Bernardino Gatti .S o la ri o , A n dre a . Very l i ttle can be related with assurance con
cerning the early life of thi s old pa inter . He probablv studied atM ilan , perhaps formed himself after Leonardo , and seems al so to havehad some Florentine traits . He went
,i t i s said
, to Venice , with hi sbrother , i n 1 4 90. Many of his work s remain and are scattered all
over Europe ; some o f the most intere st ing are at Milan . In 1 507Solario went to France to ornament the chapel of George ofAmboise at Gaillon . This chape l was de stroyed in 1 793 . Solariowas much admired in France , and was very popular in Italy afterhi s re turn . He was comm i s sioned to paint a large altar-piece for
554 SOL IS SPINEL LO.
Wh enfifle en hundred sixty-two
,
As Christia ns reckon, o nwarddrew,
And y ea rs I c ountedf orty-e ight,
Godpleased to cal l me from th e sta teOf m o rtal l ife ; a nd h is behestHas numberedme among the blest.
He li ved at N uremburg . His works have n o w become very rare .
He appears first to have imi tated Albert Dii re r , but la ter followedthe Ita l ian manner.S Oph o ni sb a . Se e Angu iscio la
S o u tm an , P ie te r, born at Hae rlem (159 1 The wellknown engraver of the work s of Ruben s. He also painted portraits .S pagn a , L o ,
real name Gi o . di Pie tro . N ex t to Raphael thispainter holds the place of i n teres t among the fol lowers o f Perugino .
He appears firs t as an i ndependen t ma s te r , at Todi i n 1 507 ; nothingof his prev iou s l ife i s k nown . In 1 5 16 he went to Spole to , wherehe married a lady of good family , and was an este emed citiz en . His
chef-d’
oeuvre i s a Madonna enthroned and surrounded with sain ts ,i n the ch . of S . Maria degl i Angel i , in that c ity . His works are
charac teriz ed by grandeur,severity , and lofty sentiment . Hi s
color was warm,approach ing the Venetian . Another “Madonna ”
i n S. Francesco at Assis i i s fine . His later work s are not equalto the earlier one s , for the reason that he became l ittle more than aserv ile imi tator of Raphae l , and lost hi s most excelle nt trai ts . Hisworks are seen i n many Ital ian churche s and in most large galleri e s .
S pa gn o le tt o , IL Se e Ribera.
S pi e rre , Fran c is , born at.Nancy (1 643 Pupilof Franc i s de Poilly. His
most e ste emed print s are rare.S pin e llo , A re ti n o , o f
‘
Are z z o . Flourished at the end of the 1 4 thcen tury. In the Campo Santo of Pisa thi s old master execu ted th e
frescoes of the historie s of SS. Efe so and Po li te ; i n the Palaz z oPubblico of S iena he pai nted the story of Pope Alexander III . andthe Emperor Frederic I. ; i n the sacristy of S. Miniato
,at F lorence ,
the history of S. Benedic t (wel l preserved) ; and in S . Maria degl iAngel i , at Arez z o , the Fal l of Lucifer .
” His work s are grand inconception , but sketchy and unfinished i n execution , while the colori s th in and faint . He was wel l known for his Christian charity andcharac ter , and hi s repre sentations of religiou s subj ects are spiritualand ful l of reverent feeli ng. I t i s said that he was i n his n inetie thyear when h e worked at S iena , where he was assi sted by his son ,Parri Spinello , and that after leav ing that c i ty he pain ted the Fallof Luc i fer .” In this work he became over-exc ited , and believed thatSata n appeared to him, to demand why he had represente d h im as
SPINELLO STAVEREN . 555
such a hideou s monster. From this time the old painter was terrors truck and haunted by a horrid v i sion, until he died shortly afterwards .S pran ge r. B arth o lo m e w , born at Antwerp (1 546 Stud
i ed i n I taly , and imitated Parmigianino . He was much patroniz edand adm ired , which seems quite i ncomprehen sible when we considerhi s want of fee l i ng
,cold tones , forced attitudes , etc . His one v irtue
was excellent model l ing . His work s may be well studied i n theVienna Gall . Nagler attribute s six etchings to him ; these are donei n a sl ight , masterly manner.S q u arc i o n e , F ran c esc o , born at Padua (1396 This
painter i s more distinguished as a teacher o f paint ing than for hisown work s . He was perfectly enamored of antique art , and travelled
all over I taly , and to Greece , collecting curious obj ects, and makingdrawings from the remains o f antiquity . He returned to Padua andestabli shed a school , to which great numbers flo cked . He alsoarranged a museum . He was cal led the Father of young Painters,
”
and Squ arc io ne squ e became the wel l-known word by which hisfol lowers were chara cteriz ed .
S ta ev a e rts , S te v e rs , or S te v e n s . Se e Palamedes .S tan fi e ld, Cl arkso n (1 793 Thi s Engli sh marine pain ter
was well qualified for the subject s which he chose . He was sometime a sailor , then a scene painter, and did not exhibit at the Acad.
until 1 820. From th i s time he was wel l-considered. and became sodis tingui shed as to be styled the English Vandervelde . His cloudpainting i s simply wonderful . Ruski n says : “ One work of Stanfie ld
’s presents u s with as much concen trate d knowledge of sea and
sky as, diluted , would have lasted any one of the old masters hi sl ife .
” He also prai ses “ his salt , serv iceable , unsentimental sea ,”
as thoroughly good . His chef-d’
ce u vre i s the Battle of Trafalgar,”
pai n ted for the United Service Club .
S ta n z i o n i , M a ss im o , born at Naples (1 585 This painterappears to have imitated Caravaggio and Spagnolette ,
but he wasmore noble i n his feeli ng than they, and more excellent i n his colorthan the painte rs of hi s time . He was persecuted by Spagnolettewith as much bitterness as if he had been a foreign arti st . Stan z io n i
had painted a Dead Christ , with the Marie s, over the entrance ofS . Marti no ; i t had become dark , and Spagno le tto was al lowed b ythe monks to clean i t ; he washed it i n a corrosive preparation . whichalmost ruined i t . Stanz i o n i refused to repa ir i t, i n order that thi smonument of the pe rfidy of Spagno le tto might remain . Stan z io n i
had many pupil s .S ta v e re n , Jo h an A dra e n v a n . This painte r imitated Gerard
Dow, and represented old men , hermits , etc . Hi s figures are stiffand very highly finished . His works are i n the Amsterdam Mu s.
and a few other collections , but are somewhat rare .
556 STEEN STORK.
S te e n . Jan, born at Leyden (1 626 This artist i s geni aland attract ive , i n spi te of the generally low charac ter of the scenes herepresented . He loved a jov ial , roistering life , and as a tavernkeeper was able to indulge himsel f. It i s remarkable that i n h ishalf drunken state he could have executed 200 work s of so muchmeri t. He studied first with N icolas Ka upfer, and i t i s said , with VanGoyen , whose daughter he marri ed . He w as fond of the ludicrous ,espec ially in children , and some of his works repre se nt them i n mischief and i n play . He painted the Alchemi st with terrible fo rce ,and sometimes chose such homely scene s as a Mother feeding herChild , a Poor Family saying grac e before the ir scanty meal , e tc .
His work s are much adm ired , and deservedly so. but unha ppily hesometimes degenerated in to so carele ss and vulgar a manner, thatthere i s much distinc tion to be made between theui . They are seenin most large collec tions . A very fine one at the Hague il lustrate sthe proverb, Wie die Alten sunge n , so pfeifen auch die Jungen .
”
The pai nter and h i s family are here portrayed . Another in the sameGal l . , cal led a Repre sentation of Human Life
,
” i s a c-kgf-d
’
oeu vre .
S te e n .Fran c is v an de r, born at Antwerp about 1 604 . This arti stdi sti nguished himself by his engrav ings after Ten iers . He al so madeplate s after other masters , among which were thre e after Correggi o,whi ch are now rare . They are Cupid shaking his Bow ,
” Jupiterand lo ,
” and Gan y mede . These were made from designs by VanHe y , after the Vienna pictures .S t e e nw y ck. He ndrik v an (1 550 This master became
an excellent architectural painter , and was the first to introduce theeffec t of torch and candle light upon architectural forms . His fineperspective gives his works the ir highest value . They are seen toadvantage i n the Vienna Gall . His son Hendrik pa i nted in th e samemanner as th e father .S t e lla , Cla u di n e B o u so n n e t. born at Lyons (1 636 This
lady disti nguished herself by her engrav ings after the work s of h e runcle
, James Stel la, and those of N icolas Pous si n . Sh e was espe
c iallyhappy i n rendering the spiri t of the pic tures of the latter, andher pl ates are much este emed .
S te ph an , M e is te r. Se e L o th e ner.
S te ph an u s , Ha ns . Se e Calcar.S to n e , Prank. born at Manchester (1 800 This Engl ish
genre painte r was graceful and pleasing in style . Man y of his work sare known by good engrav ings . Among these a re. The L as t Appeal
,
” The Gardener's Daughter ,” “ The Impending Mate ,
"
“Mated ,” Ophel ia and the Queen ,
” etc .
S to rk. A b ra h am , born at Amsterdam (1 650 An imitatorof B a ckh uyse n ,
to whom he was very i nferior. His work s are seenin the German galleries . He also etched a. few plate s in a slight,spiri te d manner.
558 STUART STUERB OUT.
Scotl and and later i n l ife studied with Benjamin Wes t i n Lo ndon,
where he painted portrai ts of Si r Joshua Reynolds, Benjamin \Vest ,Alderman Boydel l
, John Kemble, W. VVo o lle tt, Dr. Fothergill,and
others of les s note . He re turned to America i n 1 793 and res ided inN e w York
,Philadelphia , and \Vashington alternately until 1806 , when
he settled i n Boston . His portraits of Washington are be tter knownthan his other work s , but hi s pictures are numerous and are in posse ssion o f many famil ies i n different parts of the country . He paintedthree pictures of Washington from l ife ; the first was not successful
,
and he de stroyed i t ; the second was a full length l ife-size , paintedfor the Marqui s of Lansdowne ; i t was badly engraved by Heath , andhis print is often seen in thi s country ; the third pic ture was that nowin the Bos ton Athenaeum . Of the se pictures he made twenty- sixcopies . Two of his earl ier works are i n the Redwood Library atN ewport ; a portrait of Ge n . Oliver Walcott i s i n the WadsworthGall . at Har tford ; a canvas wi th three v iews of the head of MadameBonaparte i s i n the Col l . of the Bal timore Historical Society ; theMassachusetts Ilisto rical Socie ty has a portrai t of Jeremiah Al len ,‘
and an unfini shed one o fEdward Everett ; these are but a few of th emore well-known of his works ; Philadelphi a has perhaps more of hispicture s than any other ci ty . The Boston Athenaeum has
,besides
the portrait s of George and Martha Washington , four others by hishand . His male portraits are the bes t, and are remarkable for theirfreedom from al l afle cta tio n , and excellent representation of the i adividual character of hi s si tters .S tu e rb o u t , D i e ri ck. This painter, a very important arti s t of his
time , was probably born about 1 39 1 , and i s often called Die rickvan Ha e rlem , from his birthplace . Every circumstance and pro bab ili ty i ndicates that he was a pupil of Hubert van Eyck . In 14 6 1 hewas l iv ing i n Louvai n
,and was appoin ted Po rtra i te ur to the c i ty.
His earl ies t known work i s probably the serie s o f e ight picture s ofthe History of S . Ursula, i n the Hopital des Smurs N oires, at Bruges ;these are ascribed to Meml ing ; they were probabl y executed m 14 26
Next i n order are two pictures belonging to a large al tar-piece , onein Munich Gall . Cabinets , N o . 58
, and the other i n the chapel of S.
Maurice at N uremburg . Then comes a smaller al tar-piece i n theCath . of Bru ges ; then the Martyrdom of S . Era smus i n S . Peter’sat Louvain
,about 1463 ; i n 1 16 7 the large al tar-piece in the same eh . ;
the wings o f this are separated , a part be ing i n the Munich Call. anda part in the Berl in Mus . His large s t and lates t works were exeo uted for the Town Hall of Louvain , and were completed i n 1 4 68 .
These passed into the Royal Coll . of Hol land , and were purchased byMr . C . J . N iew e nh uys at th e sale by the Dowager Queen , after thedeath of Will iam H . In the Town Hall at Louvai n they were afi ixedto th e wall , and beside each was a panel explai ning the subj ec t andmeaning of the pic ture . They il lus trated an old legend of Louvain,
STUERB OUT SUL LY . 559
that the Emperor Otho III. had , on the te stimony of his wicked Empress
,executed a noble o f his court ; the wife of the noble proved her
husband’s innocence by submi tt ing unhurt to the ordeal of fire, andthe Empress was condemned to the flames . He was paid for theseworks 230 crowns
, and commissioned to paint others wh ich he didnot l ive to fini sh . His rel igious pic tures are solemn , restful , andsli ghtly melancholy in tone , and of the pecul iarl y devotional character which belongs to the N etherlandish school in early days . Hisdes ign was picturesque ; hi s proportions were too slender i n figures
,
but the heads were expressive and indiv idual sometimes beautifulhi s hands were wel l drawn , and h is drapery excel len t ; but his color,his landscape backgrounds , and his execution were his best features .His color was more powerful than that of any painter of his school
,
and the softnes s of his red and green draperies , and of the greens ofhis landscape s, i s worthy of much praise . There is a considerablenumber of pictures attributed to him ; those mentioned are the mosteasily seen , and are most characteri stic .
S u ardi , B art o lo m m e o , cal led B ram antino , the Younger. Born atMi lan . F lourished about 1 520. Pupil of Bramante of Urbino
,or
Donato Laz z ari . One of Suardi ’s best work s i s in the Brera,and
represents an enthroned Madonna , with two angels ; i t i s attractivein expression , softly modelled , and striking, rather than beautiful .Other work s of his are in M i lan
,but hi s best efforts are in the chapel
of S . Bruno in th e Carthusian convent at Padua . They represent thefamily of the Visconti, on their knees, presenting a plan of thebuilding to the Virgin .
S u b le y ra s , Pi e rre (1699 This French painter studiedfirst with Antoine R ivalz at Toulouse, obtained the priz e and royalpension by his exhibition of his picture o f the Braz en Serpent . ”
He went to Rome and passed the remainder of his l ife . He was muchesteemed
,and his altar-piece i n -S . Peter’s , representing S. Basil
celebrating Mass before the Emperor Valens,” was copied in mosaic s
before his death . This has been engraved by Domenico Cu nego .
The work s of Subleyra s are i n many churches of Italy, and in severalContinental galleries . He also executed a few spirited etchings fromhis own designs .S u e u r, Eu s ta c h e L e , born at Pari s (1 61 7 Pupil of Simon
Ve net . The spiri t of this painter was not in accordance with thespiri t o f his country in his time . N ow he is called the Raphael ofFrance . His chefi -d
’
ce u vre were the scene s from the life of S . Bruno,now i n the Louvre .
S ully , Th o m as , born at Horncastle , Lincolnshire, England, 1 783.
His parents,who were actors, came to America i n 1 792. Sully com
weneed his studies as a painter i n Charle ston, S . C . He was i n
Richmond , Va ., i n 1 8 1 3, and went a li ttle later to Ne w York , but set
tled in Philadelphia . His portraits are too well known to need any
560 SUL LY SY RLIN .
desc ription or word of pra i se here . His picture s of women are thebe st, and are ofte n wonderful in the ir gra ce and spiri tue lle n e ss. Hepaints th e mind as wel l as the face , and never represents anyth ingbut well-bred , cu ltivated men and women . Many of his be st portra its are i n th e Philadelphia Acad . o f F ine Arts : that of Jefferson i sat West Point ; Washington crossing the Delaware ,” i s i n the Boston Mus . ; M . O . Robert s of N ew York has hi s “ Woman at theW’el l and Girl offering Flowers at a Shrine ;
” hi s picture ofQueen Vic toria, pain ted from l ife i n 1838 , i s owned by S . George ’sSoc ie ty of Philadelphia . Sul ly painted portra i ts of many fine ac tors,among which are Fanny Kemble , Charles Kemble , Cooke , Mrs.
Wood , etc . Two of hi s portrai ts are owned by the Boston Ath enaaum .
S u nde r. Se e Cranach .
S u ste rm ann .L am b e rt . Se e Lambert Lombard .
S u st e rm a n s , Ju s tu s , bo rn at Antwerp (159 7 When quiteyoung he went to F lorence , where he pas sed his l ife . He was an exce lle nt drau ghtsman , a fine colori st , free i n his exec ution
,and
altogether reali st ic . He painted histori cal and rel igious subj ec ts andportrait s . Many of his po rtrai ts and other works remai n in Florence ;th e Berl i n Mu s. and Vienna Gall. posse ss hi s works
,and some are in
private Engli sh col lection s .S u y de rh o e f, Jo n as , born at Leyden (1600—1 668 An eminent
designer and engraver , whose pri nts are highly esteemed . He e n
graved various subjects after d ifferen t masters . He used bo th pointand graver ; hi s plate s are neatly finished and yet spiri te d, and h ischiaro-scuro i s unusuall y good .
S w an e v e lt , He rm an v an , born at Woerden (1 6201 656 Th is ~Du tch painter went early to Ro me andbecame th e pupil of Claude Lorraine . His landscapesare seen i n many gallerie s, and while they are taste
fully composed , wel l drawn , and have good atmospheric effects, theyare so cold and gloomy i n to ne, and so over n icely fini shed
,as to lose
their effec t. But the e tchings of Sw an eve lt can scarcely be toohighl y prai sed . They are numerou s, and a large pre portion reprosent v iews near Rome . Figures represen ting mythological or B iblica l storie s are usually introduced with good effec t. He has alsorepresente d an imal s i n a few , and these are adm irally drawn andexecuted . He used both dry poin t and graver , and made more dotsth an lines . They are al l i n a free, m asterly, and spirited manner , andare among th e most beautiful e tchi ngs found in th e portfoli os of col~
lec tors .S y rli n , Jo rg. Flouri shed during the las t hal f o f the 1 5 th century .
Th e principal work s of th is sculptor are at Ulm . A singi ng-deskpreserved in the Mus. i s be li e ved
'
to be hi s earl iest work of importance
,and bears date 1 458 . The sple ndi d stoo l, and th e cho ir s talls,
5 62 TATTI TEN IERS .
Ta tti . Se e Jac opo Sansavino .
Ta u ri s cu s . A sta tuary of Tralles, who assi s te d to make th e
Farne se Bull . ” Se e Apollon ius .Tem pe l. A b rah am v a n de n (16 1 1 Pupil of George van
Schooten . He painted small hi s to rical subj ects,which he fin ished
wi th great nice ty . He is called a teacher of F . M ie ri s,the Elder .
He also painted remarkably fi ne portra its , which are mostly i n private familie s . A pic ture of a noble-look ing man and his wife i s inth e Berl in Mus .
Tem pe sta , A n t o n i o , born atFlorence (1555 The painti ngs of this artis t are battle scenes
.
huntings, proce ssions , e tc . , and are
of li t tle moment when compa red with his numerous etch i ngs . Theseare numbered as 14 60 by Bartsch , wh i l e others give them at 1 5 1 9.
They are masterly i n man ner, and well e steemed . The earl ie st i s of1589 , and the latest 1 6 27 . One of t he “ Cruc ifixion
,
” in scribe d ,A n t. Tempestcs, 1 6 12, i s scarce .
Te m pe s t a , P e te r. Se c Mo lyn .
Te n i e rs , Dav i d, the Father, born at Antwerp
(1582 He was some time i n Rome,and b e
came a disciple of Adam Elzhe im e r. In m any'
o f h i s
work s the landscape i s a very important part, but he usually treatedBiblical, m ythological , and peasant-l i fe subjects . His earlier work s
,
some of which may be seen at Vienna, are much heav ier than hislate r ones, s uch as a “ Village Fair , i n Dresden . There i s nodoubt that the weaker efforts of the son are often attributed to thefather. They both executed some etchings , and i t i s diffi cult to
discriminate between them , as the y are similar in manner , and havethe same mark .
Te n i e rs , Da v id, th e So n, born at Antwerp (1 6 10 Themost eminent genre painter of Belgium . He was instructe d by hisfather
,but was very much i nfluenced by Rubens . His talents and
pleasing personal qual it ie s gained him universal favor and m anvhonors . His first w ife was the daughter of Jan Breughel . and th e
second a daughter of th e Secretary of State fo r Brabant , Isabelle deFren . He was much favored by the Archduke Leopold lVilliam .
and by Don Juan of Austria ; beside s th i s , he rece ived commissionsfrom several other courts , and was so fort unate as to be able to l ivei n handsome styl e at his home at Perck , be twee n Mechl in andVilvorde , where he went i n order to be near the c lasse s whose li feand habits he portrayed so admirably . I t i s said that he was act iveand industrious up to the time of his death . at eighty-fo ur
'
ve ars o f
age . He excelled in imitating th e style s of differen t masters , andso me of his pasticcio s were very remarkable . T he Vienna Gall .h a s a work of hi s , which represents th e wall of a room hung with
TENIERS .563
fifty pictures,imitating those of Italian masters, wi th the painter and
the Archduke conversing i n the foreground . His sacred subjectsare his least meritorious work s ; he excel led i n guard-house scenes,peasant l ife in every aspect , representations of the alchemist , i nwhich he i s unequalled
,and fairs and festival s of all sorts . His
l ight,brill ian t touch
,his exquisite coloring , especially in detail , and
his picturesque arrangement are perfection ; hi s fault i s a monotonyin heads and a certain coldness in feeli ng ; on account of thi smonotony
,his be st pictures are those wi th fewest figures . His works
PICTURE BY TEN IERS.Madrid Gall .
so numerous and so excel lent , that it is very difficul t to mention asmal l number and do him any good degree of j ustice . The Louvre ,Vienna , Munich , and Madrid galleries are richer in hi s best work stha n other public col lection s ; there are fine pictures of his in privategalleries in England . Smith describes 900 pictures by him whichmay be counted on as genui ne , and 100 more at le a st 'are known .
Some of his work s are la rge, but the most are of medium and smal lsiz es . One at Schlei ssheim was thirteen and a half by ten feet , andcontai ned 1 1 38 figures ; others have from 1 50 to 300 figures . Hispictures sel l for very large sums, and are in al l large galleries . As
564 TEN IERS .
before sai d , i t is diffi cult to spea k of his e tchi ngs , as they cannot beseparated from those of hi s father wi th any degree of certainty .
ENGRAVINGS AFTER THE WORKS O F TENIERS, THE SON .
Engra ve r , AL IAM ET , Jacques . Two plates of the Sabbath .
Engraver, AV EL IN E , Franc is Anthony . The Flemish Music ian .
Engra ve r , BAI LL I E , Capt .Wi lliam . The Interior of an Ale-hou se ;very fin e .
Engraver, BARON , Bernard . The Card Players. The Temptationof S. Anthony .
Engraver , B AS , James Philip Le . Teniers and hi s Family ; fine .
The Work s of Mercy . The Prodigal So n . Large F lemish Fe stival,
with Teniers and his Fam ily .
Engra ve r , B ASAN , Franci s . The Card Players . An Incantati on .
Engra ver ,B EA U VA R L ET , James F irm in . The Tric-trac Players .
The Bagpiper .Engra ve r , BROWN E , John . The Kitchen .
Engra ver , BRUGG EN , John Vander . An Old Peasant, and a Girlplaying on a F lute . A Man drink i ng , and a Woman smoki ng.
Engra ve r, CANO T, Peter Charle s . The Amorous Toper . TheDutch Smokers .Engra ve r , CHEDEL , Quintin Pierre . Daybreak, a Landscape .
Engra ve r , GODF RO Y , Franci ss Amusement of Brabant .Engra ve r , GO L R ,
John . The Tooth-drawer .Engra ver , GRE ENWOO D ,
John . The Good Friends.Engra ve r , HOLLAR, Wence slaus . James H.
,when Duke of York ;
scarce .
Engra ver , HOUSTON ,Ri chard . Temptation of S . Anthony.
Engra ve r , KA U PER Z, John Vitus . A Peasant smok ing.
Engra ve r , LAURENT or LAWR ENCE , Andrew . A Conversation .
Engra ver , LEMPEREUR , Louis Simon . Two plate s, F lemi shMerry-mak ings .Engra ve r , L EM PER EUR , Catherine El iz abeth . The M ilkma id .
Engra ve r , L EPICIE, Ren ée Marie Eli z abeth . The Flemi sh Cook .
Engra ve r , MAJ OR , Thomas . Two Flemish Festivals .
Engra ve r, MA SQUEL IRR ,Louis Joseph . A View in F landers ,
etched by Ma squ e lie r and fini shed by Le Bas .Engra ver, PETHER , W i l li am . A Village Festi val .Engra ver, PITTER I, Gio . Marco . Twelfth N ight . Two Rust ic
Subj ect s .Engra ver , SOM ER , John Van . A Flemish Concert .Engra ver , SOR N IQ U R ,
Dominic . Peasants regal ing .
Engra ve r , SPOONER , Charle s . Peasants regaling .
Engra ver , SULIVAN , Luke . The Temptation of S . Anthony .
Engra ve r, SUR RUGUE, Lo uis. A Flemi sh Merry-mak ing . TheFortune Teller .
5 60 THEOTOCOPULI THORWALDSEN .
Queen Margaret of Austria, w i fe of Ph i lip HI. Th e o to copuli i ssometimes confounded with Domenico del le Greche , who was, perhaps
,hi s father ; certainly b e was older than 11 Gre co .
Th i e le , Jo hann A le xande r, born at Erfurt (1 685 Firsta soldier , the n a land scape painter , he was appointed to the serviceof King Augustu s of Poland . The Dresden Gal l . has forty-six of hisworks, whi ch di splay both goo d and bad qual i tie s . They are truthfulin drawing and careful ly executed , but the color i s not at tractive .
Th o rw a lds en , B e rt e l, born i n Copenhage n So n ofa poor wood-carver , who i ntended him for the same profe ss ion . Heearly showed a taste for sculpture , and was sen t at the age of elevenyears to th e free school of the Royal Acad . of Fine Arts . He showedno talen t for anything not connected with his art , and was never aman of l i terary culture . Wh en seventeen years old he took a priz e ,and when twenty-three gained the grand priz e which enabled h im totravel and study . Several of hi s earlies t works are i n the Acad . atCopenhagen . He had rece ived good preparatory in struct ion i n hisnative city, where the best model s were placed before the students, butwas crude and unfin ished i n manner . On account of various hi ndrance s he did not arrive in Rome un til 1 79 7 . He i s represented atthis time as indolent i n e ve rvth ing but hi s favorite pursui t, and evenin matters regarding that he seemed almost as i f in a dream . But thebeautie s of the antique which h e saw arousedhim , a nd he was accusto m ed to cal l the period of hi s arrival i n Rome th e day of his birth
,
meaning that then he first real iz ed h is powers and des ired to perfec tthem . But he was embarrassed p e cuniari ly , and so affec ted by thec l imate as to suffer in health . The archaeologi st
, Zoega ,was his
friend , and the young man was nev er satisfied wi th anything thatZoe
'
ga could not prai se. He occupied himself i n copying from theworks of antiqui ty, made models only to destroy them , made a fewstatues such as Achil le s rai sing Penthe silea ,
” and Bacchus“
andAriadne,
” but accompl i shed nothing which established a reputat ion,
until he model led his Jason .
” Thi s was cast i n plaster in 1 803 . It
was admired , but he rece ived no orders . He had been s ix years th edependent of the Acad .
, hi s money w a s gone , and wi th sad heart heprepared to leave Ital y
,when Mr. Hope changed all his life and for
tune, by givi ng him a commission for the “ Jason ,” i n marble . It was
not unti l 1 828 that this good patron received the statue completed,and much blame has been attached to Thorwaldsen fo r his apparent i ngrati tude but. our l imits do not allow a statement of theease . Meantime , i n the house of hi s friend Zoe
'
ga , he had met aRoman girl
,A nna Maria Magnani , whom he passionate ly loved , and
who was a po we tful i nfluence i n hi s l ife . She seems to have loved
1 Tho se who claim tha t the N o rsem en disco veredAmerica relate that duringtheir stav upo n o ur co a st a ch i ld was bo rn , fro m whom Tho rwaldsen’s desce nt isdistinct ly traced.
THORW'
ALDSEN . 567
him as fondly a s her nature would allow , but she married a man offortune whom she did not love . M . d
’
Uhde n . Sh e succeeded at thesame time in retain ing her hold upon the artis t, and he signed anagreement to prov ide for her i n case of a rupture wi th her husband .
This soon came,and in 1 803 he received he r into h is house
,where
she l ived,tormenting him by her temper and j ealou sy, and loving him
by turns,until 18 19 , when sh e disappears from his l ife . Sh e had
borne him a daughte r for whom he prov ided and arranged an honorable marriage . In 1 803 he made the acquai n tance of Baron vonSchubart , Danish ambassador at Naples , who with his wife did muchfor the art ist ; they were never weary of having him at their home ,at Montenero . From 1 804 his fame was establi shed, and he wasnever able to fulfil al l the commission s he received These camefrom al l countrie s . He was courted in al l soc ieties ; he was praisedfor his art
,and beloved for his agreeable and pleas ing manner ; he
was made honorary member o f many academie s, and was finally,
after the death of Canova, elec ted President of the Acad . of S .
Luke,although a Prote s tant. This was i n 1 825 . It was i n 1805
that he produced his first important ha s-re lief,the Abduc
t ion of Brise is ,” and i t was not long before he stood first in that
branch of his art . In 1 8 10 he was made a Knight of Danebrog,and
his countrymen were becoming very impatient for hi s return to hisnat ive land . I t was not unti l 1 8 1 9 that he compl ied with their wi shes
,
and then h is stay was one great ovat ion . But i n 1 820 he returned toRome , with hi s mind ful l of new work s which he was to execute . Itis impossible to tel l of al l the honors paid him , and the places he v i sired , as i t i s to give an account of the orders he received and theworks he did . They would fi l l a volume . In 1 8 30he went to Munichto superi ntend the final arrangements of the monument of the Dukeof Leuchtenburg. The King of Bavaria had long been his friend andpatron . He returned again to Rome , and not until 1 838 did he goto Copenhagen to remain . Then he was received with every possiblehonor , and surrounded b y friends who min istered to his remainingyears i n every way which could contribute to his happines s . Againin 184 1 he v isi te d Rome , for the last time , and his journey there andback to Copenhagen was one series of most flattering recep tions ande ntertainments . He had l ived at Copenhagen in apartments arrangedfor him in the Charlottenburg Pal . (the Acad . of F ine Arts) , andthe pe ople by public subscription , and with the help of the c ity , haderec ted th e Thorwaldsen Mus which is so grand a monument tohim . When he returned to Copenhagen for the last time i t was j ustcompleted . and here he was received the day after hi s
:
arrival . I thad been hung with garland s fo r the occasion
,and he wen t over the
whole building and into the court,where he was to be buried . Here
he stood with bowed head , while al l kept s ilence . Can any one tellthe thoughts that must have fil led his mind , or imagine the feelings
568 THORWALDSEN.
o f hi s heart ? Here h e must be buried , yet her e must he li ve in theglorious works of hi s hand which would remain to testify to hi s immortal ge nius . Thorwaldsen li ved three years longer, and was alwaysbusy . His mind was unimpaire d , and hi s powers of conception quickand strong , but his execut ion lost i n exqui si te fin ish , and was u n
equal . He went much into society , was fond of the theatre, and underth e care of a devoted servant , \Vilke ns, enj oyed all the comforts andpleasure s possible to a man of seventy-four. The Baroness vonS tampe was never weary i n showing him the k indes t attent ions ; hepassed much time at her home at Ny soe , where he had a studio . Onth e 24th o fMarch , 1 844 , she went for hi m to dine at her house . Hehad not been wel l that day , and wished to remain at home , but sheh ad i nvited other friends to meet him , and hi s daughte r , then in Co
pe nhage n , was al so to be of the party . He was modelling a bust ofL uther. The Baroness persuaded him to leave it
,and he threw down
be fore th e bust hi s handful of clay , and thrus t his trowel into i t . Henever too k i t again , and the bust and clay , j u st as he left i t, are nowseen in theMu s.
, preserved under glass , with the pri nt o fhis hand inthe clay . He ta lked gayly with his friends at dinner , and in speaking of the Mu s. said that he could die when he chose . since Binde sbo l l had fini shed his to mb . Whi le driving he met the arch itect , andother friends . After dinner he went to th e theatre , and i t was thenseen that he was il l . He was taken out w ith al l haste
,but when laid
on a sofa i t was found that Thorwaldsen was dead . The Charlottenburg joined the theatre , and there , i n the hal l of ant ique sculpture ,he was laid . He was carried to th e Frue Kirke , wh ich he had sobe autifully adorned with sculpture s , and there he re st ed for ne arlv
four years,when , i n 1848 , his body was borne to th e vault i n the
cen tre o f the Thorwaldsen Mus.
, where above i t grows the evergreenivy
,a fi tting emblem of tha t fame which can never fade . Thiele , i n
hi s magnificen t book cal led Thorwaldsen and hi s Works ,” gives
plate s and describe s 205 work s by th is master . This shows at oncehow impossible i t i s to Speak of them wi th any degree of satisfac tionhere . But as one journeys from Ro me , where i s h is tomb of Piu s VII.and the monument of Card . Consalvi, to Copenhagen , where i n th e
Pru e Kirke and th e Thorwaldsen Mus. so many of hi s sculptures aregathered
,there are few ci ties not enriched by some w ork of his hand.
Among his greater work s may be mentioned the friez e at the Quirii nal Pal . i n Rome , representi ng the entry of Alexander into Babylon ;the Lion of Lu cerne ; the s tatues , groups, and has re l iefs for the Fr ueKirke at Copenhagen ; more than th i rty sepulchral and commemorat ive monuments i n vari ous countrie s and c itie s ; a series o f sixteenha s-reliefs of the his tory of Cupid and Psyche ; twenty bas-rel iefs ofGenii ; twenty-two of figure s from antique fable, etc .
, e tc . Thorwaldsen has bee n cal led a posthumous Greek , and i t i s tru e that i n himthe spirit of antique sculpture seems to have rev ived . N o circum
570 TINTORETTO .
the others are coarse and unfini shed i n execution ; his color h a ssuffered from time , and i t i s not surprising that we enjoy his portrai tsmore than hi s other pictures . These are much more carefullytreated th an hi s large subj ects ; they are freely and even grandlyconce ived
,and are ful l of l ife . Some of his pain tings are enormous ;
i t would seem that the larger the canvas , the more he was pleased .
One of his work s i s 74x30 fee t, and the scho ol of S . Roch has 5 7large composition s of h is, in whi ch many of the figures are l ife-siz e .
His two most famous pictures are the “ M i racle o f S . Mark ,” i n the
Acad . of Venice,and the Crucifixion,” i n the school o f S . Roch ;
A LLEGO R ICAL PICTURE BY T i m o nn'm'o .
[n the Doge’s Pal. , Venice.
the latter i s probably , all things cons idered , hi s best work . I t i sl ike a great th eatrical representation , i n which are crowds of figureson foot and on horseback , with al l imaginable expressions and movements . The immense canvas referred to i s i n the Doge ’s Pal . ,and represen ts
“ Paradise .
” A smal l sketch of i t , by his ownhand , i n the Louvre, i s much pleasan ter . Among his wors t productions i s the Last Supper , i n S . Trovaso . S . John i s fastasleep ; another apostle i s uncovering a dish upon the floor
,from
which a cat is also eating ; a chair i s overthrown as i f there hadbee n a sc ufii e ; some o f the twelve are ask ing
,
“ Lord,i s i t I ?
with ges tures absol utely burlesque, and the whole work is wanting
TINTORETTO TITIAN. 57 1
i n the dignity which be longs to the subj ec t or to art. One ca n
scarcely real iz e that i t is the same scene which Leonardo depicteda cen tury before .
‘A por trai t o f a ball-headed man is in the Louvre
,
a nd three fine ones are at Berl in ; several work s of h is are i n theNational Gal l . and other collections i n
,
England . Marie tta Robusti
(1 560— 1 590) was instructed by her father , and became so good aportrait painter that she was i nvited to Spain by Philip H.
,but her
father could not consen t to a separation from her . Sh e h as leftsome excellent pictures .
ENGRAVINGS AFTER THE WO RKS OF TINTORETTO .
Engra ve r, CARRACCI , Agostino . The Great Cruc ifixion ; in threesheets . S . Jerome , with a L ion, regarding the Virgin in the Clouds ;
Mercury and the Graces .
Engra ve r , DESPLACES,L ouis . The Purification .
Engrave r, FIA LETTI , Odoardo . The Marriage in Cana ofGali lee .
Engra ver, HORTEM EL S , Frederic . The Birth of S . John Baptist .Engra ver , JACKSON , John Bapti st . Martyrdom of S. Mark .
Murder of the Innocents .Engra ve r, K IL I AN , Wolfgang . The Assumption of the Virgin .
Engra ver , K I L I AN , Ph il ip Andrew . The Adul teress beforeChrist .Engra ver , LEONARD IS , Gio . The Golden Calf ; 1 768 .
Engra‘
ve r , L o nnxz xxl . Fra Antonio. S . Augustine , with a Gloryof Angel s .Engra ve r, MANN ] . or MA ENN L
,Jaco bfi Susanna at the Bath .
Engra ve r , MELLAN , Claude . Rebecca meeting th e Servan t o f
Abraham esteemed his best print .Engra ve r , MITELL I , Giuseppe Maria . The F i nding of th e Cross .Engrave r, SADEL ER ,
Gile s . Murder of the Innocents . The LastSupper .Engra ve r, VA ILLANT , Walle rant . The Bust of a Warrior.Engra ve r, VISSCHER , Cornelius . The Entombing of Chris t .E ngra ve r, VO LPATO , Gi o . The Marriage in Cana .
Tis i o . Se e Garofalo .
Ti ti an ,real name Tiz iano Vecellio , called Da Cadore . Born a t tlu
castle o f Cadore in Friul i (1 4 77 When ten y ears Old he h ad
tlre ady shown hi s inc li nation for art , and was sent to Venice to th e
care of his uncle . His first i nstru ctor was Sebastian Zucca ti . l i e
w as afterwards the pupi l of both Gentile and Gi o . Bellin i . Y oung ashe was he felt a dis satisfact ion with all the painting he had seen , buti n the school of the Bellini he acquired correc t drawing and thepower of perfect imitation . I t was not unti l he saw the work s ofGio rm o ne that h e real iz ed what p a i nting might become , and fromthis time he followed the leadings of his o wn aspiring geniu s . Wh en
572 TITIAN .
eighteen : years old Titian painted a portrait of the noble B arbarigowhich excited uni versal adm irat ion , and soon after he was employedwith Giorgione to paint the two fronts of the Fondaco de Tedeschi .That of Titian was preferred , and added much to h is growing reputation . In 1 5 1 1 Giorgione died , and Ti ti an succeeded him i n impo rtant commission s i n which he h ad been employed . In 1 512 Gio .
B ell ini died , leav i ng unfin i shed a painting i n th e Sala del Gran Consi gli o ,
wh ich Titian fi n ished . In 1 5 14 h e was inv ited to Ferrara bythe Duke Alfon so, for whom he painted his celebrated pic turcs ofB acchus and Ariadne and other fabulous subjects . At Ferrara hemade th e
'
acqu ainta nce of Ariosto , and became his intimate friend .
He pai nted the portrait of the poet , who , i n turn , introduce d him into
h is Orlando Furioso .
” From thi s time Tit ian received al l thehonor that could be conferred upon an artist . He not only paintedthe portraits o f Popes , princes , and celebrated men , but he associatedwith them as a friend . i n 1 548 he went to Rome , where, i t i s said ,M ichael Angelo v i sited him . We are told that he prai sed the coloring of Titian , but . lam e ntcd that he paid no more atte ntion to design .
Before this time Ti tian had become the friend of Aretino . I t hasbee n sa i d that Titian v isi ted Spain but this i s not satisfacto ri lyproved . In truth , the letters of Aret i no to Titian and other friends
,
written between 1 530 and 1555, which may be said to record the
movement s of Titian , make no mention of a j ourney to Spa i n . Someof h is finest picture s are in the royal palace s at Madrid
,and some of
his best portrai ts,were of the royal family of Spain . But i t is well
known that many of his pic ture s were not painted from life,and that
of the Empress I sabella was finished at Venice i n 1 544 . The Em
pe ro r Charle s V. was a most l iberal patron of Titian,and he
attended him twice at Au gsburg. He died of the plagu e whenalmost a century old , and hi s late st work s have been likened to th e
fool ish prattle of old age . As a colori st Titian has never been ap
pro ach ed. In tru th, his color i s so near to nature that i t i s almost anillusion . As a painter of portrait s he claims th e highest rank
,and
hi s landscape s were most excellent . But i n his historical and othersubjects he fall s short of the ideal
,and hi s characters see m rather de
signed from l ife about h im than from the arti st’s conception of whatthey m ight have be en . Hi s pictures a re very numerous
,and found
in almost every col lection . The finest of hi s early works i s Christwith the Tribute Money , i n Dresden . Of hi s sac red pic tures
,
painted late r in l i fe , the great Assumption of the Virgi n ,” i n the
Acad . of Ven ice, i s beautiful and wonderful in the effec t which i sproduced by the manner i n which the Virgin i s borne on the clouds
,
as . i f div inely impelled , without the customary attendant angels.
Th e Entombment of Chri st ,” i n the Manfrin i Pal . . a t Venice
,
perhaps the . most important work of Tit ian . I t i s,at leas t
,the best
e xi sting represen tation of the subj ect , and has exerc ised more i n
TITIAN . 575
flue nce upon art than any other Venetian pic ture . It i s highly fini sh ed; the arrangement of the figures i s excellen t ; beauty of form ,
dignity of expression and ge sture , combi ned with deep feel ing andgreat emotion, m e all there , but above al l i s the general expressionof sorrow . A repetition , i n the Louvre , lS almost
0
equal to the original i n Venice . Of a different clas s i s the Presentation of the Virgin i n the Temple ,
” al so in the Acad . at Venice . It i s incomparablei n color
,and represents a cheerful company , from all c lasses i n l ife ,
fi lled with curiosity and sympathy . Titian pai n ted many al tar-piecesrepresenting Enthroned Madonnas and the u sual clas s of subj ects .Some excellent ones are in the Dre sden Gall . , the Escorial , the PittiPal . , etc . Two other celebrated pic tures are the S . Peter Martvr
,
” i 1SS. Giovanni e Paolo , at Venice , and the Martyrdom of S . Lorenz o,i n the Je su i t’s chu rch , at Venice . The first of these has long beenplaced in the highes t rank of excellence . His masterly representat ion of the nude female figure may be seen i n the two Venuses i n th eUfli z i , the Danae at N aples and one at Vienna , similar picture sat Dresden , in the Madrid Gall . , and in a number of picture s inEngland . The “ Bacchus and Ariadne ,
” i n the N ational Gal l . atLondon
,painted for the Duke of Ferrara
,i s full of poetic beauty,
and i s a most charming conception of the ancient myth . The Arrival o f Bacchus at the Island of Naxos ,” and a Sacrifice to theGoddess of Fertili ty,
” al so pai nted at Ferrara, are at Madrid . TheVenus del Pardo,
” i n the Louvre, has been so much i nj uredi
th a t
i ts ch ief beauty i s now i n the landscape . A powerful picture of thesam e class i s at Munich , and represen ts Venus instructing a Maidenin the Mysterie s of Bacchus .” That of Del Vasto, with hi s mistressand other figures , at Vienna, i s i n some respec ts a repetition of theMunich picture . Of hi s beautiful symbol ic pictures , the ThreeA ges
,
” i n the Manfrin i Pal . at Venice , and “ Sacred and ProfaneLove
,
” i n the Borghese Pal . , deserve mention . His fine portrai tsare almost numberle ss . They strike one as having been taken at thevery best and happiest moment of the existence of the subj ects , a ndhi s female portraits excite th e highest admiration . Th ose which are
called by the name of Titian ’s Mistre ss are beautiful above al l .The F lora ,
” i n the Uffi z i , L a Bella di Tiz iano ,” i n the Pitt i Pal . ,
and another of the same name i n the Sciarra Gal l . at Rome , are u n
rivalled . The picture of hi s daughter L avinia is often repeated .
One of the be st i s i n the Berli n Mus . Titian was married at the ageof thirty-four to L ucia, a Venetian lady,-by whom he had three chi ldren . One of his sons
,named Horatio , died of the plague at the
same time with his father . Although those who died of thi s d i seasewere not allowed the honors of burial , an exception Wa s made i n th ecase o f Titian , and his remain s were deposited in the ch . of theFrari . I n addition to h i s pai nti ngs Ti tian engraved both on copperand wood . His copper-plates consi sted of several large landscapes,
576 TI'
I‘
IAN .
etched in a sl ight, masterly manner . Hi s .wood-c uts wi ll be foundi n the fol lowing li st .
ENGRAVINGS A FTER THE WORKS OF T IT IAN .
Engra ver , ANDER LON I, Pietro . The Adoration of the Shepherds.Engra ver, ANDREAN I , Andrea . The Deluge ; large pri nt i n four
sheets ; marked with cipher. Pharaoh’s Host de stroyed in the Re dSe a ; large print in four sheets ; 1 585 ; with cipher. The lower partof the picture of S . N icholas ; A ndream
’
, intaglial, M a n toa no . TheTriumph of the Church ; Christi Tri umphus ; large friez e in eightsheets
,dedicated to the Duke of Mantua i n 1 599
,and publ ished in
Rome , 1 608 .
Engra ve r, AUB I N, Augustin de St. Venus a la Coqu i l le .
Engra ve r , AUDRAN , Charle s . The Vi rgin '
and Child , S . Johnpresenting an Apple
,and S . Catherine kneel ing ; ver y fi ne .
Engra ve r , AUDRAN , Gerard . Ganymede ; an oc tagon .
Engrave r, BARON , Bernard . The Cornaro Fam ily . Jupiter andAntiope ; his be s t plate .
Engra ver, BEATR ICI , N iccolo . Chri st on the Mount of Olives ,marked, N . B . F . S . Jerome kneeling before a Cruc ifix ; ma rked ,N
'
. C. L . F .
Engra ver, B ECCAF UM I , Domenico . The N ativ ity ; a wood-cut ;fine .
Engra ver, BERTELLI , Fernando . Venus and Cupid ; etched byF . B e rtelli ,
‘ N ic . B e rtelli , exc . ; 1 566 .
Engra ve r, BERTELL I , Lucas . A Woman and Children warmingthemselve s by a F ire ; Lucas B erlelh
'
, ex.
Engra ver , B LOEM AERT , Abraham . A N aked Infant .
Engra ve r, B LOEM AERT , Cornel ius . The Madonna .
Engra ve r , BLOND or BLON, Jame s Chri stopher le . The Repose i nEgypt . The Entombing of Chris t .Engrave r, B OLDR IN I , Joseph N icholas . The Offe ri ng of the I’Vise
Me n . S . Jerome praying. SS . Catherine, Sebastia n , and four
others . Venus seated on a Bank , holding Cupid ; a Squirrel on aTree ; Titia nu s , inv. ; N ico la u s B o lt/rim“ l
’
z'
ce n /in us in c ideba l ; 1 566 .
Engra ve r , B ONASO S I , Giul io. Cardinal Pietro Bembo ,art . 7 7 .
Th e Entombing of Christ ; 1 56 3.
Engra ve r , CARAGLIO or CA B AL IU S , Gio . Giacomo . T he Annu nc ia tio n ; Titia n z
'
, figu ra rum (ya ; Jac . Ca raglio . The Punishment ofTantalus .Engraver , CARR ACCI , Agosti no . Th e Trinity.
Engra ve r , CAVA L LER IIS , Gio . Bati s ta. Susanna and the Elders ;1 586 .
Engra ve r , CHAVEAU , Franci s . Christ at Emmaus ; called “ TheTable C loth ; engraved al so by Ma sson .
Engra ve r , CORT, Cornelius . .The Annunc iation . Another An
578 TITIAN TOLEDO.
Engra ve r , ROU SSEL L ET ,Gile s . The En tombing of Christ .
Engra ve r , SAN U TO or SAN UTU S, Giuli o. Venus and Adonis .Engra ver, SCA RAM UCCI A , Luigi , cal led II Perugi no. Christ
crowned with Thorn s .Engra ve r , SM ITH , John . A set of te n plates of the Loves of the
Gods .Engraver, STERN , Franci s Vander . The Holy Family .
Engra ve r , STR ANG E , Sir Robert . Venus recl ining ; afte r thepic ture i n the Florentine Gal l . ; 1 768 . Danae ; from a picture belonging to the King of N aples ; 1 768 . Venus and Adonis ; sameColl . ; 1 762. Venus bl inding Cupid ; 1 769 .
Engra ve r, TIBALDI , Domenico Pel legrino. Peni tent Magdalene .
His own Pla tes (wood-cu ts) .
The Marriage of S . Catherine ; in scribed, Titia nu sVecellius inventorlinea vit.
Samson and Del ilah.
Th e Triumph of Faith, represented by a procession of Patriarchs ,Evangel ists , Sai nts , Marty rs , etc . ; a long friez e of eight or te n
prints . 1505 .
Engra ve r , VA ILLANT , Walle rant . Holy Family.
Engra ver, VANDYCK, Sir Anthony . Titian with his Mistre ssleaning on a Casket wi th a Skull Ti tia no , pinx. A . Va ndyck, / eaEngrave r, VANUDEN , Lucas . Two landscapes ; one with the
Holy Fam ily, and o ne with the Good Samaritan .
Engra ve r, V ICO or VICUS , Enea . The Annunciation .
Engra ve r , ZUCCH I , Andrea . Tobi t and the Angel. S. John theEvangel i st .Engra ver, ZUCCHI , Lorenz o . The Tribute Money .
Ti v o li , R o sa di. Se e Roos .To b ar, D o n A lo nso M i gu e l de (16 78 This Spanish
painter was celebrated chi efly for his fine copies of the works of M11
ri l lo,and there i s l ittl e doubt that some which are called replicas are
by the hand of Tobar . He was a l so a good portrait painter , and exe~
cu ted a fe w original rel igious and hi storical subjects .To ], D o m i n i cu s v a n . This pai nter was so good an imitator of
Gerard Dow,that his pictures are frequently attributed to that mas
ter . Some of his best work s are i n the Amsterdam and Dresdengallerie s .To le do , Ju an de , born at Lorca (1 6 1 1 He entered the
arm y at an early age . His gallantry soon rai sed him to the rank ofcaptai n o f horse . His campaigns were i n Italy. Thi s gave him anOpportunity to perfe c t himself in the art he had studied under hisfather . At Ro me he became the friend of Ce rqu o z z i , called delleBattaglie
,
” who loved to l ive with soldiers as well as to paint them .
TOLEDO TRUMB ULL .579
Toledo passed several years with this man , and learned all he couldteach . He then returned to Spai n and became a reputable painterof smal l m ili tary subj ects . The Q ueen of Spain
’s Gall . has severalmarine v iews
,repre senting encounters between the galleys of the
Christian s and Turks . He was not successful i n religious pic ture s ,and one of his Virgins was said
,by a rival , to re semble a bold dragoon
on a night march .
To rre . Flam i n i o , born at Bologna (1 621 Hi s gr eat excellence as a painter consi sted i n his power of copying the work s o f
great masters with wonderful exactness . He made a few good e tchings . Bartsch de scribes seven
,after Guido, Ludovico and Agostino
Carracc i,and hi s own designs , which are i n demand fo r the portfol ios
of col lectors .To rre gi an o , Pi e ro . The first notable ac t of th i s sculptor was
the disgr aceful one of giving Michael Angelo a blow , which brokehis nose
,and disfigured him for li fe . When th i s occurred they were
fellow-students i n the gardens of S . Mark , but the anger of Lorenz ode ’Medic i forced To rregia no to leave Florence , and he wen t toRo m e . He became a soldier , and after ten years , i n 1503
, went toEngland and entered the serv ice of Henry VIII. as a sculptor. Hisgreatest work here was the tomb of Henry VII. i n Westminster .
Although he was wel l patron iz ed , his re stless di sposition would notallow h im to remain long quiet, and he went next to Spain and settledat Seville, where he probably died . So much doubt hangs over thedi fferent work s ascribed to him i n Sev i lle , that i t is quite imposs ibleto decide concerning them . The S . Jerome , i n the Mus.
, i s perhapsthe only authenticated w ork of hi s — and thi s i s not supported bydocumentary ev idence .
Tri b o l o , real name N iccolo Braccin i (1485 Thi s sculpto rplayed no important part as an artist. His best works are i n S .
Petronius at Bologna , and in th e Santa Casa at Loreto. He w asmuch employed in decoration s for publ ic occasion s in F lorence
,and
a t the t ime o f his death was occupied in th e decorat ion of thepleasure grounds of the Villa Castello, where he made two beautifulfountains .Tri st a n , L u i s, born near Toledo (1 594 A good pai nter
,
whom Velasquez followed in preference to his master,Pacheco .
Tristan was a pupi l of Th e o to copuli , and was much favored by thatmaster . Seven leagues from Toledo i s the quaint old town of Yepe s.One side of its strange old market-place i s its church
,and here Tri s
tan executed a serie s of picture s which were hi s chefs-d’ce uvre . Th e
town i s picturesque, with its wall s and gates, and not long since i tsonly mode of communicati o n with the outside world was by means ofli ttle carts . Tristan ’s pictures are seen i n Toledo and Madrid .
Trum b u ll, Jo h n , born at Lebanon , Connec ticut (1 756So n of Jonathan Trumbull
,coloni al governor of Connecti cut. He
580 TRUMB ULL .
may be cal led the painter of the American Revolution , for it was inthe i llu stration of its even ts and in repre senting the men who wereengaged in it , that hi s brush was principally employed . He was agraduate of Harvard , and aide to Washington , and a colonel u nderGates . In 1 780 he went to France and then to London
,where he
studied under West . Afte r th e execution of André he was arrestedas a spy . When examined before the authoritie s he said , I am anAmerican ; my name is Trumbul l ; I am a son of h im whom you cal lth e rebel governor of Connec ticut ; I have served in the rebel army ;I have h ad th e honor of being an aide-dc-camp to him whom you cal lth e rebel George Wash ington . I am entirely in your power ; treatm e as you please , always remembering that as I may be treated , sowill your friends i n America be treated by mine . After eightmonth s in prison he was released u pon condi tion that he shouldleave the country . From 1 78 9 to 1 794 he was engaged i n paintingth e portraits of those who h ad become the men of his tory , from theirconnection with the war and w i th the formation of the new republic .
He painted several picture s o f Washington , some of which am veryfine . He then went to England as secretary to Mr . Jay ,
and w asengaged in diplom a tic l i fe for seven years . The pictures he pa intedduring this t ime were unimportant . In 1 8 1 7 he w as commissionedby Congress to paint large pic ture s for th e Ro tunda o f the Capitol .His subje cts were the Declaration of Independence
,
”th e Surre n
der of Burgoyne,the Surrender of Cornwallis ,
” and the Re signation o i Washington at Annapoli s.
” These are wel l k nown by o n
grav ings from them . He also painted many hi storical pictures,su ch
as the Death of Montgomery,
” the battle s of Bunker Hill , Trenton ,and Princeton , the Sortie of the Garrison from Gibral tar, and manyportraits of eminent perso ns . He resided in N e w York the las ttwenty-seven years o f his l ife . He was President of the Acad . o f
F i ne Arts , and but a short time before his death became the Pre sident of the Washington Monument Association . The soc ial positionof Trumbul l was an env iable one . He could number among hisfriends and acquaintances many men and women of note . Fo x ,
Jefferson,Mm e . dc Sta
'
e'
l,Talleyrand
,Sheridan, Sir Joshua Rey
no lds, Lafay ette , David , Governor Hancock , and many others of hi sto rical and l iterary reputat ion were wel l known to him . S t ill h e h a dmany hardships and disappointments
,and was lonely in his old age .
His origi nal sketche s and portraits which he had made fo r hi s Capitol pic tures were sold to Yale College for a pension . Beneath theGal l . i n which they were arranged he buil t a tomb , where he buriedhi s wife and where he was laid . Th e fol lowing is the inscriptionwhich designates hi s rest ing-place : Col . John Trumbull , patriotand arti st , friend and aide of Washington , died in New York , N o v .
10, 1 843, as. 88 . He reposes in a sepulchre built by himself beneathth i s monumenta l gallery, where , i n September, 1834 ,
b e deposi ted the
582 UB ERTINI UTRECHT .
U .
U b e rt i n i , Fran c e sc o , cal led II B ach i acca , born at Florence .
Flourished about 1 530—155 7 . A pupi l of Peru gino . He pai ntedhi sto rical subjects on a smal l scale wi th numerous figures . He alsoworked in gold and silver .U cc e llo , Pa o lo (1 396 Thi s i nteresting old painter gave
much thought and study to pe rspective , and although we can butsmile when we look at his pictures and think of thi s , sti l l they doshow a l ittle advance upon what had preceded him . His work s arerare ; some are i n S. Maria Novella i n Florence ; the “ Battle ofS . Egidi o ” i s i n the N ational Gall . , and i n the Louvre i s a panelwi th the heads o f Giotto, Donatello , Bru nelleschi , Gio . Manetti
,
and himself. He h ad a passion for birds ; from thi s he acquired hi sname of Uccello , hi s true one being Paolo di Done . He wasbrought up a goldsmith , and was a pupil of Ghi berti .U de n , L uc as v an , born at Antwerp (15 95 Thi s pai nter
frequently executed the landscapes i n Ruben s’ pictures , and al sopa i n ted some picture s i n which Teniers painted the figures . Hewas a good arti s t, and some work s of hi s i n the Dresden Gall . showhi s be st m anner. He also engraved about s ixty plates
,a part of
which are very fine . Some of them are very rare ; there i s one ofwhich th e Briti sh Mu s. has the only impre ssion .
U di n e , M arti n o da , cal led Pellegri no di S . Da n i e lle (1480Pupil of Gio . Belli ni . He acquired a reputation equal to
that of hi s master , who was at that t ime much esteemed .
U di n e , G i o . N an n i (1 494 He was fir s t a pupil ofGiorgione , under whom he became an excellent colorist ; later hestudied with Raphael and was one of hi s most valuable assi stants .He exec uted animal s, birds , flowers , and ornaments in the loggieand apartments of the Vatican , which are sti ll objects of un iversaladmiration . After Raphael died he worked with De l Vaga in theTorre di Borgia, and executed many decoration s . He fled duri ngthe sack of Rome , and was employed by the Medici at Florence , buthe retu rn ed to Rome , where he di ed , and was buri ed in the Pantheonnear his be loved master .
U ggi o n e . Se e Oggio n e .
U lft , Ja co b v an de r, born at Go rcum (1 627 An arch i te c
tural pai nte r. He had never been in Rome,but many of his pic ture s
represen ted the monuments,piaz z as
,and buildings o f that c ity ,
whi ch must have been designed from engravings . His works arerare . He combined good drawing and good color with fine fin ishand picturesque tas te i n design . His picture s are seen in Amsterdam , and at th e Louvre , Hague . and Berli n gallerie s .U tre ch t , Adri en v an , born at Antwerp (1599 A pai nter
UTRECHT VAGA. 583
of animal s, fruit, flowers , and k itchen pieces . He approached Rembrandt i n detail and color , and was skilful i n arrangement . Histreatment was masterly.
V.
Vadde r, L o dew y ck de . The only works of thi s landsc apepainter i n public galleries are at Munich and Brussels . He followedRubens i n his manner . Bartsch attribute s eleven etch i ngs to him ;they are rather coarse and without much taste i n design .
Va n i ll a . Se e Veen .
Va ga , Pi e rin o de l, real name Pietro Buonaccorsi , born nearF lorence (1500 Hi s parents were poor, and died when hewas very young . A F lorentine took h im to his house , where manyartist s were in th e habi t of going, and at an early age Pierino gaveproof of hi s arti st ic taste ; when eleven years old he was placedunder the care of Ridolfo Ghi r landaio , where he became a correctdraughtsman and attracted the notice of an artist who took himto Rome in 1 5 1 5 . In that c i ty he became known to Giul io Romano
,
by whom he was recommended to Raphael . He was a very usefulassi stant to the great master , and executed several work s after hi sdesigns
,i n the Vatican , and after Raphael’s death he assisted
Ro mano and Francesco Penni i n completi ng his unfinished pictures .After the sack ing of Rome he wen t to Genoa and was employed byPrince Doria to embelli sh hi s palace . These decoration s gained himmuch praise . His Madonnas and kin dred subjects are se en in
publi c gal leries .
ENGR AVINGS AFTER D EL VAGA .
Engra ver , B EATR IZET, N icolas , the Younger . The Sacrifice ofIphi genia.
Engraver , DESNO Y ERS , Loui s Augustin Boucher. Les Muses e tle s Piérides .MONTAGNAN I , Pietro Paolo , publ ished the following plate s ; the
names of the engravers are on the plate s , and they are from DelVaga’s paintings i n the cupo las of the arcade of the loggi e calledRaphael ’s Bible .
”
Cupola VIU . , History of Moses . F inding of Moses ; engraved byA . Mo ch e tti . Moses before the Burning Bush . Passage of theRed Se a . Moses striking the Rock ; engraved by A . Moch e tti .
Cupola X.
, History of Joshua . Crossing the Jordan ; engr aved byGio . Petrin i. Fall of Jericho . Joshua’s Victory . Joshua dividingthe Land ; by Gio . Petri ni .Cupola XL , History o f David . David anointe d King ; by Cam ille
Tinti . David conquering Goliath ; by Cam ille Tinti . Davi d’stri umph over the Syrians ; by J. B . Dasori . David and Bathsheba ;by J. B . Dasori .
584 VAGA VANDERLYN .
Cupola XIII ., From the N ew Testament . Adoration of th e
Shepherds ; by Giacomo Bassi . Adoration of th e Ki n gs . Baptismof Ch ri s t. Las t Supper ; by Giacomo Bassi . (Vasari says thesewere done by De l Vaga ; others say they were by Giul io Romano ) .
Engrave r , TlN'rx
, Cam ille . David anoi nted King . David conquering Goli ath .
Valde s, Do n Ju an de , born at Cordova (1 630 Of theancient family o f Leal . After the death of Muri l lo he was the firstpainter i n Sev il le . Many of his picture s are i n the Cath .
,churches
,
and Mus. of Se vil le . Lucas de Valdes , hi s so n , was also a pai nterof some repute , and a successful engraver.Va nde rh am e n , Juan de . born at Madrid (1 596 Studi ed
with hi s father, and painted som e pic tures of hi storical subjec ts .His best pictures were fru it and flower pieces and “ bodego nes ,
” i nwhich he pai nted , with remarkable skil l , sweetmeats and confections .No . 104 , Royal Gall . of Madrid , i s a pic ture of thi s c las s .Van de rly n , Jo hn , born at Kingston , Ulster County , N ew York
(1 7 76 It seems when we speak of this painte r that we oughtonly to talk of hi s two great works , the Ma rius and Ariadne .
”
The fo rm e r to okthe priz e at the French Exhibition i n 1808 . TheEmperor N apoleon himsel f selected i t as the work most worthy ofthat honor
,and desired to have it placed in the Louvre
,but the
arti s t wished i t to be i n his own country . It was brought here andpurchased by Bishop Kip . It was pa inted i n Rome in 1807
,when
Vanderlyn and All ston were liv ing side by s ide , and were almost theonly American art students there . The Ariadne
,when exhibited
in B o sto n , was offered to the Ath ae ne um for 8 500. Mr. Harri son ofPhiladelph i a paid $5000 for it , and i t i s now i n his gal lery . Mariusi s repre sented s itting among th e ruins of Carthage ; i t pic tures thegrand , patri otic Roman wi th great power ; i n color i t is dark and severe . The Ariadne i s sleeping, and i s a beautiful ideal of beauty .
The good execution of such di verse subjects conveys the idea of greatpower, and promised much for the arti st . His other work s are occas ioual portraits, some copie s of old pic tures, and a few hi storical sub
je cts. His last years were spe nt i n poverty . Tw e he pawned theN apoleon medal ; i t was redeemed the last time i n Paris by BishopKip , as i t had been before i n N ew York by hi s father . At length,i n the autumn of 1852, he wen t to hi s birthplac e, so poor that h ebegged a shi ll i ng with which to tran sport h is baggage to the town .
Upon reaching the hotel hi s only reques t was for a bed, and to be leftalone . And there the next morning he was found dead . He wasburied i n the Wiltwyckcemetery .
” N o stone or i nscripti on mark sth e spot , and as i f to i ncrease the gloom of his history , the accoun t ofhis l ife , which he had related to a friend , was burned whi le in th ehands of a publ isher . In a letter wri tte n after the death of All ston ,he sai d , Wh en I lo okback som e five or six and thirty years since ,
VA NDYCK.
trai ts of Anna and her parents . When the knowledge of thi s stayi n Save lth em c ame to Rubens he was greatly dissatisfied with hi spupil
,and attempted immedi ately to break the spell of his infatua
tion . Happily he was able to do this , and taking a hasty leave ofAnna
,Vandyck proceeded to Venice . His whole attention was
gi ven to the study of Ti tian and Giorgione . He went next to Genoa,where
,some years before , Rubens had met with such success . Th e
remembrance of the master predisposed the Genoe se in favo r of th epupil . His elegance and refinemen t of manner, added to his powersas a portrait painter
,quickly obtained fo r him all th e patronage he
desired . Many of the portrai ts he then painted sti l l remain i n thepalaces of Genoa . From there he went to Rome . He was receivedas a guest by Card . Bentivogl io , who had acqui red a fondness for theF lemings when N uncio i n Flanders . He commissioned Vandyck topaint a Crucifix ion ,” and a full-length portrai t of himself. Thelatter i s now in the Pitti Pal . Sopran i says that he remained twoyears i n Rome . His leavi ng i t has been ascribed to the manner i nwhich the F lemish a rtists there disparaged him . On his arrival hehad found that , as a clas s , they were i ntemperate and uncongenial toh imself ; and he ceased to attend their meetings . They were ah
noyed at this , and made him so uncomfortable that he returned toGenoa . At Genoa h e frequented the house of So fo n isba Ango sc io la,a celebrated arti st, and he was accustomed to say that he had learn edmore of the principle s of art from this woman
,who had become bl ind
,
than from the works of the most celebrated painters . He was inv i ted to Palermo , where h is stay was short, for, the plague break ingo u t, he was obl iged to flee . In travell ing
,he met the Counte ss of
Arundel and her two sons , and accompanied them to Tur i n . Hewent al so to F lorence and other Ital ian c it ies
,but spent most of his
time i n Genoa , until , at the end o f 1 026,he returned to Antwerp .
The s tory of his successes i n Italy had reached hi s native c ity . Hewas no t al lowed to remain idle . His firs t l arge work was an altarpiece fo r the ch . of the Augustines . The original efl‘e e t of thi s picture cannot be understood from its present state . I t represents S .
August ine i n ecstasy, and Vandyck painted him in l ight vestments .The brotherhood insi sted that these should be changed to black
,
whi ch spoi led i ts arrangement of l ight,and i ts whole appearance .
He the n received a commission from the canons of the col legiate ch .
of Co u rtray fo r a large al tar-piece representing the Raising of theCross . When he carried i t to them they i nsis ted upon seeing i tbefore i t was pu t i n it s place
,and dec lared that i t was altogether
wanti ng i n digni ty, and , calli ng him a dauber,
” they left him . Hereturned to Antwerp and said nothing of this . So o n persons of go odj udgment and taste went to se e th e pic ture
,and declared i t a won
de rful work for so young a man . After a time th e canons becameconvinced of their mistake , and decided to employ Vandyck to pai nt
VANDYCK. 587
two other pictures for their church,hoping thus to make amend s fo r
the ir past insolence ; but Vandyck repl ied to their communication bysaying there were already daubers enough in Co u rtray withoutsummoning those of Antwerp . He remained in Flanders and Holland for five years, and was constantly occupied . In the lattercountry he pai nted portraits of the royal family, and many person sof rank and consequence . On one occasion, when at Haarlem ,
hecalled on Frank Hals , who was , as u sual
,at a tavern . He sent word
to him that a stranger wished hi s portrait pai nted, and when Hals
THE CHILDREN OF CHARLES L .
B Y VANDYC'K .
Dresden Gal l .
appeared , told him he could have but two hours for his work . Thepicture was finished and shown to Vandyck . He expressed his approval and
,saying that portrait pai nting seemed a very simple thing ,
he asked Hals to change place s with him . It was soon ev ident thatthis was not his first acquaintance with palette and brush , and heshowed his work to Hals who ardently embraced him , crying out,Y o u are Vandyck ; no person but he can do what yo u have now
done .
” In 1 632 Vandyck went to England and was well receivedby th e King, and appointed principal pai nter in ordinary to theirMajesties . His courtly elegance of person and refinement of address
588 VANDYCK.
so o n wo n the favor of the monarch , who often vi s i ted h is studio andpassed hour s in famili ar conversa tion with him . He immedi atelypai nted a large pic tu re o f the King and Queen, the Prince of Wale s ,and the Prince ss Mary ; and i n three months after his arrival i n Engl and
,the Ki ng conferred o n hi m the honor of knighthood . He gave
Vandyck cons tant employment, and in 1 633 settled on him a pensionof £200 yearly. There are four po rtrait s of Lady Digby
,pai n ted
about thi s time, as she died i n 1 633 . One of these represents hcr
lying dead in her bed, with a faded rose beside her , and i s extremelybeautiful . Even while i n Rom e Vandyck had been so ostentatiousin his dress and equipage that he was called [Ipitto re Ca va lierescoand ne w that fortune smiled upo n him , he i ndulged in magnificentli ving. He entertained his si tters with dinners in order to studythe ir expres sion . He was l ibe ral to men of tale nt, espec ially musie iaus, and hi s house , ofte n v isi ted by the Ki ng, be c ame the resort ofm en of rank and talent ; i n fac t , a v isit to his s tudi o became indispensable in the day’s programme of the fashionable s of that time . Hewas given to gallantry
,and lavi sh in his expendi ture s for hi s favor
i tes . A portrai t whi ch he pain ted of Margaret Lemon , a woman ofm uch noto riety , has bee n often engraved. On one occasion the Kingwas si t ti ng to him , when th e Lord S te ward came to speak on thesubj ect of fi nance . Charle s said to Vandyck , And you, Sir Knight,know you what i t i s to want three or four thousand pounds Yes ,s ire ,
” repl ied the painter ; “ he who keeps his house open for h isfriends , and his purse for h is mi stresse s, wi l l soon find a vacuum i n hiscoffers .” I t h as been said that i n order to increase his fortune hepro secuted a chemical search for the phi losopher’s stone , and thusgreatly inj ured his heal th . The King and hi s other friends weremuch troubled at his mode of l ife ; and hoping that marriage wouldlead h im to adopt more temperate habi ts they planned and promote dan al liance with Maria Ruthven, daughter of Lord Gowrie . Vandyck was constantly employed in portrait pai nting, and occasionallyexecuted picture s of other subj ec ts , both religious and mythological .But he greatly desired to exerc i se hi s talen t in something whi chshould e stablish his fame upon a higher scale than he had yet reached .
The rich pictures by Rubens upo n the ceil ing of the banqu e tt in fz-hall
at Whitehal l, necessi ta ted simila r decorat ion s for the wal l s . Va n
dyck proposed to make a series of pictures i ll ustrating the hi story ofthe Order Of the Garter. The King was much pleased with th e idea.and desired sketches to be made . But unfortunately the work wasnever done . Many things at thi s time rendered hi s s i tuation painful ,and in 1 640 he made a journey to Flanders . While there he heardthat the King of France desired to adorn the Gal l . o f th e Louvrewi th pai ntings . He proceeded to Pari s , hoping to be employed , butN icholas Poussin had been summoned from Rome , and Vandyck wasa gain di sa ppointed . He return ed to England , and i n 1 64 1 witnesse d
590 VANDYCK.
Family ; after the picture at ‘Vilto n . Family of Vandyck ; after th eEarl o f Pembroke ’s pic ture . Robert , Earl of Caern arvon . AnnaSophia, Coun te ss of Ca ernarvon .
Engra ve r , BEAUVA IS , N icholas Dauphi n de. S . Jerome .
Engra ver , BLECK or BLEECK , Peter Van . Portrai t of Franci sDu Quesnoy , called Fi amm ingo , sc ulptor ; A . Va ndyck, pint . P . V.
B . I., j i ; 1 75 1 .
Engra ve r , BLOND or BLON , James Chri stopher le . S . John embracing the Infant Je sus .Engra ve r , B L OOTEL ING , Abraham . Portrai t of the Marquis de
Mirabelle .
Engra ve r , B OL SWER T or B OL SUERD , Sch e ltiu s A . Sch e ltius A .
B o lsw e rt ; Ad. L ommelin , se . Andrew Van Ertw e tt, pai nter, of Antw e rp. Martin Pepin , pai nter . Adrian Brower , painter. JohnBaptis t B arbe, engraver . Justus L ipsiu s, historian . Albert, Princeof Aremberg . Maria Ruthven, wife of Vandyck . Margaret ofLorrai ne , Duchess of Orlean s. Wi lliam de Vos , pa i nter . SebastianVranek , painter . Maria Mater Dei . The Holy Family , with anAngel holding a Cro wn . The Virgin with the Child on her Knee ,and a Female Sai nt holdi n g a Palm . The Holy Family , with th e
Chi ld asleep in the Arms of the Virgi n . The Holy Fam ilv i n'
aLandscape, with several Angel s . Chri st crowned with Thorn s ; veryfine . The Elevation of the Cros s. The Crucifixion ; a grand composition , with two men on horseback , and a figure pre senting thesponge to Christ ; on the other s ide , the Virgin Mary and S . Johnstanding , and Mary Magdalene k neel ing and embrac ing the Cro ss ;one of the finest work s of B o lsw e rt.
Engra ve r, B ORREK l-ZN S , Matthew . The Crucifixion , with theVirgi n , the Magdalene, and S . John ; A nt. Va ndyck, p inx. ; Eras.
Qu ellinus, del.
Engra ver, BRUGGEN , John Vander. Portrait of A . Vandyck ; seipse pinx.
Engra ver , BURGHER S , Michael . Wi l li am Sommer, the antiquary .
Franc isc us Junius.Engra ve r , CARMONA, Emanuel Salvador . Th e Virgin and In
fant .Engra ve r, CAU KERKEN ,
Cornel iu s Van . The Dead Chri st, withth e Virgin , Magdalene , and S . John . The Descent of the Ho lvGhost . Chari ty, with three Children .
Engra ver, CA Y LUS , Anne Claude Phil ippe , Comte de . A set ofth irtv heads ; aft e r R ubens a nd Va ndyck; from the Croz at Coll .Engra ve r , CHAMBER S , Thoma s . Helen Forman .
Engra ver , CLO UET , Pe ter. Chri stopher Van der L ae ne n . The
odore Rog iers, goldsmith . Char le s Scri bban iu s, a celebrate d Jesuit .Anne Wak e, Counte ss of Sus sex, holdi ng a Fan o f Feathers . Heu rrtich , Earl of Holland.
VANDYCK. 591
Engra ve r , DAvID , Francis Anne . Family of Charles I .Engra ve r, DAVIS , Edward Le . S. Ceci lia , with Angel s .Engraver, DELFT or DEL PHIU S ,Wi l liam James . Mi chael Mire ve lt,
painter .Engra ver, DO ES , Anthony Vander . Th e M agdalene.Engra ver , EAR L OM , Richard . James Stuart , Earl of Richmond.
The Duke of Aremberg , on horseback .
Engra ver, FA ITHORN E, Wil l i am , the Elder . Sir Wil l iam Paston,
Bart ; 1 659 ; extremely fine. Lady Paston ; 1 659 ; al so very fine .M argaret Smith, afterwards Lady Herbert . Montague Bertie
, Earlof L indse v. Anne Bridges , Countess of Exeter . A Dead Chr i st .Engra ve r , FE RDINAND ,
Louis . Portrai t of a Lady .
E ngra ve r , GAL LE , Cornel ius, the Elder . Artus Wo lfart , painter .Engraver, GALLE , Cornel ius, the Younger . Emperor Ferdinand
II I . ; l640. Mary of Austria, hi s Empress ; 1 649 . Henrietta ofLorraine . John Me ysse ns, painter and engraver .
Engra ve r , GREEN , Valentine . Si r Thomas Wharton . Henry,
Earl of Danby . George, Marqui s o f Huntley. Tim e cl ipping theWi ngs of Love .
Engra ve r, GROEN SVEL T, John . Dorothy , Countess of Sunderland .
Engra ver, HOLLAR , Wenceslaus . Philip Herbert, Earl of Pembroke . Thomas Wentworth
,Earl of Strafford . Althea Talbot
,
Countes s of Arundel . Teresia,Lady Shirley ; very scarce . Mary
Vil liers,Duchess of Richmond and Lennox . Mary Stuart , Countess
of Portland . Archbishop L aud . P. P . Rubens . Sir Anthony Vandyck . Inigo Jones , architec t. Jerome Weston , Earl of Portland .
Engra ver , JOD E, Peter, the Younger . S. Augustine, supported byAngels . Rinaldo and Armida.
Engra ver, JODE , Arnold de . Magdalene , half-length ; c ircular .The Infant Chri st embrac ing S . John ; in scribed, A rno ldus de Jode ,sca lp. L o ndin i , tempo re i ncendii maxzm z.Engra ve r , LAUWE R S , N icholas . Fran . Leli o B lancatio .
Engra ve r, LAU R I E, Robert . The Crucifixion .
Engra ve r , LOMBARD or LOMBAR ’I‘, Peter . A set of twelve plates,
half-length ; two of the Earl of Arundel and Earl of Pembroke , andten ladies, called The Counte sses . ” Charle s I . on horseback ; afterhis death the head of Cromwel l was substituted for that of the King.
Engraver , L OMMEL IN , Adrian . Char le s I . Ferdinand of Austria.
Jacob le Roi , Seigneur of He rba ix . J . C . de la Fai l le , Jesuit. Alex .
de la Faille, Senator of Antwerp . Zegh e r Van Hontsum ,Canon of
Antwerp. Adrian Stephens , ecclesiastic . J. M alde rus, Bishop ofAntwerp . John de Wael , painter, of Antwerp. John Bapti st deB isth o ven , Jesui t ; one of the bes t plates . Chri st taken i n the Garden .
Engraver , LOUYS or LOYS , John . Franci s Thomas of Savoy ,Prince of Carignan .
592 VANDYCK.
Engra ve r,MA N N L or MA ENN L , Jacob . The Vi rgi n wi th the Chi ldcaressing S . John . Samson del ivered to the Phili s ti nes .Engra ver, MA SSARD , John . Family of Charle s I .Engra ve r, MA THAM
,Theodore . Michael le Blon , Agent to the
Crown of Sweden .
Engra ve r , MORGHEN , Raphael . Francesco Mo ncado , Duke ofOsso no , on horseback .
Engra ve r , Mo um, John . Guido, Card . dc Benti vogli o . The
Counte ss de Bossu . Margaret Lemon . Charles de Mal lery, e n
graver and pri nt-sel ler.Engra ver , N ATA L IS , M ichael . Ernestine , Pr incess de Ligne .
Engra ver , N EEF or N EEFS , Jacob . Francis Snyders,painte r .
Anthony de Tassis, Canon of Antwerp. The Marchi oness of Barlemont , Counte ss d
’Egmo n t . Josse de He rtogh e . Marti n Ryckart ,pai n ter .
Engra ve r, PAU L or DE PA ULIS , Andrew. Titi an and hi s Mistres s ; after the etching by Vandyck .
Engra ver, PAYN E , John . Ferdi nand of Austria.
Engra ve r, PA ZZ I , Pie tro Antonio . The Virgi n and Ch i ld.
Engra ver, PESN E , John . Franc i s LanglEngra ve r, PICART , Bernard . Charles I. ; 1 724 .
Engra ver , PICCH I ANT I , Gio . Domenico . Card . Bentivoglio.Engra ver , PLACE , Francis . Portrai t of Charles I .
Engra ve r , PONTIUS , Paul . Pau l du Pont or Pontius . Peter PaulRubens . James de Brenek , architect . John Wi ldens
,painter
,of
Antwerp . John Van Rave ste yn , pai nter at the Hague . Palem ede s
Palamde sse n , pai nter. Theodore Van Loo , painter, o f Louvai n .
Theodore Ro m bo u ts , pain ter , of Antwerp. Cornel ius Van derGh e e st , celebrated connoisseur . Gerard Ho ntho rst, painter at theHague . Henry Van Balen , pain ter, of Antwerp . Adrian Stalbe nt,painte r, of Antwerp . Danie l My te ns, pai nter, of Holland. GerardSeghers , painter, of Antwerp. Simon de Vos , painter, of Antwerp .
Gaspar de Craey e r , pain ter, of Ghent . Henry Ste e nwyck,pai nte r,
of Antwerp . Gaspar Ge varti us, counsellor, of Antwerp. N i cholasRocko x , magi s trate of Antwerp . John Vanden Wo nwe r , counsellorof state . Cae sar Alexander Scag l i a , Abbo t of Sto phard. GustavusAdolphus , King of Sweden . Mary de’ Medici , Queen of France .
Franc i s Thomas of Savoy . Prince of Carignan . John , Count ofNa s sau . Don Alvarez , Marquis of San ta Cruz . Don Carlos deColonna , Spanish general . Don Diego Phil ip de Gusman , Marqui sde Le gane z . Mary , Princess of Aremberg. Henry , Count deBerghe , i n armor. Sir Balthasar Gerbier , Ambassador from SpFrederic Henry , Prince of Orange .Engra ver , PR ESTEL , John Go tlie b . A Pie ta.
Engrave r, R IEDEL, John Anthony . Po rtrai t of a Lady holding a
Le tter.
594 VANDYCK VARGAS .
Paul de Vos, painter .John Wave riu s or Van den Wo uwe r.
Engrave r , VIssa R , John . Peter Paul Rube ns .Engra ve r, VOERST , Robert Van der . Phil ip, Earl of Pembroke .
Ernest, Count Mansfeld . S imon Vo u e t, painter . S ir Kenelm Digby.
Inigo Jo ne s. Christ ian , Duke of Brunswick . Sir George Carew .
Engra ver , VO RSTERM AN , Lucas the Elder. Charle s I . ThomasHoward
, Earl of Arundel . Isabell a C lara Eugenia , In fanta ofSpain . Gaston , Duke of Orleans . Ambrose Spinola , Governor ofthe Lower Countrie s . Wolfgang Wi l l iam , Duke of Bavaria . Franci s de Mo ncade , Count of Ossoue . N icholas Ro cko x , magistrate ofAntwerp. Anthony Vandyck , pa in ter. Peter de Jode , the Elder,engraver. Charle s de Malle ri e , engraver . James Callot , engraver .Theodore Galle , engraver . Wenceslaus Ko e be rger, painter . De o
da tu s Delmont , painter . Peter Ste e ve ns, amateur , of Antwerp.
John Van Mi ldert , scu lpto r . Hubert Van den Enden , pai n ter . Lu
cas Va n Uden,pai nte r . Corneli us Sach tle ve n , pa inter . Oraz io
Gent i le sch i , painter. John Lievens, painter and engraver. A Pieta,with Angel s weeping .
Engra ver, WI LL I AM S , Robert . Cha rle s I . Edward , Lord Li tt leton, Lord Keeper .Engra ve r , WOOL LETT ,
Wi l l iam . Pe te r Paul Rubens .Engra ve r, WY NGAERDE, Franc i s Van den . A Dead Christ,
supported by the Marie s . Achi l le s di scovered among the Daughtersof Ly comedes .Van dy ck, Phi lip, born at Amsterdam (1 680 The
h i s torical pictures by th i s arti st are far from good . Hi s best work sare ge n re subj ects . Most large Contine ntal gal lerie s have h is
picture s .Van lo o .Ch a rles A ndré, called Carlo . Born at N ic e (1 705
This pai nter was the most eminent o f a fami ly of arti sts . Hisprinc ipal work s are in the ch . of the Augustine s in Pari s . AMarriage o f the Virg i n ” i n the Louvre i s worthy of note . His
studie s in Italy helped him to ri se above the art is t s of hi s country inhi s day.
Van u c chi . Se e Sarto .
Vann u c ci . Se e Perugino .
Vare la , Fra n c isc o , born at Sev il le ; died 1 656 . Next to Zurbaran he w as the be s t scholar o f Ro clas. Many of h is works are i nthe churches and convents of Seville , and i n the private collection sof that c i ty . I n the ch . of S . Bernardo
,beyond the walls , i s hi s
Last Suppe r ,” painted in 1 622. It i s one of hi s be st picture s,
and the figure of Judas clutching the bag, with a face ful l o ftreachery and te rror, i s very effective .
Va rgas , L u is de , born at S ev ille (1 502 He stud ied fo r a
VARGAS VASARI . 595
time in h is native c ity, and , l ike most Sevill ian pain ters , painted onsa rga . He went to Italy , and, i t i s said, remained twenty-eightyears . His master i s not known , but hi s style has i nduced the belieftha t he studied under Pierino del Vaga. S tirling says , “ As apainter, Vargas i s remarkable for the grandeur and simpl ic ity of hisdesigns
,and for the purity and grace of his female heads ; for
correc tness of drawing and agreeable freshness of color .” His easelpictures are few, and his frescoes, to which he undoubtedly owedhis greate st fame, are now so defaced as to afford small opportunityfor forming a j udgment of their meri ts . He was a very rel igiousman
,and in his chamber were found, after his death , scourge s and
instruments of penance , and a coffi n in which he was accustomedto li e down , and meditate upo n death and the fu ture . But with all
hi s seriousness he was a witty man . A brother art i st once askedhis Opinion of a poor picture of “ Ch ri st on the Cross.” “ Helooks,
” sa id Vargas , “ as if he were saying , Forg i ve them , Lord ,
for they know not what they do.
’
ln Sev ille he was considered agreat artis t and a good man . Among his remaining work s is aportrait of the Apostle of Sev il le ,
” which hangs in the sacristyof chal ice s in the Cath . This holy man was a brother of the Orderof Mercy, named Fernando de Contreras .
‘In the Cath . also , aNativi ty,
” in th e chapel dedicated to that event, a nd i n the chapelof the Conception a picture o f the Temporal Generation o f OurLord .
” Thi s i s considered his fines t work now in Sev ille . Adamkneels i n the foreground
,and one of his legs i s so wel l painted that
from i t the picture has been called “ La Gamba .
” This samechapel has several o ther pictures by thi s master , but i t i s so darkthat they can be seen wel l only on days when i t i s l ighted withtapers . His frescoes which were on the outer wal l s, and on thetower, are almost obl iterated. There was a ful l length of John theBapti st
,i n the Col l . of Lord Franci s Egerton 1 n London , which was
attributed to Vargas,but a dup l icate of it i n the Gall . of the King
of Bavaria was ascribed to Giul io Romano.
Va ro tari , A le ssan dro , called I] Pado va n ino (1 15 90°Ili s
principal work is the Marriage i n Cana in the Acad . of Venice ;another fine work is the picture o f a Saint i n Deacon ’s Orders,”
taken i n a moment of ec stasy . He seems to have formed hi s styleby the study of Titian ’s work s .Va sari , G i o rgi o , born at Arez z o (1 5 12 This arti s t i s
be st k nown to us by his Vite de ’ma eccellenti Pittori , Scultori , edArchitetti
,
” publi shed in 1 550 and rev ised i n 1 568 . It i s the firstcomprehensive work o f i ts k ind, and i s wr i tten i n a very attractivestyle ; i t i s not always correc t as regards chronology, and must becritic ise d with care before i t is taken for authority , but this i s notstrange when w e ' remember that i t was chiefly compiled from verbalaccounts . And then
,what would all other wri ters upon kindred
596 VASARI VELASQUEZ .
subject s have done with out the Oppo rtuni ty to quote and contradictVasari His paint ings a re i n Rome , N aples , Arez z o , and Florence .
He was rapid in execution and matter-o f—fac t i n spiri t ; hi s be stwork s were portrai ts . That of Lorenz o de
’ Medici i n the Uffi z ii s exce llen t and wel l k nown ; that of Cosimo I . was often re
pe a ted, and i s i n several gallerie s . Vasar i’s tale nts were vari ed,for
he was al so an architec t and superin tended the erec tion and decoration o f several buildings .Va sq u e z , A lo n so , born at Ronda . Studied with Luis dc Vargas .
A few of his pic tures, which are very imperfec t, are in the M u s. ofSev ille . They il l ustrate the story of S. Raymond . Vasquez wasone of the artists chosen to pai nt the catafalque u sed at the burialof Phil ip H . i n 1 598 .
Ve c e lli . This was the family name of the great Titian,and
several o f hi s relative s were painters and imitators of his s tyle .
Their works are occasionally seen i n churches and galleries .Ve cch i a , P ie tro (1 605 Re al name was Mattoni , cal led
Vecchia from his sk il l i n im i tating the old masters . Some of h isimitations of Giorgione have undoubtedly been cons idered asoriginals .Ve e n , M a rti n v a n . Se e Hem ske rk.
Ve e n , 0 th o n v a n , called Otto a in s, born at Leyden (1558Pain ter of historical subjec ts , i n a cold and affected manner .
He was a man of u nusual classical learn ing, but hi s i n troduction ofallegorical al l usions was often far-fetched and unpleasing . His work sare somewhat numerous, and are seen in the Antwerp and Munichgallerie s .Ve lasc o , Do n A c isclo A n t o n i o Pa lo m i n o de Ca stro 37, born
at Buj alance (1 653 The Vasari of Spain . His “ M useoPicto rico
” was the only book of i ts k ind unti l the work o f CeanBermudez appeared . Velasco publ i shed the first volume i n 1 7 15 ,
and the second nine years later . As a pain ter he became quite celebra ted, and executed many impo rtant work s i n Madrid . He wasassoci ated with Alfaro , Coel lo, Carre fi o , and Giordano. He was appointed painter to the King, on account o f his work s at the Alcaz ar.He al so painted i n Valencia Salamanca, Granada , and Cordova . Inearly l ife h e had been orda i ned for th e church , and in 1 725 he e ute red i nto ful l orders . He had bee n married
,and was i nterred with
great pomp by the side of hi s wife,i n the ch . of S . Francesco, at
Madrid .
Ve lasq u e z , D i e go R o dri gu e z de S i lv a y , born a t Sev il le , 1 599 ;died at Madrid , 1 600. Both his parents were of noble blood . Hi s
father was Juan Rodrigu ez de Silva, and hi s mother Geronima Velasquez , by whose name , ac cording to the cus tom of Andalusia , he wascalled . The poverty of hi s paternal grandfather caused him to leavePortugal and seek hi s fortune at Seville . To this circumstance Spai n
598 VELASQUEZ.
tion to that o f most artists , in th e evenness of i ts prosperity. Hesteadily advanced to perfection in hi s art, and the favor of his Ki ngwas such as to afford hi m every opportuni ty for improvement andenj oym ent . He went twice to Italy ; the first time to s tudy theworks o f that country and its various school s of art . He visited all
the large c itie s , and was absent from Spain about two years . During thi s time he painted the “ Forge of Vulcan ” and “ Joseph ’sCoat,
” which are among his most celebrated work s . He went th esecond time to Italy, as the agent of the King , to collec t work s of art ;and hi s orders gave him the liberty to buy everything that he thought
PORTRA IT. B Y VELASQ UEZ .
worth having . In thi s capacity he was everywhere received withattention and k indness. The Pepe sat to him fo r his portrai t ;Cardi nal s Barberini and Ro spigli o si , and many Roman prince s ,treated him with the utmost c ivil i ty ; and b e numbered among hi sfriends the sculptors Bernin i and Algardi , and th e painte rs N icolasPoussin
,Pietro da Cortona, Claude, and Matteo Prete, or IICalabrese .
Upon hi s return to Madrid he was appointed aposentador-rnajor.with a salary of 3000 ducats a year , and he carried at his girdle akey which would open every lock in the palace . Although the dutie sof hi s offi ce required him to superi ntend the ceremonies and festival sof the royal household , he sti l l found time to arrange hi s Ita li an
VELASQUEZ . 599
bronz es andmarbles i n the hall s o f th e Alcaz ar, to oversee the casting i n bronz e from the model s which he had brought from Italy
,and
to pain t his last great pic ture , known in Spain as Las Meninas,
” orthe Maids of Honor ,” which represents the royal family with theartist
,maids of honor , the dwarfs , and a sleeping hound . It i s said
that when the Ki ng saw the picture he dec lared but one thing wanting
,and pain ted the cross of Santiago upon th e breast of the artis t
with his own hand . This i s the pic ture which L uca Giordano calledThe Theology of Painting .
” The las t great ceremony at whichhe offi ciated was the meeting of the courts of France and Spain, o nthe Isle of Pheasants, when Louis XIV.
, accompanied by the QueenMother of France, received th e Infanta Maria Teresa for h is w ife .
The pomps and rej oicings were worthy of the two most luxuriou scourt s of Europe, and all these , as wel l as the prov i sion fo r th e royalhouseholds
,were superintended by Velasquez . That week upon the
Isle of Pheasants furnished many scenes worthy the pen or pe ncil ofthe poet and artist. Stirl ing says that the l ife of Velasquez wasshortened by the fat igues o f his offi ce . Certain it i s that he arrivedi n Madrid, on th e 26 th o fJu ne , much fatigued with his journey ; thath is health gradual ly fai led , and he died on the 6th of August. Hewas buried with magnificent ceremonies in the ch . of S . Juan
,which
was de stroyed by th e French in 1 8 1 1 . His wife surv i ved him buteight days, and was buried i n the same grave . The character ofVelasquez was rare, and happy in its combination of freedom from
‘
jealousy , power to concili ate , and swee tness of temper, with strengthof wil l and i ntellect , and steadfastness of purpose . Stirl ing says
,
“ He was the friend of Rubens , the most generous , and of Ribera ,the most j ealous , of the brethren of his craft ; and he was the frie ndand protector of Cano and Murillo , who, next to h imself , were th egreatest painters of Spain . The favorite o f Philip IV.
,in fact , his
m ini ster for artis t ic affairs , h e fi l led this position with a puri ty anda disinterestedness very uncommon in the counsellors of state ; and
to befriend an artis t l es s fortunate than himsel f was one of the lastacts of h is amiable and glorious life . Of th e portraits of Velasquez ,the most youthful i s i n th e picture of the “ Surrender of Breda,
”
painted about 1 646 ; and the most authentic , that in th e. Maids ofHonor ,” 1 656 . In the Roy al Gall . of Madrid there i s no separatepicture of Velasquez . Florence has two
,Munich one , and i n the,
Coll . of th e Earl of Ellesmere there i s another, of which there i s acopy i n the Louvre . The fol lowing l ist gives the names o f hi s mostimportan t pictures
,and the places where they are at present
The Water Carrier of Sev i lle . Apsley House .
Boar Hunt at the Pardo . N ational Gall .The Adoration of the Shepherds.Los Borrachos, or the Topers ;1 624 . Madrid Gal l . , Royal Mus .
600 VELASQUEZ .
Las Hilande ra s, or the Spi nsters . Madrid Gall Ro valMus.
The Coronation of Our Lady .
Adoration of the Wi se Men .
Christ on the Cross .S . Anthony the Abbot and S. Paulth e first Hermit.
T he Forge o f Vulcan .
The Surrender of Breda .
L a s Me nifias.
Mars .Moen ippus.
fEsop.
Eight differen t Portrai ts o f PhilipIV .
And many others , making in al lsixty-five by Velasquez in thisGall .
Christ and the Disciple s at Emmaus . Louvre.
Two pic tures of S. Pete r , halflength .
S . John, half- length .
Sketch of S . Anthony the Abbot ,and S . Paul .
S . Isidore the Laborer .Two Portrai ts of Philip IV .
Two Portrait s of Queen Isabellaof Bourbon .
Q ueen Mariana of Austria .
Landscape,Woodlands at Sunset .The Old Alameda of Sev i lle .
Several other Portraits .T he Family Picture of Velasquez . Vienna
,Imperial Gall.
Portrait of Philip IV.
The Infant Don Bal thaz ar Carlos .Two Portrai ts of Infantas .Car d. B e epi gli o si . Munich , Pinakothek .
Young Man i n a Black Dress .Man i n Armor .Two Busts of Me n .
Beggar Boy .
Th e Coun t of Olivare s . Dresden .
Two Peasants seated at a Tablewith Flask s and Glasses . St Petersburg , Hermi tage .
Phili p IV . , bu st .Duke of Ol ivares
,bust .
602 VELDE VERNET.
and Munich gal lerie s . Hi s picture s, when sold in these days, bringenormous pr i ces.Ve lde , A dri an v an de , born at Amsterdam (1 639 This
v ery remarkable painter and etcher was a pupi l o fJan Wynants. Insimilar subject s to those painted by Paul Pot ter he rank s almost a sh igh as that artis t ; i n landscape s he was one of the greatest masters .and h i s etch ings were almost bet ter than his pic tures . All his worksare finished wi th great labor and del icacy ; he d ied i n hi s thirty-thirdyear ; he pain ted many figure s and animal s i n the pictures of otherarti sts ; and yet he executed 1 8 7 picture s and 26 plates . His earl iestk nown work i s dated 1 655 . His picture s are seen i n all large Contineuta l gal lerie s north of Italy, and quite a number are in England .
Go od impression s of some of his plate s are very rare,and cost im
mense sums . No . 26 was purchased for Baron Rothschild i n 1 841for £ 1 125 . In 1 763 i t was so ld fo r £ 53 .
Ve ndram i n i , Jo hn , born near Bassano (1 769 T hi s e n
graver studied under Bartoloz z i . He went to Russia i n 1 805 and re
m ained two years ; when he wished to leave , the Emperor refusedh im a pa s sport, but by th e assi stance of friends he escaped . Hi s
best plate s are after work s of the old masters . Among these are e xc e lle nt ones o f the “ Raising of Laz arus ,
” by Sebastian del Piombo,Leda ,
” by Leonardo da Vinci,and the Vision of S . Catherine ,
”
by Paul Verone se .
V en e z i an o , A go sti n o . Se e M usis.
Ve n e z i a n o , S e b asti a n o . Se e Piombo .
Ve n e z i an o , Ca rlo . Se e Saraceno .
Ve n ez i an o , A n t o ni o . F louri shed abou t the m iddle of the 14 thcentury . His work s at the Campo Santo at Pi sa , repre sent ing thehistory of S . Ranieri , and the Miracle of the Le ave s and F i shes ,
"
at Florence , are his most ce lebrated works .V en n e , A dri an v an de r, born at Del ft (1589 This
painter divided his time between writi ng and pain ting . His picturesare seen i n the Louvre and Amsterdam Mus . He pai nted historicalsubj ects in which many of the figure s were portrai ts .Ve rb o o m , A b rah am . Flourished 1 653 . An imitator of Ruys
dael . His pictures are good,and may be seen in th e Amsterdam and
Dresden gal leries . Bart sch describe s tw o etchi ngs by this a rt istwhich are extremely rare .
Ve rn e t , Clau de Jo se ph , born at Avignon (1 7 14 An emi ne nt French mari ne pai nter. He was commissioned by Loui s XV.
to pai nt the seaports of France . F ifteen of the se are now in th e
Louvre . His drawing i s correct and his finish el aborate, but hisfigure s are stiff and his color monotonous . There have been manyengrav ings from his work s . He also executed a few etchings . HisItal ian seaports , and v iews near Ro me and Tivol i , are among his be stpic ture s . The Castle of S . Angelo i s i n th e N ational Gall .
VERNET. 603
ENGR AVINGS AFTER THE WORKS OF JO SEPH CLAUDE VERN ET .
Engra ve r , AL IAM ET, Jacque s. A Storm . A Fo g. A F ire in a
Seaport by N ight . Two sea piec e s — the F isherman , and Returnfrom F i shi ng. Four the Four Times of the Day .
Engra ve r , AVELIN E , Franci s Anthony . View of a Port i n th eLevant .Engra ver, AVRI L, Jean Jacques . F i shermen Returning . Travel
lers i n a Storm . The Shipwreck . 1 7 75 .
Engra ve r , B A LECHOU , John James . The Storm . The Calm .
The Bathers .Engraver , B As, James Phil ip Le . An Italian Seaport . Fisher
men going out . Thirteen of the ports of France ; after the etchi ngs of Cochin .
Engra ve r, B ENA B ECH ,Peter Pail]. F i shermen . Return from
Fishing . A Calm at Se a . Morning.
Engra ve r , BERN E , Wil l iam . A sea piece .
Engra ve r , CATHEL IN , Louis Jacques . A Waterfal l wi th F ishermen . A set o f four Pic ture s of the Times of the Day .
Engrave r, COULET, Anne Ph illibe rt . The Departure of th e Boat .The Fortunate Passage . The F i ne Afte rnoon . The F i shermenthrowing their nets . N eapol itan F i shermen .
Engraver, DAUD ET , John Bapti st . The Washerwomen . Corsican F i shermen .
Engrave r , DAULLE , John . Four plates ; marines and other sub°ects .JEngra ve r, DAVID , Franci s Anne . Two Views of the Gulf of Ven
ice . Two Views near Dunk irk .
Engra ve r, DU R ET , Peter . An I talian Seaport .Engra ver , FL IPAR T , Jean Jacques . A Se a -storm by Day. A
Se a-storm at N ight .Engra ve r, L AWR I E , Ro bert . A hard Gale . A Squal l .Engrave r , LEMPER EUR , Catherine El iz abeth . A set of six marine
subjects and seaports .Engra ver , L ERPIN IERE, Daniel De . A se a-piece ; a Storm . A
Calm .
Engraver, MARCPZN AY , Anthony de Ghay . Sunset. A View ofthe Seac oast, with Fi shermen .
Engra ve r. MAR TIN I , Pietro Antonio. The Pleasures of Summer .
A View of Spoletto . A View of Porto Ercole . A View of Avignon .
Engra ver, MA SQU EL IER ,Louis Joseph . A View in Italy . A
Sh i pwreck .
Engra ver , N ICOLET, Benedict Alph o ntius. A View of NaplA Shipwreck .
Engraver, OZANN E, Jane Franci s, and Mary Jane. W 0 Views ofthe Port of Leghorn ; Ill . J. Ozann e . A Calm .
604 VERNET VERROCHIO.
Engra ver, SCHL ICH'I‘
,Abel . A Storm and Shi pwreck . A Calm .
Engra ve r , VEAU, John le . A View of Montserrat. The Fi sher
Ve rn e t , A n t o i n e Ch arle s Ho ra c e , called Carle Vernet . Bornat Bordeaux (1 713 8 So n of the preceding, and fath er ofHorace Vernet . It i s said that when dying he exclaimed , C ’e stsi ngul ier comme j e resemble au grand Dauphin , fils de . ro i, pere deroi e t j amais roi .” He was celebrated fo r his good nature , wit , andbrill ian t repartee . He was a battle painter . His horses were hischefs-d
’
ce u vre . The “ Battle of Marengo and th e “ Morning ofAusterl i tz were his best works . Fo r them N apoleon gave him theCross of the Legion of Honor ; he was al so a Chevalier of the Ordero f S. M ichael , and a member o f the Institute of France .
V e rn et, fim i le Je an Ho ra c e , born in the Louvre (1 789Pupil of his father. At fifte en' years of age he mainta ined himselfby his own drawings . In 1 8 14 Napoleon decorated him with theCross of the Legion of Honor , on account of h is gallant conduct atthe Barriere o f Clichy, where he and Géricault served i n a regimentof hussars ; before hi s death he be came a Grand Offi cer i n that Order . In 1 826 he was made a member of th e Insti tute , and in 1 828
was Director of the French Acad . of Arts at Rome . He was sevenyears i n Rome, and there executed hi s best work s . He also travelledto Algi ers , Egypt , Syria, the Holy Land , Russia , and England . Hewas everywhere honored by the attentions of those i n the loftiest pos itions , and died ful l of honors and years . His powers of painting weresimply marvel lous ; i t i s said that many of hi s work s were completeda lla prima , without retouching . He painted a variety of subj ec ts . Atthe Exhibition of 1 855 b e di splayed twenty -two pictures
,the most
important being battle scenes . He painted some fine portraits andgood genre subj ects , such as an Arab Camp Sce ne .
" There i s nodoubt that the excellence of Verne t has been overes timated i n m anydirection s, but his wonderful memory, hi s power of represe nting whathe remembered , and his faci li ty of execution , are al l worthy of remark .
Ve ro n e se , Pa o lo . Se e Cagl iari .V e ro n e se , A le ssa ndro . Se e Turchi .Ve rro c hi o , A ndre a (1432 An importan t follower of the
scu l ptor Donate llo . He w as first a goldsmith , then a painter ; butsculpture was h is best loved art . His execution was careful and fini sh ed ; his nude part s are truthful bu t without grace ; his draperiesare often in smal l
,crumpled folds . His best works are the David,
"
in the Mus . of the Bargello ; a bronz e Ge nius pressing to i t self adolphin , on a foun ta i n in the court of the Palaz z o Vecchio and theequestrian statue of Co lle o n i , i n fron t of the ch . of S . Giovann i ePaolo, at Venice . The group of S . Thomas exami ning the Woundsof Chri st ,
” at Or San Michele , belongs to hi s late st manner , and i spowerful in expression , though the drapery remain s indistinct andfaul ty .
606 VINCI.
da Vinc i,but li ved always i n hi s father’s family , and was treated
with the same consideration as hi s other children , not only by hisfather, but by his uncle , Francesco da Vi nci , who left him a shareof hi s property . He w as a person of wonderful talents, a fine mathem a ti c ian ,
well sk il led i n mechan ic s , an able architect, a poet, anda music ian . In addit ion to these attainments he h ad great pe rsonalbeauty
,and excelled in al l manly exerc is e s . He was al so fond of
gayety and luxuriou s liv ing, and was, i n short , the brill ian t go o d
fellow of'
whate ver company he was i n , and his reputation earlyex tended over al l Ita ly. I n spi te o f his various other acquirementspain ting was hi s favorite pursuit, and the one to wh ich he mostapplied himself. His father placed him under the i nstruction ofAndre a del Ve rocch i o , an eminent master of his time . He soonpe rceived the extrao rdinary abi li ty of hi s pupil , and tradition relate sthat soon after Leonardo became his scholar, being employed topaint the “ Bapti sm of Christ,
” he gave him a portion of the work todo. An angel pai n ted by the youth so far excelled the master thathe resigned the penci l forever, enraged th at a chi ld should k nowmore than himsel f. ” From this t ime Leonardo devoted himsel f tothe different branches of the art he loved , but with some want ofsteadfastne ss . He went much i nto soc iety, l ived extravagantly,keeping a retinue of se rvants , and a sumptuous equipage . He wasal so at times diverted by hi s love of the sc ie nce s, sometime s mak ingastronomical observations , sometimes st udying natural hi story andbotany . His numerous scientific writi ngs show with what i ndustryhe must have worked . Two proj ects, o f the many which he contempla ted, deserve notice . One was the l ifti ng of the Cath . of S.
Lorenz o by mean s of immense levers ; the other was to form a canalof the Arno as far as Pisa . Vasari relate s that one of the Co ntadin ion his father's estate brought to him a piece of wood from a largefig
-tree , des iring to have something pai nted on i t . Leonardo , afterconsidering, determined to try what effec t he could produce withthe horrible, and col lected serpents, l iz ards , and other obnoxiousan imal s, from which he painted a. monster so horri d th at i t seemedto infect the atmosphere about i t . When it was finished he calledhi s father, who was so much frightened that he turned and ra n
away . Leonardo was qu i te sati sfied with his work,which was sold to
a merchant for the large sum of 100 ducats , and soon after purchased by the Duke o f M ilan for three t imes that sum . It wascalled the “ Rotello de l F ico ” Da Vinci was able to remember apeculiar fac e he h a d se en . and on h is return home could draw i tfrom memory as wel l a s i f i t had been pre sent . He was in the habi tof invi ti ng people from the lower orders to hi s hou se , amusing them ,
and ske tchi ng the ir face s . In thi s way he produced the mostridiculous caricatu re s , which were , at the same time, good l ikenesse s .lIe som e tim cs showed them to the ori ginal s. For the sake of his
VIN CI . 607
s tudies he went so far as to accompany criminal s to the place ofexecution ; i n short, b e neglected no means for perfecting himself i nhi s art. After a time Leonardo became anxious to secure some.fixed salary fo r himself
,and wrote to the Duke of M ilan
,Ludovico
Sforz a , called IlMoro , offering his services to that prince . M atterswere arranged
,and his salary fixed at 500 scu di , besides variou s
immunities , and the privilege‘ of receivi ng the price of pictures not
executed by the order of the duke . Th e time of his going to Mi lanis a matter of doubt, as the dates given by various authorit ies rangefrom 1 48 7 to 1 4 94 . This Duke ofM i lan , although a regent, governedwith absolute power, and had gathered about him talented men forthe in struct ion and amusement of h is nephew . He fully apprec iatedLeonardo , and k new something of his talents from the Ro tcllo del
Fico .
”L eonardo, for his part, found himself i n a most pleasing
s ituation . Surrounded with brill ian t and congenial men , leading agay l ife
,he so on became a favori te of the Duke , who was a great
lover of pleasure,and dissolute i n his private l ife . Leonardo could
assi st him in al l things,by advice at his counci l, by plans for the
adorning of hi s c ity , by m u sic and poetry i n his leisure hours,and
by paint ing th e portrait s of his favorite mi stresse s . His first publicwork at M i lan was the equestrian statue o f Francesco Sforz a
,the
First. At this time he also painted th e portraits of Cecil ia Galle ra n i , and Lucre tia Cre ve lli , two favorite s of the Duke . Theseportraits were both celebrated and admired , and the latter i s belie ved to be now in the Louvre . Il Moro proved the e stimation i nwhich he held Leonardo by choosing him to be the founder anddirector of an academy which he had long wished to establ ish , thepurpose o f which was the bringing together of m e n of letters andskilfu l artist s . It was called the “ Academia L eonardi Vinci .”
Le onardo was also made superi ntendent of al l the fe tes and entertainments given at the court of M ilan , and the Duke employed L eonardoi n the great undertak ing of bringing the waters of the Adda fromMo rte sana to M il an , a distance o f nearly two hundred mile s, a workwhich he accompl ished to the wonder and astonishment of all I ta ly .
In 14 94 , Charles VIH. invaded Italy , and went to Pavia, where IlMoro entertained him magnificently . L eonardo had much to dohere , but h e found time to study the anatomy of the human bodyunder Marc Antonio della Torre . Da Vinc i was accustomed todraw the different portion s of the human frame in red chalk
,while
his in structor would describe them most minutely . Some of thesedrawi ngs are preserved in the Royal Library in London . Leonardoalso made himsel f a favorite of the French King . No t long afterthis IIMo re becam e the establ ished Duke of M ilan . He now hadmore lei sure for the cultivation of l i terature and art , and his courtbecame what that of Florence had been under Lorenz o de’ Medici .Leonardo’s l i fe at the court of Mi lan was most agreeable , but it was
608 VINCI .
detrimen tal to him as an arti st , and few work s , comparatively , canbe attributed to thi s time . At length the Duke, desirous o f perfec ti ng some work of art which should perpetuate hi s name and enrichhis capital
,commanded Leonardo to pai n t the “ Last Supper o n
the wall s of the Refectory i n the Domin ican convent o f the Madonnadelle Graz ie . I t i s not prec i se ly known when he commenced this
great pic ture, but i t must have been about 14 9 7 . Duri ng th e
JOHN, PETER, AND JUDAS. BY DA V INCIFrom the Last Supper, in th e Refecto ry o f S . Maria del le Graz ie, Milan .
progress of th is work the artist encountered many difficul tie s , amongwhi ch the impatience of the prior for its completion was mostaggravating . He was at length s ilenced by the dec laration of DaVinc i tha t he had sought everywhere , i n the pri sons , and among thelowes t peo ple , for a model for the Judas, and he could see no wayi n which to sati sfy the haste of the prior but that of allowi ng himto si t fo r the picture of the trai tor . The Duke was much amusedat thi s , and Leonardo reli eved, but he had to o much honor to have
6 10 VINCI .
King with every mark of favor, and from that t ime Da Vi nc i conside redh imself as belonging to th e French court . In 1 5 16 he wentto Pari s
,where he met with a reception equal to hi s meri ts
,and
everything was arranged for hi s comfort and pleasure . But fromthi s time his health began to fai l , and i t i s not probable that hepai nte d anything i n France . At the t ime of his death he hadaccompanied the court to Fontainebleau . and expired in the arms ofthe King,1 i n the seventy-fifth year of his age . Thi s i s the accountgiven by Vasari, and confirmed by contemporary writers . I t issupposed that he left many l i terary work s . A good part of the sehad been written for the Acad. in M ilan , and many of them arepre served i n the differen t librarie s of Europe in manuscript form .
His le tte rs and other wri tings are easily recogniz ed , as he wrotefrom right to left . Hi s be st k nown work is the Trattato dellaPittura,
” which has been translated in to English . As an engineer,
his canal of ' the Marte sana was sufficient to e stabl ish a reputati on .
As an artis t he may be called the poe t of pai nters . Hi s works comb in ed grandeur of design , and harmony of expression , with mi nutefin ish , and if he was surpassed by those who followed him , i t shouldbe remembered that i t i s easier to advance i n a path once opened,than to discover the path . Person ally he was very much beloved .
Living in ‘a time of great intrigue a nd gallantry, pos sessed of attraetive person
,tal ents
,and accompli shments , his general conduc t was
marked by propriety and morali ty . He seldom painted nude figures.When he d id so their atti tude s were modest , and his pic tures fre efrom al l indecency. He had advanced the progress of sc ience ,was a generous patron a nd affec tionate friend , and seemed scarcelyto desire anything beyond th e advancement of art . There are
good reason s for bel ieving that,i n addition to hi s other works,
he sometimes etched, or engraved on copper . I n th e Briti sh Mus.
are the following , two of which are thought to be undo ubtedly his
workThe Bust of a Young and Beauti ful Female.Study of Heads of three Horses .A large print of a lady in a rich dress .Of the work s of Leonardo which remain
,the “ Last Supper i s ,
of course , th e greatest . Besides th i s there are many excel lentoriginal s at M ila n and in the surrounding country . In the Ambro sian Gall . at Milan i s a serie s of very interesting small work s.Among them are the portrai ts of Ludovico and his wi fe , i n oil . Ithas been difficul t to decide which are the picture s of Leonardo, andwhich those of his pupils , bu t the following are called those of themasterIn the Louvre , S . John the Baptist
,half-length ; the Virgin and
Chi ld , wi th S. Anne ; a group known as La Vierge aux Roche rs ;1 N o t wel l authent icated.
VINCI . 61 1
Portrait of a Woman , bust ; Portrait of Mona Lisa, called “ LaJo co nde ; and a Bacchus .In the Gall. of the Hague i s a picture called a “ Charity , which
is supposed to have represented a Leda, and to have been paintedover fr om motives of decorum .
In the Gall . of the Ufii z i i s a large Adoration of the Kings ,so unfinished that i t may be called a cartoon .
In the Sc iarra Pal . , at Rome , i s a picture of Modesty and Vani ty,
which is very beautifu l . One of the be st old copies of the “ LastSupper ” i s i n the Royal Acad . of London . I t was made by M arcod’
Oggio ne , about 1 5 10, and must give a good represen tation of thepictu re in i ts original s tate .
ENGR AVINGS AFTER THE WORKS OF DA VINCI .Engraver, B ENAGL IA , Giu seppe . Madonna and Child
,with a
Lamb and S . Anne .
Engra ve r, BERNARDI , Jaco po . The Virgin nursing the Child,who
holds a Pigeon i n one Hand . Same subject , different engrav ing.
Engraver, BLOT , M aurice . Vanity ; from the picture of Vanityand Modesty.
Engra ver, B R IDOU X , Francois Eugene Augustin . La Belle Ferro n iere . La Belle Fe rro n i
‘
cre , another engraving .
Engra ver , CAMPANELLA , Angelo . Vani ty and Modesty.
Engra ver , DESNO Y ERS , Loui s Augusti n Boucher. .La Vierge auxRochers .Engra ver, EDELINCK , Gerard . Combat of four Horsemen for the
Standard .
Engra ver , FEL SJNG ,Jacob . Mater Dolorosa .
Engra ve r , FORSTER , Francois . La Vierge a u Bas-rel ief.Engra ver, FRANCK , Joseph . The Madonna with a Flower.Engra ve r, GARN IER , Francois . La Vierge aux Balances . Bac
chus.Engraver , JANOTA , John George . Christ bearing his Cross .Engra ver, JUSTER , Joseph . Virgin and Child, both holding
Flowers .Engra ver, LEROUX , Jean Marie . Leda .
Engra ve r , LONGH I , Giuseppe .-Madonna di S . Onofrio.
Engra ver, MA Rm , Giuseppe . Madonna di S . Onofrio .
Engra ve r , MA SSARD , J. B . Raphael Urbain . La Gioconda. ,
Engra ve r , M ICHE L , Jean Baptis te . La Gioconda, undraped .
Engra ver, MORGHEN , Rafaello. The Last Supper . Head o f
Chri st . Leonardo da Vinci .Engrave r , M ii L L ER ,
John Gotthard von . S . Catherine,with two
Angel s ; probably by a pupi l of Leonardo.
Engra ve r , RE INDEL, Albrecht Christoph . Madonna of Coun tScho
’
nborn at Pommersfelden .
6 12 VINCI VISCHER .
Engra ve r , R lCCIAN l , Antonio . Magdalene .
Engra ver , ROMAN ET , Antoi ne Loui s . La Colombine , al so cal ledFlora.
Engra ver, STE INM ULLER, Joseph . Virgin and Child with SS .
Catherine and Barbara .
V in cke n b o o ns , D a v id, born at Mechl i n (15 78 A pain tero f landscape s and scene s from peasant life . An imitator of theBreughel s . His work s are seen in German gallerie s, but li ttle can
be said i n the ir prai se .
Vische r, H e rm an n . In 1 45 7 thi s old sculptor carved the sma llfigure s of th e Apostle s on the font i n the ch . of Wi tte nberg .
Visch e r, Pe t e r. So n of the preceding , and far more important.He was admitted as a maste r i n 1 489 . Five years later he was summ o n ed to Heidelberg , together with Simon L ambe rge r, to assi st th eElector Phil ip with his advice and skill . We know nothi ng of whathe did there . Peter was a ssi s ted by five sons ; Peter, admitted amaster i n the thimble trade i n 1 527
,Hans , cal led “ the caster ,
"
Hermann , who went to Ital y and brought home model s and designs,Jacob , and Paul . The father
,Peter
, died in 1 529 , and his sonsprobably did not surv ive him more than eleven years . The mostthat can be known of the l i fe of Peter Vischer i s the artis tic progre s s which i s revealed by the monogram and date s whi ch he placedupon his work s ; but these tel l a ful l tale of thought , study , industry ,and the growth which i s their reward . His earli e st known work isthe monument of Archbi shop Erns t i n th e Magdeburg Cath . ; i t belongs to 1495 , and that of Bi shop Johann , i n the Cath . at Breslau
,
was done in the nex t year . T hese work s are the l egitimate productso f the N uremberg school . They are li ke \Vo lgem u th and Krafi
'
t , andyet there i s a beauty in them , and a power , which foretell s hi s futu reexcellence . This i s espec ially true of the Apostle s on the s ides ofthe sarcophagus at Magdeburg . From the completion of these monumen ts w e are without the knowledge of his work s for te n years .During this time he must have studied hard
,as i s seen i n th e eleva
tion of his powers as di splayed i n the great work of h is l ife , theTomb of S . Sebald, at Nuremberg. He was engaged on thi s from1 508 to 1 5 1 9 . The bone s of the patron sain t were enclosed i n asarcophagus of the M iddle Ages , and the task set our sc ulptor was toerec t a fi tti ng tomb for these honored rel ic s . All hi s powers weregiven to i t , and the resul t i s one of the fines t monuments of the plastic art o f his age The plate given shows i ts form . There i s theabundance o f ornament which marked the manner of the 1 5th century, but examination reveal s di stinctness and beauty i n every de tai l,and a fi tness i s observed i n every part ; for example , i f we comparethe statue o f the sain t and that o f Vischer h imself, ho w accurate lyi s eac h sui ted to i ts subject . The sai nt i n his flowing drapery andful l beard
,with hi s pilgrim ’s s taff and the model of the church , ad
614 VISCHER.
the pillars . They are slender i n proportion,grace fully draped
,and
beari ng .their appropriate emblems ; the expre ssion of each wonde rfully suited to the charac ter , and the whole perfec tly free fromthe real ism of hi s earl ier work s . Above these are twelve figuresof Prophe ts and other Biblical personages ; Perseu s and Herculesappear among the lower figure s , while Strength , Moderation , Prudence, and Justice are al so personified . The centre and highestdome (of which there are three) i s crowned by a figure of the InfantChri st . Besides all these the variou s ornamental design s in differentparts are almost innumerable ; there are harpies , siren s , satyrs ,fauns, and the richest abundance of fantastic and natural l ife . L i ibkesays , N ever has a work of German sculpture combined the beautyof the South with the deep fee li ng of th e N orth more richly , more
RELIEF FROM THE TOMB o r 8 . SEBALD . BY P . VISCHER .
At Nuremberg .
thoughtful ly,and more harmoniously .
” Vischer and Ghiberti seemto have breathed the same spiri t of pu ri ty and noble feel ing . lve
have given so much space to thi s description that we can only namehi s l ater work s , and say that they are of the same pure s tyle , withoccasionally more exqui site finish . They are two cast s o f a rel ief ofthe “ Crowning of the Virgin
,
” i n the church es of Wittenberg andErfurt ; a rel ief o f Chris t meet i ng the Si s ters o f Laz arus,
” i n th eCath . o f Ratisbon 3 a rel ief of the Entombment, i n the E gidienk irche at N uremberg ; a monument to Card . Albrecht von Brandenburg , i n the ch . at Asch afl
'
e nbu rg, and a monument to the Elector ,Frederick theWi se , i n the castle ch . of Wi ttenberg . No other worksare authentically known to be his ; some others are i n di spu te , and bymany bel ieved to be either en tirely or partly by hi s hand . His sons .
VISCHER VOL PATO . 6 15
Hermann and Johann , execute d a few monuments which are notequal to th e works of the father , yet partake largely of hi s s tyle .
V i ssch e r. Co rn e li u s , born at Hae rle m (1 6 10 An eminentengraver
,whose prints are somewhat numerou s and very much e s
teemed . Proofs of the be s t are very rare and expensive . He studi ed under Peter So u tm an . His engrav ings after hi s own designsare better than those after other masters . The portrai t of Ge lliu s dcBouma, the “ Pan cake Woman ,
” and the “ Ra t Catcher ” are veryperfec t .Vissc h e r, Jan . Flo uri sh ed about 1 650. Younger brother of
Cornel ius,and a good engraver, whose plates are well e steemed .
He used th e‘poin t more than the former , and his manner of etching
i s very pic turesque . There were several other less importan t e ngravers of the same name and family .
V i t e or Vi t i , Tim o te o de lla , born at Urbino (1 4 70 Heexecuted some pleasing pic tures before he joined the school ofRaphael , but under his i nfluence he acquired ne w grace . A Magdalene
,
” i n the Bologna Gal l . , i s very attractive ; hi s works are rare .
He was al so distinguished as a miniature painter .V i v ar e s , Fran c i s , born at Montpel l ier (1 71 2 Thi s e n
graver i s e special ly d i stinguished fo r h is fine engravings after thelandscapes of Claude L orraine .
V iv ari n i , A n to n i o . Thi s artist i s called Da Murano,from the
island of that name . He flourished about the middle of the 1 5 thcentury . His pictures are soft, and wel l blended i n color . Barto lomm e o was probably a younger brother . His work s are see n inthe churche s of Venice ; their chief excel lence i s the expression ofhis sacred figures . Luigi was a sti ll younger man of the same family .
His work s are much better than those of the elder Vi vari n i ; they areseen frequently in Venice
,and a Madonna enthroned
,with se veral
saints, i s i n th e Berlin Museum .
Vli e ge r, S im o n de , born at Amsterdam . Flourished 1 635 - 1 650.
His best work s are very excel lent . A cabine t,M unich Gal l . , rep
resenting a s torm at sea, i s a masterpiece . His work s did notreceive the praise they merited for a long t ime ; now he is reckonedamong the good masters in his branch of painti ng . His v iews ofte ni nclude landscape and water . They are i n the Lo uvre , Amsterdam ,
Dresden , and Munich gal lerie s , and some are in England . Bartschgives a l is t of twenty excellent etchings al so by th is master.Vli e t, He ndrik v an (1 608 A few picture s of thi s arti st
are known . He painted the i nteriors of churches and gen i e subjectsby lamplight .V o is , A ry de (1 64 1 An art is t e special ly remarkable for
his m inu te fin i sh . His work s are i n several large Continental galle ri e s .
V o lpa t o , Gi o . , born at Bassano (about 1 738 This e n
6 1 6 VOLPATO \VAL I)0 .
graver i s chiefly di stinguished for hi s se t of colored prints from thework s o f Raphael in the Vatican . He al so made a se t of the mostremarkable v iews near Rome , and did other considerable works .Vo lte rra , Dan i e le da , real name R icc iarel l i (1509 The
best scholar of M ichael Angelo . He made himself distinguished byhis grand Descent from the Cross,
” in the Tri ni ta de ’ Monti , atRome
,which has become one of the well-known picture s to all the
world . Other works o f his are a Bapti sm of Christ,” i n S . Pietro
i n Montorio,Rome ; a double picture of David and Gol iath ,
” giving two points of v iew
,i n the Lo u vre ; i t i s on slate , and was long
attributed to M i chael Angelo ; a Ma s sacre of the Innocents,” i n the
Ufli z i , i s al so a very celebrated work of his .Vo rst e rm an , L u c as , the Elder, born at Antwerp about
1 530. This eminent engraver firs t studied painting underRubens ; i n l ater times no engraver so perfectly repro
duced the work s of that master as d id Vo rste rm an . He was awonderfully ski lful artist
,but when he attempted to reproduce the
work s of Raphael,he did not succeed in g iv ing the ir deli cate beauty ;
hi s work was better sui ted to Ruben s and Caravaggi o . He wen t toEngland and remained eight years , and made some excellent prin tsafter the portraits of Va ndvck.
Vo s , M a rt in de , born at Antwerp (153 1 The be st pupi lof F ran s F loris . He also studied under Tintoretto at Venice , andon his return to Antwerp establ ished a school . T he Antwerp M us.
has a se ri e s of his work s . In color and dramatic effec t he sometimesseems to have been the forerunner of Ruben s . His muscular exagge ra tio ns are le ss marked than those of F lori s , and hi s finish i scareful ; yet he i s cold i n feel ing, and mannered in motive .
Vo u e t , S im o n , born at Pari s (1590 He seems to haveformed his stvle from Caravaggio and Paul Veronese. He travelledmuch , made a great reputation , and was appointed Preside n t of th eAc ad . of S. Luke , at Rome. In 1 627 he was cal led home by Loui sXIII. , and apartments i n the Louvre were assigned to him . He canscarcely be called anything but a m achin i st. Among his pupil s weresome of the be st F rench painters
,Le Bru n
,Le Sueur
,Pierre M ign
ard, Du fre sno y , etc .
Vri e s , A dri a n de . This sculptor was a pupil of Gio . da Bolo gna,and carved the Hercule s fountai n at Augsburg
,i n 1599 .
W agn e r, Hans , called Hans von Kulmbach ,died 1 540. Pupil of
Albert Durer , to whose style he faithfully adhere d . Hi s best worksare i n N uremberg, and are very remarkable . The Munich Ga ll.
,
and th e Stadel Institute , at Frankfort , have a few of hi s pictures .W aldo , S am u e l , born in Windham ,
Connec ticut (1 783
6 18 WEENIX WEST.
W e e n ix , Jan B apt i st, born at Am sterdam (1 623 Thi sremarkable an imal pain t e r w as soli d i n hi s execution , brillian t inlighting, and clear i n chiaro-scuro ; occasional ly b e was gaudy , butal l i n a ll he was the most eminent of the group of Dutch painters towhich he belonged . Some of hi s bes t work s are seen in the Mun ichcabinets . A Seacoast with a repul se of Turkish pirate s, i n the Louvre ,i s noticeable for i ts l ighting .
W e en ix , Jan , born at Amsterdam (1 644 So n and pupi lo f the preceding . Ili s works mostly repre se nt dead animals , lifes iz e . He especially excel led in dea d hare s , and these are the pictureson which his fame rests ; ther are frequently pai nted with birds a nd
other game,and rarely a h vi ng dog is introduced . His masterly
work s are at the Louvre,Munich , Hague , Amsterdam , and Berli n
gallerie s .W e rfi A dri an v an de r, born n ear Ro tterdam (1 659 This
artis t pursued the ideal i n the mids t of the reali stic school of hiscountry, and became famous by h i s work s . His execution was wonde rfully smooth , his forms were be aut i fully elegan t , but his groupingi s ar tificial and unpleasant, hi s whole to ne cold and heavy, with alack of feeling runn ing through all. But his work s were much ad
mi red,and he could not find time to execute the orders he rece ived.
His figures are mostly small . Munich i s rich in h i s work s, and theyare see n i n several large gal lerie s .W e rfi
’
, Pi e t e r v a n de r, born at Rotterdam (1 665 Brother,
pupil,and as sistan t o f Adrian . He so ofte n copied the pic ture s of
Adrian, and so adopted hi s style , that i t i s sometimes difficul t to di s.t ingu ish be tween their works . But Pie ter was, i n truth , m uch theweaker of the two . Three of his work s are i n the Amsterdam M us.
W e st , B e nj am i n , born at Spri ngfield , Pennsylvan ia (1 7538The story o f his ea rly love for painting , of the gift of a paint boxwhich he received , of his truancy and firs t picture in hi s mother’sgarret, e tc . , i s to o well k nown to be repeated . At e ighteen he wase s tabli shed as a portrai t painter i n Philadelphia . By th e k indne ss ofappre c iative friends i n that c i ty and i n N ew York he was enabled to
go to Italy , and at length went to Engl and i n 1 763 . From thi s timehe advanced s teadily and received many honors , be ing made a member of the Academies of F lorence , Parma, and Bologna , and finallyPresiden t o f the Ro val Acad . of England . He received
,i n struc ted ,
and befriended the young American arti sts who went to England , andled a l ife of honorable comfort . He was not i ntense i n his nature
,
and hi s experience brought no trial s to develop and strengthen hi sspirituali ty. His li fe was one of regular
,orderly industry and success .
His pic ture s are a legi timate result of such an experience,and whi le
there is much to admire , while we may be very proud of him as anearly American artist, there i s nothi ng in hi s creation s to s tir o ur
souls while w e regard them , or to make a l iving recollection when we
WEST . 6 1 9
turn away . He was hi ghly connec ted i n England ; hi s great-grandfather was the friend o f Penn ; his father was one of the early champions of emancipation , and his antecedents seemed j ust fi tted to leadup to th e kingly favor which he so long enj oyed and whi ch securedto him hi s baronetcy, prosperity, and happy old age ; and if the widedifference between hi s cottage birthplace and hi s cathedral tomb (hewas buried in S . Paul’s) seems at first glance surpris ing, the knowledge o f the path which led from his cradle to his grave dissipate sour wonder. Hi s rewards were but the j ust re sult o f the fortunatec ircumstances which placed them in h is way
,and his unswerving in
dustry and continuous effort to meri t them . His work s were verynumerous, and have been estimated as high as 3000. Many o f hi searly portraits are possessed by the descendants of those for whomthey were painted , and are in different parts of the country . HisLear is i n the Boston Athenaeum ; his Hamlet and Ophelia i n
the Coll . of Mr. Longworth of Cincinnat i ; Christ Healing the Sicki s in the Pennsylvania Hospital , and the Rej ecte d Lhrist i sowned by Mr. Harri son of Philadelphia . But the larger part of hi sworks are in England . There are good portraits of him in America ;two are i n the Boston Athenae um , painted by Leslie and All ston , anda ful l -length by Sir Thomas Lawrence i s i n the Wadsworth Gall .,Hartford , Conn . West was the di scoverer of the princ iple of thecame ra obscu re ,
whi ch was suggested to him by watching the effectof the light whi ch came through a crevice i n a closed shutter of hissick-room . He had an eminently thoughtful and prac tical mind
,
and there ismuch interest and many useful le ssons in the story ofhi s life as presented by his biographer , John Gal t .
’
ENGRAVINGS A FTER THE WORKS OF B . WEST .
Engrave r, BARTO LOZZ I, Francesco. Cornel ia, Mother of the Gracchi . S . Paul at Malta .
Engra ve r , BAS I RE , James . Oreste s and Pylades before Iphigenia.Engra ver , DUNKAR TON , Robert . Martyrdom o f S . Stephen .
Engra ver, EAR LOM ,R ichard . Portrait of Thomas N ewton
,Bishop
of Bri stol . Portrai t of Sir Edward Astley,Bart . Angeli ca and
Medora . Cupid st ung by a Bee .
Engra ve r, GR EEN , Valentine . The Stoning of Stephen ; veryfine ; 1 7 76 . Rai sinor of Laz arus . Chri s t receiving l i ttle Children .
Peter denying Chri st . Jacob ble ssing the Son s of Joseph ; 1 768 .
Danie l i nterpreting Balthasar’s Dream ; 1 7 7 7 . Nathan said untoDavid , Thou art the Man ;
”1 784 . SS . Peter and Paul going to th e
Sepulchre . T hree Maries a t the Sepulchre. Alexander and hisPhysician . Regulus leaving Rome for Carthage . Hannibal vowingEternal Hatred to the Roman s . Marc Antony’s Oration on theDeath of Caesar . Agrippina weeping over the Urn of German icus.Death o fEpaminondas . Death of the Cheval ier Bayard .
620 WEST WEYDEN .
Engra ver , HALL , John . Wil l iam Penn treat ing with the Indian sfor the Province of Pennsylvania . Oliver Cromwel l di ssolv ing th e
Long Parliament. Death of Schomberg at the Battle of the Boyne.
Engra ver , M ICHEL , Jean Baptiste . Cupid s tung by a B e e .
Alfred div iding hi s last Loaf with a Pilgrim . Conti nence of Alfred.
Engra ve r , SHA R P, VVilliam . TheWi tch o fEndo r.
Alfred dividing h is Loafwith a Beggar . Lear in theStorm . Portrait o f SamuelMoore .
Engra ve r , SM I TH, Benj amin . Christ heali ng theSick . S. Peter’s firs t Serm o n .
Engraver, STR ANGE , SirRobert . The Apotheosi sof two children of GeorgeIll.
, who died i n i nfancy ;1 78 7 .
Engra ve r , WOOL LETT ,
Wi ll iam,Death of General
Wolfe . Battle of LaHogue .W e stm a c o tt , R i chard
(1 799 This sculptora nd writer on art retiredfrom the active duti es ofh i s profession several yearsbefore h i s death
,but made
himself useful as a lecturerand writer . He publ ished“ The Handbook of An
c ient and fModcrn Sculpture i n 1 8 64 . He waselected an Associa te of theRoyal Acad . i n 1 8 38 , andan Academician in 1849 .
His work s are wel l known .
Among them th e followingmay be mentioned : Davidholding th e Head o f Gol iath
,
" the Cymbal Player,”
th e “ Guardian Angel,”
“ Go and sin no m ore,Paolo and Francesca, and Resignation .
W e y de n , R o gi e r v an de r, the Elder . Pupi l of Jan van Eyck
THE SI B YL AND THE EMPEROR AUGUSTUS.B Y ROG IER VAN DER.
In the B erlin Mus.
622 WILKIE W00 1) VILLE.
of to il and success . He never be came rich , and in 1825 his heal thfailed ; he travel led from one country to another, and w as everywherereceived with great k indness by art is ts and art lovers . He waspart icularly impre ssed with the art of Spain , and ev idently changedhis manner from the t ime of his v isi t there . In 1 8 36 he wasknighted . Wi lkie was a pai nter of domestic scenes, but he repre
se nted that side of life which cal ls out our sympathies ; unlikeHogarth
, h e'
sh o w s us th e j oys and sorrows of life rather than theridiculous v iew of it ; he fixes our attention on what we have heedlessly passed by many times . His “ Peep 0
’ Day Boy’s Cabin ” i sone of the finest of his later works ; i t i s in th e Vernon Coll . of theSouth Kensington Mus. Napoleon and the Pope in Conference atFontainebleau ,
” and Well ington wri ting a Dispatch the n ight beforethe Battle of Waterloo
,
” were exhibited i n 1 836 . In 1840 he wentto the East to collec t material s to pain t a Scripture scene , and mademany sketches
,but died before he reached home . He was buried at
sea. His pictures and their excellences are too wel l known to requ ireany word of praise here .
W illa e rts , A dam , born at Antwerp (157 7 He u suallypainted coast and harbor scene s ; sometimes he represented fairsand festive gatherings . His work s have considerable merit and areseen i n the Antwerp and Berl in museums .W i t , Ja c o b 6 6 , born at Amsterdam (1 605 A decorative
painter of great excel lence . His w ork s are seen i n the Hote l deVille of Amsterdam ,
which was his most important undertak ing.
He loved to pain t pretty ch ildren ; these are seen i n the Cassel andDresden gallerie s.W i tte , Em an u e l de , born at Alkmaar (1 607 This arti st
brought to perfection the painti ng o f ch urch i nter iors . His li neal andaerial perspective
,and his chiaro-scuro are admirable, and his broad,
free impasto i s most excellen t . His work s are i n the Amsterdam andBerli n m u seums
,and i n some churches of the former ci ty.
W o h lgem u th , M i c hael, born at Augsb o u rg (1434The chief m aster of his t ime , and the teacher of
Albert Diircr . His works are very unequal i n al l exceptcolor ; thi s i s always clear and powerful . Thi s i s accounted for bythe fac t that he left much to his assi s tants , and was very capric iousin h is own labors . His best remai n ing work s are in th e Munich Gall .and i n the chapel of S . Mauri ce at N uremberg . There have beenendless d iscussion s about Woh lgem u t
'n as an engraver , and there i s
nothing conclus ive known about i t ; the best authori ties di sagree, andit i s not yet established whether he engraved or not .W o o dv i lle , R i ch a rd Ca t o n , born i n Bal timore . When qui te
young this arti st went to Dusseldorf, and i n 1 84 7 sent to the NewYork Art Union The Card-Players .” His works are al l repre se n
tatio ns of homely and famil iar subj ec ts. They are seen in a number
WOODVILLE WOUVERMANS . 623
of the est private col lections i n America , and several are knownby engrav ings ; among these are “ Old ’
76 and Young “ TheCard-Players ,
” The Polit ic ian s ,” etc . He died in London in
1855 .
W o o lle tt , W i lli am , born at Maidstone i n Kent (1 735This arti st stands at the head of the best landscape engravers
.His
work s embrace a wide range of subj ects . The two most admired arethe Death of General Wolfe and the Battle of La Hogue .
” Hewas the first one to unite in his plate s the three styles o f engraving
,
thereby giv ing a j us t effect of l ight and shadow,and producing most
admirable optic illusions . Aquaforti s, the burin , and the dry point ,all contributed to make up the charming effects of his prints .
W o u v e rm an s , Ph i li p, born at Ha e rlem (1 620Pupil of Ja n Wy n ants, whom h e followed in
his landscapes, while he imitated Pieter van Laer i nhis animals . But i n the end he formed an independent manner ofhi s own , which far exceeds any others who have attempted the samesubject s . Fo r the mass of l ight he usu ally introduces a white horse .
He had much picturesque feeling , animation , and tender keeping ,with a del icate and spirited touch . Hi s pictures are nearly 800 innumber ; thi s speaks for his i ndustry and facil ity of execution .
Among so many i t i s not strange that there should be great in equ alities and much monotony . He had three different manners . Thefirst was charac teriz ed by heavy horses and angular figures ; thi stime may be best studied at Dre sden . In his second m anner thehorses are more slender
,his touch i s firm , and the color warm ,
clear,and bril l iant ; the Hague , Dresden , and L ouvre galleries have finespec imens of thi s t ime . About 1 660 he adopted a cool , silvery tone,whi le his touch was very tender ; and a wonderful feel ing for keepingadds a peculiar charm to these pictures . Th e much admired Hawking scene
,at Amsterdam
,i s a fine specimen of this time, and there
a re m any others . His work s are seen in all large gal leries .
ENGR AVINGS AFTER THE WORKS OF WOUVERM AN S .
Engra ve r, AL IAM ET , Jacques . The Span ish Halt .Engra ver, B A S , James Philip le . The Italian Chase . The Milk
Pot . The Boar Hunt .Engra ve r , BOETI US or BO ECE , Chris tian Frederick . Sportsmen
at th e Door of an Inn .
Engrave r , B OU TATS , Gaspar. A Sutler’s Tent .Engra ve r , CHEDEL , Quint in Pierre . A Landscape . Figures and
Ii o rse s.
Engra ve r , DANCKERT or DANCKER S , Daneker . A Se t of fineEtchings .Engra ve r, DAUD E T, John Baptist. A Stag Hunt.
624 WOUVERMANS WY NANTS .
Engra ve r , DUR ET‘, Peter. The Country Blacksmith .
Engra ve r, KOB EL L , Wi lliam . Cavaliers and Horses at the Doorof an Inn .
Engra ve r , LEMPEREUR ,Catherine El iz abe th . The Dangerous
Forest . The Rural Labors .Engra ver , MAJO R , Thomas . The Manege .
Engra ve r , MO ITTE, Peter S tephen . A Halt of Travellers . The
Watering Place .
Engra ver, OZAN N E, Mary Jane . Two Pastoral Subj ec ts .
Engra ve r, PELLE TIER , Jean . The Travel lers . Ladies goi ng to
th e Chase .
Engra ve r, PRESTEL, Maria Catherine . Two Landscapes, withHorse s .Engra ve r, STRANGE , Sir Robert . Th e Return from Market ; one
of the first plate s he publi shed, engraved at Paris ; 1 750.
Engra ve r, VI SSCHER , Ja n . Several Landscape s, e te .
W o u v e rm ans , P e t er (1625 Th i s art is t so often closelyresemble s his brother
,that his work s are attributed to the elder.
But i n truth hi s tone i s heav ier and his handli ng les s free than thatof Phil ip .
W righ t , Jo se ph , born at Bordentown , N ew Jersey (1 756Ili s mother , Patience W
'
right,was i n the habi t o f modell ing rel ievos
i n wax,and had con siderable imitative sk ill , as some o f her works
wh ich remain fully prove . The son was instructed by Wes t , andwhen in England made a l ikeness of the Prince , who was afterwardsGeorge IV. He was sen t to Paris to study , and was under the careof Dr. Frankl in . Returni ng to America, he was shipwrecked andcast upon the Spanish coast. He at length reached home penniles s .He executed several portrai ts of Washington , which are no doubtauthentic , though i nelegan t and unideal . He was appoi n te d byWashington as draughtsman and die-sinker at the United StatesMint when firs t es tabli shed
,and i n all probabili ty made the first
medals and coins ever executed i n America . He died of the fearfulpest i lence which raged in Philadelphia i n 1 793.
W y n an ts , Ja n , born at Ha e rlem (1600 This greatlandscape pa inter is only known . by his w orks , for the facts of hishistory have not come down to us . His picture s have great v irtues, but are mo notonou s and tire some . He was painful ly truthful ;truthful in detail , in outl i ne , i n everything . His color i s clear andbright . Ile pain ted figure s badly, and in his be st works they were
’
done by other arti sts . He executed with such care that his pict uresare not numerous when we con sider the length of time he painted ;they number about 214 . His work s are seen i n mos t European collections ; they are much liked in England on account of the ir genuin enatural ness .
XAMETE ZAGEL . 627
Xam e te was a sculpto r who is known only by the magn ificentportal of the Cath . cloi ster at Cu e ne a . This was carved between1 546 and 1 550
,of Arcos stone . It i s twenty-eight feet high
,sup
ported by Corinthian columns, and ornamented with cupids , tri ton s,harpies
,etc .
,etc .
, a s wel l as with statu e s of Judith and Jae ], S .
John and the Virgin , . and has-re li efs of th e Life of Christ .
Za ch tle v e n . Se e Sach tle ven .
Za ge l, M a tthi as . Flourished about 1 500. He is called by different authors Zatz inge r , Za si nge r , and Zinck . From th e style of hisengrav ing he was probably a goldsmith . If h is plates were notdated , they would be thought earlier than those of M arti n Schoen .
He worked with the graver onl y i n a neat manner,but so del icately
that his plates would not resi st many impressions , and after th evwere reto uched the print s were very bad . It i s supposed that heworked '
a t Munich . He also painted,and i n connect ion with his pie
ture s was called Mart in Zagel . A pic ture of the Crucifixion , saidto be by h im ,
i s i n th e Vienna Gal l ., and is a simple a nd excellen twork . Hi s prints are very scarce . He u sually marked hi s plate swi th the letters i ll . Z i n Gothi c charac ter. The fol lowi ng are hi spri ncipal platesSolomon ’s Idola try . 1 501 .
S . Catherin e with the Wheel .S. Ursula .
S . Christopher bearing th e Infant Christ.Martyrdom of S . Sebastian .
Socrates and Xantippe .
A Cavalier,seate d i n a Lan dscape , entertaining his Mistress .
A March of Soldiers , preceded by a Drummer and a Fifer.A Lover and hi sM i stres s embra cing . 1 505 .
An Assembly of Courtiers , called “ The Great Ball .A Tournament in the Streets of Munich, cal led The Grea t Tour
nam e n t .
”
In addition to the se , Bartsch m entions the followi ngThe De col lation of Joh n the Bapti st.S . Sebastian pierced with Arrows .S . George encountering th e Dragon .
The Mar tyrdom of S. Barbe .
S . Catherine reading.
S . Margaret holding a Cross .Meditation on Death ; represented by a naked woman standi ng on
a skull and holding a sun-dial .
628 ZAMPIER I ZUR B ARAN.
Zam pi e ri . Se e Domeni ch ino.
Ze gh e rs. Se e Seghers .Ze i tb lom -B arth o lo m ew . Flou ri shed about 14 95 . Very li ttle
can be told of thi s pai nter , but from hi s works he see ms to have be eninfluenced by Martin Schongauer. The Berlin Mu s. i s the onlypublic gallery in which I find hi s pictu re s . A head o f S . Anna
, N o .
56 1 B .
,and No . 606 A .
, are of hi s be st manner, and are delicate i nfeeling
,and warm and pure in coloring .
Zu c c aro ,
'1‘adde o and F e de ri go . The firs t of the se brothers died
at th irty-seven , at Rome , i n 1566 , and was buried in th e Pantheon ,near Raphael . Federigo painted i n F lorence
,Rome
,France
, England , and Spai n . He was Presiden t of the Acad . of S. Luke
,at
Rome,and left writi ngs on the arts . The pic tures of both are i a
sipid and disagreeably smooth, and yet at tim es we find someth ing inthem which indicates more power than appears . Their historicalpain tings i n the Castle of Caprarola show all these characteristic s .The pain tings of Federigo i n the cupola of the Duomo , at F lore nce,occa s ioned this satire
Po o r Florence, alas ! w i l l ne’er cease to complai n,Til l she sees he r fine cupo la whi tewashedagain .
”
Zu rb aran, Fran c isc o , born at Fuente de Cantos , 1 598 ; died atMadrid , 1 662. Pupil of Juan de Ro e las, at Sev ille .
‘ He acqui redthe title of the Caravaggio of Spai n , from his imitation of th e Itali anmaster of that name . He is one of the fir s t among Spanish painters .His t i nts were so ber and subdued , but al so bril l ian t ; and in color hewas by no mea ns an i nferior arti st . Hi s Virgins were rare , and hisfemale sa ints resembled the lad ie s o f hi s day . In the deli neation ofanimals he was very succe ssful ; and his representations of sti l l-l ife anddrapery were fac-simile s of the model s from wh ich he painted . Hepainted hi storical and religious pictures , portrai ts , and an imal s, buthis chief excelle nce was in the repre sen tation of monks Sti rl ingsays h e studied the Spani sh friar , and painted hi m with as higha re li sh as Titian painted the Veneti an noble ,
' and Vandyck thegentleman of England .
” He was appointed pa i nter to Philip IV.
before he was th irtv-five years old, and was a great favorite withthat. King, who once called h im “ pai n te r of the King , and k ing ofpainters .
” His portrai t i s i n the Louvre , and represents him a goodlooking man , dressed in the extreme of fashion . His finest worksare i n the Mus. at Sev ille ; and are the allegorical picture called S.
Thomas Aquinas ,” and three pictures painted for the Carthusians .
The L ouvre claims to pos sess n inety-two of his picture s . The Cath .
of Cadiz has a fine Adoration of the Kings ; the Queen of Spai n’sGal l . hi s Labors of Hercules,
” the S leeping Je sus,”and two pic
ture s from th e l ife of S . Pedro Nola sco.
030 GENERAL 1NDEX.
Intag l io s, m inute and remarkab le . See Pro pe rz ia de’
Ro ssi
La oco on , The . Se e Age sa nde r, 7 . Fine plate of. Se e B e r v ic , 107 ; m en
tion ed, 146 , 205
L iber Ve ri ta tis. Se e Ea rlo m
L iber Ve ri ta ti s. Se e Lo rra ineLo Spas imo di Sicil ia . Se e RaphaelLy ve rsbe rg Pass io n, The . Se e Me eke ne n
Mask o f a Faun,The . Se e B uo naro tt i
Michael Ange lo ’s David. Se e B o ttice l l iMichael Ange lo ’s Last Judgm ent . Se e B u o na ro tti
M ichael Angelo ’s Mo ses . Se e B uo na ro tti
Marb le Ti les . Se e B y z e s
Mauso leum o f Hadrian . Se e Anto n io di Sangal loMercury , Th e Se c Gio . B o lognaMissal , T he I l lum inated. (B russe ls ) Se e Attava nte
Mo sa ics in S. Peter’s. Se e Calandra
Navicel la, Th e . Se e Gio ttoN upt ials of Alexander a nd Roxana. Se e Ac tio n
Partheno n, Th e . Se e Ict inusPh i l ip II. a ndMorales , Ane cdo te ofPlace du Carro use l , The . Se c B o s ioPlace Ve nddm e . Se c B ergere t and B o s ioPlace dcs Victo ires , The . Se e B o sioPortico s o f Agapto s, Th eI’raxi te le s, Statues byPravi ng B o y , The Se e B o edas
Rape o f the Sab ines, Th e . Se e Gio B o lo gnaRem brandt’s Prints, Co pies o f. Se e B a i l l ieRham nusian Nem es is, The . Se e Ago racri tus
Shakespeare Gal l . , Acco unt o f. Se e B oydel lS . Mark’s, Ven ice ; Po rtico s aro und Square o f. Se e CalendarioStatue o f B a varia (co lo ssal ). Se e Schw an th aler
Te ne brario , Th e . Se e More lTo rso o fHercules, The . Se e Apo l lonius
Vi tto riaCo lo nna. Se e B uo naro tti
Venus Anadyomene, The . Se e Ape l lesVenus com ing from th e B ath . Se e Gio . B o lo gnaVenu s de ’Medic i , The . Se e Cle om e ne s
Ve ra Ico n, The . (Prague ) Se e Mu tina
NAMES OF ARTISTS, AUTHORS, AMA
TEURS ETC.
Aa lst., 1 .
Abate , Andrea , 1 .
Abba te , N icco lo , 1 .Abb ia ti , Fil ippo , 2.
Abbo t, Lemue l , 2.
Abe l, 2.
Ab ildgaa rd, N iko la i , 2.
Abshoven o r Apsho ve u , 2.
Acevedo , Cristo ba l, 2.Achen o r Ach , Ha ns van , 3.
Achtscbelling, Lucas, 3.
Acosta , Caye tano , 3.
Adda, Conte Francesco d'
,
Ado lfi, 3.
Adriano , 3.
Adriansse n , Alexander, 4.
Ae lst. See Aalst.Aerts, R ichard, 4 .
Aertszen , Piete r, or Laugc Peer, 4.
Aétio n ,
'
4.
Afesa , Pietro , 5.
Agabiti, Pie tro Pao lo , 5.
Agapto s, 5~
Agar, Jacqu es d’
, 5.
Agasias, 6.
Agatharcus, 6 .
Ageladas, 7 .
Agesander, 7 .
Agi , Andrea Carde l le, 8 .
Aglaophon ; 8 .
Agl io , Andrea Sa lvatore , 8 .
Agno lo , Scu lptor. See Agostino .
Agno lo , 8 , 9 .
Agoracri tus, 9 .Ago stino , 10.
Agrest i , L ivio , 1 1 .
Agrico la , Christopher Ludwig, 1 1 .
Agua., B ernardino del, 1 1 .
Agi i ero , B en ito Manue l de , 11 .
Agu iar, Tomas de , 1 1 .
Aguirre, Franc isco de . I1 .
Ainemo lo, Vincenzo , 12.
A ikman,Wi l l iam . 12.
Aken, Joseph van, 12.
Akerboo m , 12.
Akers,B enjam in, 12.
A lba,Macrino d
’
,13.
A lban i , 13, 16 .
Albere lli , Giaco mo , 16 .
Alberici , Enrico , 16 .
Albertine lli, Mario tto, 16 .
Alberti, 17, 18 .
Albe rto ni,Pao lo
,18 .
Albertus, H. C.
, 18 .
Alb in i,Alessandro , 18 .
Alcamenes, 19 ; m e ntion ed, 10.
Aldegrever, He inrich , 1 9.
Aldigh iero or Altichi'
ero,20.
Aldro vandin i,20.
Aleman,Cristoba l , 21 .
Alen o r Olen, Jan van,21 .
Alen i,Tommaso , 21 .
Alesio,Mateo Perez de , 21 .
Alexander, Francis, 21 .
Alfani , 21 , 22.
Alfaro,Do n Juan, 22.
Alfou,Juan
,23.
Algardi , Alessandro , 23.
Algaro tti , m enti o ned, 169 .
Aliamet, 23.
Alibert i, Gio . Carlo , 23.
Alibra ndi , Giro la ino , 23.
Alie nse . Se e Vassilacchi .
Allan ,23 .
Al legr i , 24. 28 .
Allegrin i , Francesco , 29 .
Alle t, Jean Charles, 29.
Allo isi . Se e Galan ino .
Allori , 29 .
Allsto n, Wash ingto n, 30 ;
Alm elo ve n, Jo hn, 34.
men tioned,
632 NAMES OF ARTISTS,AUTHORS , ETC.
Alsloo t, 34
Alta m onte , Mart in. 34 .
A ltdo rfer, Albrecht, 34.
Altham ,36 .
Altissimo , Cristo fano , 36 .
A lunno,N icco lo , 36 .
Amalteo , 37 .
Amato , 37 .
Amatrice , 37 .
Amaya, 37 .
Amberes, 38 .
Am be rger, Christo pher, 38 .
Ambrog i , Do men ico , 38 .
Ani elsfo o rt, Qu irinu s. 38 .
Am erighi , M . A 38 .
Ames, Joseph, 39 .
Am ic i , Fra ncesco , 40.
Am ico ni , 40.
Am idano , Pompo neo . 40.
Am igazz i , Gio . B a tista , 40Am l ing, Carl Gustavus, 40.
Amm an, 40, 41 .
Amm ana t i , B arto lo me o ,41 .
Ammon, 41 .
Am orosi , 41 .
Amory , Mrs. James S m en ti o n ed, 218
Amste l , Corne l ius Ploo s ran , 41 .
Anch ilus, N 42.
Anco na o r Anco nita no,42
Anderlini , D., 42.
Ande rlo n i , 42.
Anderso n,42.
Anderton,Henry , 42.
Andre , Jean, 42.
Andrea, 42. 43 .
Andrea del Sam . See SartoAndrean i , Andre a, 43.
Andreasi , Ippo l ito , 43 .
Andriesse n , 43 .
Andrio li, Giro lam o , 43.
Andrio t o r Handerio t, 43.
Aueda, Juan de , 43.
Anesi , Pao lo , 43 .
Ange l i o r Ange l is. 43, 44 .
Angel ico , Fra . See Fieso le .
Ange l in i , Sc ipio ne , 44.
Angelo , M. Se e B uo naro tti ; menti oned,456 , 457 , 535, 579 .
Ange lo , 44 .
Angiers, Paul , 44 .
Angio le tto , 44.
Angu ier, 44, 45 .
Angu iscio la o r Angoscio la . 45
Angus, Wi ll iam , 46 .
An ich ini, 46 .
Anjou, Re ne d’
, 46
Anna, B aldassare d'
,46
Ansa ldo, Gio . Andrea , 4
“
Ansalo n i , Vince nz io . 46
Anse l in, Jean Lo ui s, 46 .
Anse lm i . 46 .
Ans iaux, 47 .
Ante lam i o r Antelm i,47 .
Anthem ius, 47 .
An tiqu us, 47 .
Au to l inea , 47 .
Anto ne l lo da Messina . See Messina .
Anto n io , Marc . Se e Ra im ondi .Anto n io , Pedro . 48
Anto n isze , Co r ne l ius, 48 .
Ape lles, 48Apo l lodo rus, 48 .
Apo llon io , 49 .
Apo l lo n ius, 49 .
Appelius, Jean , 49 .
Appe lm an , B e rnard, 49 .
Appian i, 50.
Appleto n Mr m enti oned, 302.
Apple to n, Ho n Nathan, m enti oned, 30.
Aquila , 50.
Am ldi , Alessandro , 50.
Arbasia , Cesare , 51 .
Arce , Jo se f (le , 5 1 .
Archer,Wykeham , 51 .
Arc imbo ldi , G iuseppe , 51 .
Am , Alo nso de l, 51 .
Arde ll,James Me
,51 .
Ardemans,Teodo ro , 52.
Ardente , Alessandro . 52.
Are gio , Pablo de . 52.
Are llano , Juan de , 52.
Are tino, Spinello , 52.
Aret ino , m entio ned, 378 , 448 , 514, 572.
Are tusi, Cesa re, 52.
Areva lo,Juan Cano de , 53 .
Arfian , Anto n io de , 53 ,
Arias , Fernandez Anton io . 53.
Ariosto , m e ntion ed, 572.
Ariste ides, 54.
Arland, James Anthony , 54 .
Arm anno , Vince nz io , 54.
Am o lfo, 54.
Arpino , 54.
Arredo ndo . Do n Isido ro . 54 .
Arte aga Alfaro , Matias, 54.
Arto is,Jaco b van, 55.
Asper, Hans, 55Aspe rt in i . 55
Assche, Henri ran ,
56 .
Asse lyn . Jan , 56 .
Assen , Jan Walther va n. 56 .
Asse rre to , Giovacch ino , 56 .
Asta , Andrea del l ’, 56 .
Astley , Jo hn , 56 .
Atha nasio . Se e B occaneg'm .
Athenodo ru s. See Agesander.
634 NAMES OF ARTISTS, AUTHORS, ETC.
B azz i o r Razz i , Gianan to n io , 79 .
B ea le,80.
B e atric i , N icco lo , 80.
B eaum ont,83 .
B ea uva i s, N icho las Da uph in de . 83 .
B e a u varle t, James Firm in, 83 .
B eccafum i , Do men ico , 83.
B eccaruzz i , Francesco , 84.
B ece rra., Gaspar, 84.
B e echey , Sir Will iam ,84 .
B eeck, Jan ,85 .
B e ck, David, 85 .
B eeldemake r, 85 .
B ee rstraaten, Alexander, 85 .
B egs , Cornel ius, 85.
B egare lli , Anton io , 86 .
B egas, Charles, 86 .
B egyn , Abraham ,86 .
B e ham,86 , 87 .
B cbaes,'Wi l l iam , 88 .
B e ich o r B e isch , Franz Joach im , 88 .
B e inaschi . See B e nasch i .
B elcamp o r B e lkamp. Jan Van , 89 .
B e lla , Stefano Del la, 89 .
B e l le, 89 .
B e llevo is, 89 .
B e llin i,894 35.
B e llin iano , Vitto re , 95 .
B e llori , mentio ned, 71 .
B e l lo tti , B er nardo , 95 .
B eltia fii o , Gio . Anton io , 96 .
B e l lucc i,Anton io , 96 .
B e ltrano , Ago stino , 96 .
B e ni bo , m entioned, 478 .
B e nnnell, 96 .
B e naschi , 96 , 97 .
B enaz ech,Charles
, 97 .
B enco vich,Federigo , 97 .
B enede tto,98 .
B e nedicto ,Roque , 98 .
B e nefial, Caval iere Marco , 98 .
B enfatto , Lu ig i , 98 .
B enso , Giu l io , 99 .
B ent, John van der, 99.
B envenuto , Gio . B at ista,99 .
B e rchem , N icho las , 99 .
B e rche t, Pe ter, 101 .
B e rg , Mathias van den ,102.
B ergen, Dirk van , 102.
B erger, Dan ie l , 102.
B ergere t, Pierre No lasque , 102.
B ergler, Joseph , 102.
B ergm uller, Jo hn Geo rge , 102.
B e ri ngero th , 103 .
B erkhe iden . 103.
B erkmans, Henry , 103 .
B e rlingh ieri , 103 .
B ermudez , Cean , m entioned, 3, 351 ,
B e rna o r B arna, 103.
B e rnabe i , Pier Anto n io , 104.
B ernae rts,N ica ise, 104.
B ernard, 104.
B ern in i , Gio . Lo renzo,104.
B erre, Jean B aptiste , 106 .
B e rregu ette , A lo nso , 106 .
B ernestyn , C. V.
,106 .
B erre to n i,106 .
B e rtaud, Marie Rosalie, 106.
B e rte ll i, 106 .
B erthelcmy , Jean S im on, 106 .
B ert in, N icho las, 107 .
B e rtucc i,107 .
136 17 10, Charles Clement, 107 .
B eschey , 107 .
B esenz i,Pao lo Em il io
,107 .
B esta rd, 107 .
B e tte lini, Pie tro , 107 .
B ett i, Padre B iag io , 108 .
B e tto . See Pinturicchio .
B ewick,Thomas
,108 .
B ianch i,108 .
B iancucci,108 .
B icc i, 108 .
B igari , Vitto rio . 108.
B iliverti , Gio ., 109 .
B iltius,Franc is
,109 .
B inck, James, 109 .
B indesbi ill, m enu'
tmed,568 .
B irch,Thomas, 109 .
B ird, Edward, 109 .
B isa i ino , B arto lo mmeo ,109 .
B ise t, Charles Em manuel, 1 10.
B i s i, Michae l , 1 10.
B isso lo , Pier Francesco , 1 10.
B issuccio , Le o nardo di , 1 10.
B laceo,B ernardino
,1 10.
B lacli ern i ta,M ichae l and Simon
, 1 10.
B lackm ore,Jo hn
, 1 1 1 .
B lake , W'ill iam , 1 1 1 .
B lanchard,Jacques , 1 1 1 .
B lanche t, Thomas , 1 1 1 .
B lankho f, Jo hn'
l'
eun isz , 1 1 1 .
B lanse ri,Vitto rio , 1 11 .
B leck o r B leeck, Pe ter van . 1 12.
B les, Henri de , 1 12.
B lo emae rt, 1 12.
B loemen, 1 12, 1 13.
B lond o r B lon,James Christopher Le ,
1 13.
B londee l, Lancelo t, 1 13.
B loo t, Pe ter, 1 14 .
B loo teling o r B lo teling, 1 14.
B lo t, Maurice , 1 14 .
B o badi l la, Geron imo , 1 14 .
B o ca negra , Do n Pedro Atanasio . 1 14.
B occaccino , 114 .
NAMES OF ARTISTS, AUTHORS , ETC. 635
B occ iardo , 1 15.
B o ckhorst, Jo hn van,1 15 .
B o édas, 1 15.
B oece , C. F . See B oetius .B oe li m . See B eham .
B o e l,Pieter
,1 15.
B oéthus, 1 15.
B oe tius, 1 15 .
B oeyerm anns,Theodor, 1 15.
B o hn,m e ntio n ed
,382.
B o issie u,Je an Jacques de , 1 16 .
B o izo t, 1 16 .
B 01, 1 16 , 1 17 .
B o ldrin i, Jo seph N ico las, 1 17 .
B o logna, Gio . o r Gian, 1 17 .
B o lognese, See Grima ldi ,B o logn in i , 1 17 .
B o lswe rt o r B olsuerd, 1 18 .
B ombe l l i, Sebastian , 1 18 .
B o nacina , Gio . B a t ista,1 18 .
B o naso ni,Giul io , 1 18.
B onatti,Gio .
, 1 18 .
B o ncuo re , Gio . B a tista,1 18 .
B one,Henry , 1 19 .
B o uce i , Gio . Giro lam o , 1 19 .
B onfanti,Anton io
,1 19 .
B o nfigli o r B uo nfiglio , B enede tto ,1 19 .
B on i, Giacom o , 1 19 .
B o n ifaccio , France sco , 1 19 .
B on ifaz io,Venez iano , 1 19 .
B o n ingto n, R ichard Parkes, 120.
B onone, Carlo , 120.
B o nsignori , Francesco , 120.
B o nvicino , Alessandro , 120.
B o one h,Arno ld van
,121 .
B ordier,m ention ed
,452.
B ordone,Paris
,122.
B o rgan i , Fra ncesco , 123.
B o rgian i , Ora z io , 123 .
B o rgogno ne , Am brogio , 124 ,
B o rras,N icho las, 124.
B o rreke ns,124.
B orsum ,124.
B o rz o ne , 124.
B o s o r B o sche , 125 .
B o sch , o r B o ssche, 123 .
B o schae rt, N icho las, 126.
B o sch i,126 .
B osch ini , Marco,126 .
B o sco li,Andrea
, 126.
B o selli,126 .
B o sio , Franc is Jo seph, 126 .
B o sschaert, Thom as Willeborts, 127 .
B o sse,Abraham
, 127 .
B o th , Jan andAndries, 127 .
B o tta la , Gio . Maria, 127 .
B o ttice l li, Sandro , 127 ,B o uchardon, Edme , 128 .
B ou cher, Franco is, 128 .
llo ucqu e t, Victor, 129 .
B o u langer, Jo hn , 129 .
B o ullongne , 129 .
lio nm an,
129 .
B o urdon, Se bastian , 129.
B o urgeo is, Sir Franc is, 130.
Ro usseau,Jacques, 130.
B o u t, 1 30.
B oyde l l , Jo hn, 130; m entioned, 502.
B raccio l i , Gio . Francesco , 131 .
B rakenburg, Regn ier, 131 .
B ram ante d’
Urb ino,131 .
B ram antino . See Su ardi .B ramb i l la , Gio . B a tista , 132.B ram er
,Leonhard
,132.
B ra uwe r o r B rower, Adrian, 132.
B rca,Ludovico , 1 33 .
B rebie tte , Pe ter, 1 33.
B reda , Jo hn van , 133.
B redael,133.
B ree,133.
B re enbe rg, B artho lom aeus, 133.
B rekelenkamp, Qu irin van , 1 34 .
B resa ng, Hans,1 34.
B re ughe l , 134 .
B reukelaar, Henri , Ju nior, 134.
B re yde ll, Kare l , 1 34.
B ride l l, Frederick Lee , 135.
B riggs, Henry Pe rronet, R. A 135 .
B ri l, 135.
B rinckman, Ph il ip Jerome, 135 .
B rio sco . Se e Riecio .
B roederla in , Me lch ior, 135.
B rompton , R ichard, 135.
B ronkhorst, 1 35, 1 36 .
B ronz ino , Ang io lo , 1 36 .
B rown, Ma ther, 136 .
B rowne, John, 1 36 .
B ruges, Jo hn o f, 136 .
B rullio t, m entioned, 69.
B run, Charles le , 1 36 .
B rune l lesch i , Fi lippo , 137 .
B russe l , Pau l Th eodore van , 138 .
B ruyn o r B ru in,138 .
B ry o r B rie , Theodore de , 1 39 .
B ryan, m entioned, 75, 107 , 132, 293,
409, 410.
B ucklaer, Joach im , 139.
B ufi‘
almacco,139 .
B ugiardini , Giu l iano , 139.
B u ister, Ph i l ip, 1 40.
B u l l inger, John B a lthasar, 140.
B une l , Jacques, 140.
B uonacorsi . See Vaga .
B uonam ic i . See Tassi .B uonaro tti , Michae l Ange lo , 140.
B uo ni , 165.
NAMES OF ARTISTS , AUTHORS , ETC.
B urghers, M ichae l , 166 .
B urgkm a ir,166 .
B urke, m entio ned, 503.
B yzes o fN axo s, 166 .
Cabe l or Kabe l , Adrian van der, 166.
Cabezalero , Juan Martin de , 166 .
Cacc ia, Gugl ielmo , 167 .
Caccinoli , Gio . B atista, 167 .
Cafi’
a , Me lch iore , 167 .
Cafii eri , 167 .
Cagliari , Pao lo , 1 67 .
Cagnacci, Gu ido , 17 1 .
Cairo, Caval iere Francesco , 17 1 .
Ca labrese . See Pre ti .Ca la brese . See Cardisco .
Ca landra , Gio . B a tista , 171 .
Ca lcar, Hans vo n , 171 .
Ca ldara, Po l idoro , 1 7 1 .
Calendario , F i l ippo , 172.
Ga leuse , Cesare , 172.
Caletti , Giuse ppe , 172.
Ca ll,Jo hn van ,
172.
Callco tt, SirAugustus Wall,172.
Ca l leja , Andres de la , 172.
Cal le t, Anto ine Franco is, 172.
Ca l l im achus, 1 73 .
Ca llo t, Jacque s, 173.
Calvart, Den is, 173.
Camasse i , Andrea , 17 4 .
Cam b iaso , Luca , 1 74 .
Cam b io . See Arno lfo .
Cam erata, Giuse ppe , 174 .
Cam i lo , Franc isco , 174.
Campagno la , 1 74 .
Campalastro , Ludovico , 175 .
Campanh a , Pedro , 175.
Camphuysen , Theodo re Raphael , 175.
Campi , 175 .
Canachus,175 .
Cana l o rCanals. Anto n io , 176 .
Candido . Se e Witte .
Cano , Alonso , 176 .
Canova, Anto n io , 177 .
Cantagallina , Rem ig io , 184.
Cantarin i , S im one, 185.
Canto fo li , Ginevra, 185 .
Canut i, Domen ico Maria,185.
Cape lla, Jan van de . 185.
Caracc io lo , Giam battista, 185.
Caragl io , Gio . Giacom o , 185.
Caravaggio . See Amerighi .
Cardi, Ludovico , 186 .
Cardisco , Marco , 186 .
Carducci o r Carducho , 186 .
Carew, Joseph , m entio ned, 12.
Cariano , (lio . , 1 87 .
Carle vari is, Luca , 187 .
Carlo n i , 187 .
Caro tto , Gianfrancesco . 187 .
Carpacc io , Vitto re, 188 .
Carpi, 188 .
Carpion i , Giul io , 188 .
Carracci, The , 188- 196 .
Carré or Carrey , Michae l , 196.
Carreno , 196 .
Carri ers . See Rosalba.
Cars, Laurence, 1 97 .
Carstens, Asmus Jaco b, 197.
Carucc i , Jaco po , 198 .
Casa lina, Lucia , 198.
Casanova, Francesco , 198 .
Casen t ino , Jacopo di , 198.
Caso lan i 198 .
Cassana , Gio . Francesco , 198 .
Cassteels, Peter, 199.
Castagno , Andrea del, 199 .
Caste lli , 199.
Caste l lo , 199 .
Castiglione , Gio . B enedetto , 199 .
Casti llo , 200.
Catena , Vincenzo , 200.
Catl in,Geo rge, 200.
Cavalcase lle , S igno r, m entioned, 396,Cava ll in i , Pie tro , 201 .
Caval l ino , B ernardo , 201 .
Cava l lucc i , Anto n io , 201 .
Cavarazz i , B arto lomeo , 201 ,Cavedo ne , Giacomo , 201 .
Caxes, 201 , 202.
Cay lus, Co mte de , 62, 202.
Ce lesti , Andrea , 202Cell in i , B envenuto , 202.
Ceph isdo tus, 203.
Ce racchi , Jo seph , 203.
Cerano , II, 204.
Cerezo , Matte o , 204.
Cerquo zz i . M. Ange lo , 204.
Cervantes m entioned, 437 .
Cesare , Giuseppe , 204 .
Cesi , B arto lommeo , 204.
Cespedes, Pablo de , 204 .
Chabry, Mark, 205 .
Challé, Charles M. A . , 205.
Chambers, Geo rge, 205.
Champa igne, Ph i l ippe de , 206.
Chantrey, Sir Francis, 206 .
Chardin, Jean B aptiste S imon, 206Chaudet, Anto ine Denis, 206 .
Cheney , Se th , 207 .
Chodowiecki , Daniel N ico las, 207 .
Christoph , 207 .
Christo phse n , Pieter, 207 .
Churriguera , Jose f de , 208 .
G38 NAMES OF ARTISTS, AUTHORS , ETC.
De lli, De llo , 242.
De lm ont, 242.
De nis o r Denys, Sim on, 242.Denner, B althasar, 242.
Dese nfans, Mn,m e ntio ned, 130.
Desplaces, Lo uis, 242.
Despo rte s, Franco is, 242.
De tro y, Jean-Franco is, 243.
Deutsch . See Manue l.Devis, 243.
Diaz , Diego Valent ine , 243.
D iepenbe ek, Abraham van, 243 .
Diest, Adrian van , 244 .
Die tisalvi, Pe tro ni, 244.
Dietrich,Chr ist ian \V. E.
,244.
Dionysius, me ntio ned, 462.
Do bson, Wil liam , 245 .
Do es , 245.
Do ggett, W. E.
,m entio ned
, 409.
Do lc i , Carlo , 245 .
Domen ich ino , 246 .
Donate llo , 250.
Doni, Adone o r Do ne,251 .
Donze lli , 251 .Miche l, 251 .
Dossi, 25 1.
Do udyns, \Villiani , 252.
Do ughty, Thomas, 252.
Doughty , Co l. Wi l l iam ,m entioned,
Dow, Gerhard, 252, m entio ned, 407 .
B reve t, 253.
Dm lling, Miche l Martin , 253.
Dro st, 253.
Drouais, Jean Ge rm a in,254.
Drummond, Samue l, 254.
Dubbels, 254.
Due , A.
, 254.
B ucq , Jan le, 254.
Ducc io di B o ninsegna, 254.
Du change , Gaspar, 255.
Du chatel, Frans, 256 .
Dufresnoy , Charles Alpho nse , 256 .
Dunlap, Wi lliam , 256 .
Dunwegge , 256 .
Dupaty , Charles Merc ier, 256 .
Duquesno y , Franco is, 257 .
Diire r, Albert , 257 ; m e ntio ned, 95 109,
273, 365, 445 .
Dusart, Co r ne li us, 261 .
Dyce, Wi lliam , 26 1 .
E.
Earlom , Richard, 262.
Eastlake, Sir Charle s L .
,m enti oned, 302.
B e lmo nt o r Ee ckho u t, 262.
Edelinck. Gerard, 262.
Edema, Gerard, 262.
Edmonds, Jo hn W., 262.
Egg, Augustus Leopo ld, 263.
Egmont, Justus van, 263.
Eimbe ck, Jo hann Kaphon vo n, 26 3.
Eiliger o r Elger, Otto mar, 263.
El l io t, Charles Lo ring, 263.
Elmar o r Eb er, Ste phen, 263.
Elstracke , Reg inald, 264.
Elzhe im er, Adam , 264 .
Em erso n , m entio ned, 365.
Empo li , Jacopo Ch imenti da , 264.
Engelbrechtsen, Co rne lis, 264F1 o r Essen , Jaco b van
, 265.
Esca lan te , Juan Anto ni o , 265 .
gno ndel, Math ieu, 265 .
Fs pinosa, Jacinto Jeronimo de, 265 .
Etty, Will iam , 265 .
Euseb io di San Giorgio , 265.
Eu tychides, 265.
Everdingen, Aldert van , 266 .
Evere tt, Edward, m entioned, 315.
Eyck, Van , 266-269.
F .
Fabris o r Fabre, 269 .
Fabriano , Genti le da, 239 .
Fabullus,270.
Fache tt i , Pietro , 270.
Fac in i , Pietro , 270.
Fae nza, Gio . da,270.
Fae s, Pete r van der. See Le ly.Fags, Ra ymo nd de la. 270.
Fa i tho rne,lVilliam , 271 .
Falco ne, An iello , 27 1 .
Fa lco ne t, Etienne Maurice , 27 1 .Fale ns, Karel wa n , 271 .
Fane l li, Virgi l io , 271 .
Pantuz z i o r Fo ntuzz i,27 1 .
Farina to , Pao lo , 272.
Farringto n, Jo seph , 272.
Fasso lo , B ernardino , 2T"Fatto re , Il. See Penn iFeke , Ro bert, 272.
Ferg, Paul Fra nc is, 272.
Fernandez , 272.
Ferrara, 273 .
Ferri , Ciro , 274.
Ferncci , Andrea di Piero , 274.
Fesele , Mart in. 274 .
Fet i , Domenico , 274 .
Fiamm ingo , l l . See Duquesnoy .
Fiamm ingo , 274.
F ieso le , Fm Gio . da , 274.
Fieso le , M ino da, 276 .
Figino , Am brogio , 276 .
'
i lippi . Se bastiano , 276 .
Filo eamo , 276 .
NAMES OF ARTISTS, AUTHORS, ETC. 639
Fi n ig uerra , Maso , 277 .
Fink, Frederick, 277 .
Finogl ia , Pao lo Domenico , 27F iore , 277 .
Fiorentino , Stefano , 277 .
Fiori , Mario di . See Nuzz i .F ish , Hon . Ham i lto n , m entioned, 232.
Fi sher, Alvau , 278 .
Flaxman, John, 278 ; m enti oned, 1 17 ,515.
Flemael, B ertho le t, 278 .
Fl inck, Govae rt, 279 .
Flo rige rio , Sebastiano , 279.
Floris, Frans, 279 .
Fogo lino , Marce l lo,280.
Fo lo , Gio ., 280.
Fontana , 280.
Foppa , 281 .
Ford,M ix
,m entioned, 565.
Forl i,Melo zzo da
, 281 .
Forment, Dam ian, 28 1 .
Fo sse, Charles de la , 282.
Foucquet, Jean , 282.
Fouqu ieres, Jam es, 282.
Fragonard, Jean-Ho noré, 282.
France sca, Pie tro de l la, 282.
Franceschin i’, 283.
Franciabigio , 283.
Francia, Francesco , 283.
Franck o r Frau chen , 285 .
Franco , B attista , 285 .
Franeo is, 286 .
Fraser, Charles, 286 .
Frate l l in i , Giovanna , 286.
Frazee, John ,
286.
Fredi , B arto lo di , 286 .
Frem inet, Mart in, 287 .
Frey , 287 .
Frisius,S im o n , 287 .
Fru itiers, Ph i l ip, 287 .
Fu essli,John Caspar, 287 .
Fuger, Henri , 287 .
Fu lton, Ro bert, 287 .
Funga i , B ernardino , 287 .
Furin i,Francesco , 288 .
Furness,W i l l iam H.
,Jr .
, 288 .
Fuse l i or Fussli , He nry , 288 .
F ilterer, U lrich . 289.
Pyo ll. Conrad, 289.
Pyt, Jan 289 .
G.
Gaa l o r Ga ll , B arent, 289 .
Gabb ian i , Anton io D om en ico,289 .
Gaddi , 289 , 290.
Gae ta , Sc ipione da . See Pulzo ne .
Ga insborough , Thomas, 230.
Ga lan ino , 291 .
Ga lass i , Ga lasso . 291 .
Gala to n, 291 .
Galestruzz i , Gio . B ati sta, 291 .
Galle , 291 .
Ga l lego s, Fernando , 291 .
Gal l i , 291 , 292.
Garbo , Rafi‘
aellino del, 292.
Gargi uo li , Dom en ico , 292.
Garo fa lo , 292.
Garz i , Ludovico , 292.
Gasse l . Lucas, 293.
Ga sser, Hans,293.
Gatt i , B ernardino , 293.
Gaulli , Gio . B att ista,293.
Gau lt de St. Germ a in , 293.
Gaywo od, Ro bert 293 .
Geddes, Andrew,293.
Ge lder,Aart de
,293.
Ge lee ,Claude. See Lorra ine .
Genga , Giro lamo , 294.
Gennari,B enedetto
,294.
Genoe ls, Abraham , 294.
Gent i lesch i , 294.
Gerard, 294, 295.
Gericau lt, Jean Lou is, 295.
Gessi , Francesco , 295 .
Gessner, So lom on, 295 .
Gevartius, m entioned, 522.
Ghe in o r Gheyn, Jam es, 295.
Gh ent, Justus van , 295.
Gh iberti , Lorenzo , 295 .
Gh irlanda io . 297 .
Gh isi , 299 .
Gh iso lfi, Gio .
, 299 .
Ghez z i, Cava l iere Pier Le one , 299 .
Giamberti . See San Ga l lo .
Giambo no M iche le , 299 .
Gibbon, Grindling, 299 .
Gibson,299
,300.
Gil lray , Jam es, 302.
Gi lpin , Sawrey, 302.
Gim ignan i , Giacinto , 302Gio rdano
,Lu ca , 303.
Giorgione , 304.
Gio ttino , 306 .
Gio tto , 306 ; m ention ed, 10, 290, 393.
Girardon,Franco is, 308 .
Girodet,Anne Lo u is
,309 .
Girtin, Thomas,309 .
Glass, Jam esW. , 309.
Glauber, Jan , 309.
Glaucus, 309 .
Glo ckenton,Albe rt
,309 .
Glover,
.
John, 309 .
Glyco n , 310.
Go bbo , Pietro Pao lo B onz i , 310.
Go ebo uw o r Go ba u , 310.
640 NAMES OF ARTXSTS , AUTHORS , E'
l'
C.
Go es. Hugo van de r, 310.
Go e the , m e nti on ed, 475 .
Jo ltz i us, He inrich , 310.
Gomez , Se bastian, 310.
Gondo lach , Matthaus,311 .
Good, T. S .
,31 1 .
Go o l , John van, 31 1 .
Go rtz ius, Gualdo rp, 31 1 .
Go ssae rt . See Ma buse .
Go udt, Co unt de , 31 1 .
Go ujon, Jean, 31 1 .
Goya y Luc ientes, Franc isco , 311 .
Go yen, Jan van , 312.
(j o u o li,B enozz o
, 312.
Grafl'
,Anton, 312.
Graat o r Gra i t, 313.
Grammat ica, Ant iveduto . 313.
Granacci , Francesco , 314.
Grandi , 314 .
Grane t, Franeo is Maurice,314 .
Graz ian i , Erco le, 314 .
Gre bbe r, Piete r de , 314.
Grefi'
,Jerome, 315.
Green , Valent ine, 315.
Greenough, Ho ratio , 315.
Greuze, Jean B aptiste, 316 .
Grien o r Gri in . Se e B aldung.
Grifli er, Jean , 316Grimaldi
, G10 . France sco ,316 .
Grimm ,mentio ned
,137
,145, 154, 281 ,
304 .
Grimo u , Grim o ux, 01°Grim o ud, 316 .
Gro s, 3 17 .
Grunewald, Matthew,317 .
Gryefl'
o r Griff, 317 .
Guardi,Francesco , 317 .
Guerc ino . 318 .
Gnérin , Pie rre N arcisse, 321 .
Gu ido . See Ren i .Gu illain, S im o n ,
321 .
Gysse ns o r Gh \‘
se lls, Peter, 321 .
Haansberge n ,Jan van
,321 .
Haarlem, Corne l is van . See Cornelisser.
Haarlem ,Die rickvan . See Stuerbo ut.
Hackaert, Jan ,322.
R ackert, Jac o b l’hilip, 322.
Hagen , Jan van de r, 322.
Ha inzelmann ,El ias . 322.
llaldenwang, Christ ian, 322.
”a l ler, Jo hn, 322.
Haller (po e t), m enti o ned, 424.
Ha ls, Frans, 323 ; m entioned, 587 .
Ham i lto n , 323 .
llannem an , Adrian. 324.
Harding, Cheste r, 324.
Harlow, Geo rge Henry , 324.
Hartmann , Jo hann Jaco b , 324 .
Haydon, B enjam in Ro bert, 324.
Ha) mann, Francis, 324.
Head, Guy , 324.
Heaphy, Thomas, 325.
He arne , Thomas, 325 .
Hea th , James, 325.
Heck, N icho las van der, 325.
Heda, Wi llem Klaasz , 325.
Heem , 325.
Heere, Luca s de , 325.
Heil , Dan iel van, 326 .
.Heineken’s Dict ionnaire des Art istes .
m entio ned,1 73, 399 .
He ine , He insi us, o r Ens, 326.
He intsch , Jo hann Geo rg, 326 .
Heinz , Joseph , 326 .
Helmbrecker, Theodore , 326 .
He lmont, Matthew van , 326 .
Heist, B artho lomew van der, 32”
B emessen, Jan van. 327 .
Hem l ing, Hans. See Mem ling.
Hemskerk, 327 .
Hendreks, Wybra nd, 327 .
Herlen, Frederick, 327 .
Hernandez,Grego rio , 327.
Herp, Gerard van, 328 .
Herrera , 328 .
Hersent , Lo u is, 329 .
Heusch,329 .
Heyden, Jan van de r, 329.
Highm o re , Jo seph , 329 .
Hi l l iard, N icho la s, 329 .
Hi lto n, Wil l iam ,329 .
Hire, Laurent de la , 330.
Hobbema, Mindert, 330.
Hodges, W i ll iam ,330.
Hoeck, Ja nvan,330.
Ho ecke , Ro bert van , 830.
Hoe fnagel, Jooris, 330.
Hoekgeest, G. o r C.
, 331 .
Hoe t, Gera rd, 331 .
Hofland, Thomas Christopher, 331 .
Hogarth, “'
illiam , 331 .
Hogenberg , 334.
Ho lbe in, 334.
Ho l land. Se e Dance.Ho l lar. Wenceslaus, 341 .
Ho lloway . Tho nms, 342.
Ho ndekoe te r, Melchior, 342.
Ho ndius, Abra ham . 342.
Ho ntho rst, 342.
Hoogh , Peter de , 343.
Hooche . Rome yn de , 343.
F‘o ocstraeten, 343.
Hope , ML ,m e ntioned, 566 .
Hopter, 343.
642 NAMES OF ARTISTS, AUTHORS, ETC.
Leeuw,361 .
Lefevre, or Févre , 36 1 .
Le lie, Adrien de , 361 .
Le ly, Sir Pe ter, 36 1 .
Le mbke, Jo hann Ph i l ip, 362.
Le m o ine, Franco is, 362.
Lempereur, 362.
Le na in , 362.
Lens, Andrie s Co rne li s, 363.
Le ochares, 363.
Le onardo , Juseppe , 363.
Leo nbru no , Lo renzo , 363.
Le on i o r L ion i , 363 .
Leopardo , A lessandro , 363.
Le prince, 363, 364 .
Lesl ie, Charle s Robert, 364.
Le th iere, Gu i l laume Gu illon. 364.
Le n , Thomas de , 364.
Leutze , Emmanuel , 364.
Le yden , Lucas yan , 365.
L ibe rals , 368 .
Liberi , Pietro , 368 .
L ibri , Giro lam o da i , 368 .
Licinio . See Pordeno ne .
U emakcre , N icho las de , 369 .
IAIienbe rgh, C.
, 369 .
L im bo rch, Hendrik van,369 .
Lindsay , Lo rd, m entioned, 139.
L ingelbach , Johann, 369 .
L int, 369 .
Linthorst, J 369.
Lippi, 369 , 371 .Liverseege , Henry , 371 .
Livius,Jan , 3 7 1 .
Lomaz z o , mentio ned, 401 .
Lombard, Lambert, 372.
Lo mbardo , 372, 373.
Lom i . See Gentileschi.Lo ndo n io , Francesco , 373.Lo ngh i , 373.
Lo nsdale, 373.
Lonsing, Franco is Joseph, 373.
Loo , Pe te r van , 374.
Lo o ten, Jan , 374.
Lo renzetti , 374.
Lo renzo , 375 .
Lorme o r De L ’
Orme , 375.
Lo rraine , 375.
Lo the ner, Stephan, 377 .
Lo tto , Lo renm , 377.
Lo utherbo urg, Ph i l ip James, 378 .
Lowry , Wilson , 378.
L iibke , me ntitmed, 6, 169 , 375, 463, 508 ,531 , 537 .
Luca te lli , 378 .
Lucchesino , 378 .
Lucian,m entioned. 4, 5.
Luigi , Andrea , 378 .
Luin i or Lo vin i , B ernardino , 381 .
Lundens, Gerrit, 38 1 .
Luti , Cava l iere B enedetto . 38 1.
Lutma, Janus or Jo hn. 38 1.
Lu tzelburger, Hans, 382.Luyken, Jo hn, 382.
Luzz i , Pie tro , 382.Lysippus, 382.
Lytto n, Lo rd, m entioned, 301 .
Mass or Macs, 383.
Mabuse, Jan van, 383.
Machuca, Pedro , 384.
Maeda,Asensio de , 384 .
Maganza, Alessandro , 384.
Mahselkircher, Gabrie l , 384.
Majano . See B enedetto .
Malbo uc, EdwardG.
,384.
Manfredi,B arto lommeo , 385 .
Mann i , G. di Pao lo , 385.
Mannl o r Mae nnl. Jaco b,385.
Mansue ti , Gio .
,386 .
Mante gna , Andrea , 386 .
Manuel,N ico las , 389.
Maratti, Carlo , 389.
Marc Anto n io . See Ra imondi .Marce llis
, Otho , 390.
March , Esteban, 390.
Marches i . See Co t igno la .
Marcon i , Rocco , 391 .
Margaritonc o f Arezzo , 391 .
Marinus, Ignat ius, 39 1 .
Marlow,Wi l liam
,391 .
Marm o lejo,Pedro de Vi llegas, 391 .
Marquez , Esteban , 392.
Marsha l l , Ch ie f Justice , menti oned, 447.
Martin, John, 392,
Mart inez , 392.
Martin i , S imone , 393.
Marto s, Ivan Petrovitch, 394.
Marz iale,Marco
,394.
Masacc io , 394.
Masan ie l lo , m e ntioned, 516.
Maso l ino . See Pan ica le .
Mason, James , 396 .
Massard, Jean, 396 .
Masson, Anthony, 397.
Massys, Qu intin, 397 .
Ma tham , 398 .
Matto ni . See Pietro de lla Vecchio,.Maurer, Christoph . 398 .
Mayno , Juan B autista , 398 .
Maz zo l in i , Ludovico , 398 .
Maz zuo l i , 398, 399 .
Mecherino . See B e ccafum i .
Mecke nen o r Mecheln , Israe l vo n , 399 .
NAMES OF ARTISTS,AUTHORS, ETC. 643
Medici,Lorenzo de ', m e ntioned, 128 , 140,
1 41 , 314, 37 1 . 462, 535, 579
Medic i, Marie de ’, m enti oned, 522.
Medina,Sir Jo hn B apt ist, 399 .
Meer. 400.
Mee rt, Pie ter, 400.
Me ire , Gerard van der,400.
Me lano , Gio . da,400.
Meldo lla o r Me ldo la,Andrea, 400.
Me l lan, Cla ude .
Me lz i,Francesco , 401 .
Memes,m entio ned, 183.
Mem ling, Hans, 401 .
Memm i, L ippo , 403.
Mena y Medrano,403.
Mene laus, 403.
Mengs, Anto n Raphae l, 404 ; m entio ned,Merian
,404.
Messina,Antone llo da , 405 .
Matsu or Mo tz u , Gabrie l , 406 .
Meulen,Anton Frans van der, 407.
Meyer, 407 .
Meyering, Albert , 407 .
M ichan, Theo ba ld, 407 .
M ie l,Jan
,407 .
M ierevelt, M ichae l Jau se , 407.
M ie ris,407 , 408 .
M ignard, 408 .
M ignon, Abraham ,408 .
Mi l iz ia,m entioned, 72, 181 .
Mind, Go ttfried, 409 .
M inderho u t, Hendrik, 409 .
Mite lli,Ago stino , 409 .
Moce tto , Giro lam o,409 .
Modena,N ico letto da
, 409.
Modena,N icco lo da . See Abbate .
Ma ine . See Lem o ine .
Mol, Pe te r van, 409.
Mo la , 409, 410.
Mo le naer, Jan , 410.
Mo lyn , 410.
Momm ers, Hendrik, 410.
Momper o rMompert, 410.
Monaco , Do n Lo renzo , 410.
Mom my , Pe ter, 410.
Monca lvo . See Caccia.
Mo n i, Lo u is de , 4 11 .
Monn icks o r Mo nn ix,41 1 .
Monnoyer, Jean B apt iste , 411 .
Mo nt, Del. See De lmont.Mo ntaqna , 41 1 .
Montanes, Juan Martinez . 411 .
Monte lupo , Rafae lle da, 41 1 .
Mo nto rfano , Gio . Donato , 412.
Mo nto rso li , Fra Gio . Ange lo , 412.
Moo r, Kare l van , 412.
Mora les, Lu is, 412,
Morando,Pao lo , 413.
More o r Mo ro , Sir Anthony, 413Mo ree lz ee , Pau l , 413 .
More l, B arto lomé, 413.
Morell i, Gio . B a tt ista
, 413.
More tto . See B om icino .
Morgenstern, Ludwig Ernst, 413 .
Mo rghen , Raphae l , 413 ; mentirm ed, 609 .
Morin, Jo hn, 414.
Morland, Geo rge , 414 ,
Moro , 11. Se e To rbido .
Moro, Gio . B attista
, 414.
Morone,414.
Mo ron i, Gio . B att ista
, 414 .
Mort imer, John Ham i lton, 415.
Mo rto da Fe ltri . See Luzzo and Giu rgio ne .
Mo staert,Jan
, 415.
Mo ucheron,415.
Mount,Wi ll iam S ., 415.
Mo ya, Pedro de , 415 .
Mudo . Sec N avarre te .
Mu l inari o r Mo l inari , 416.
Mul ler,416.
Miiller,m ention ed
, 5 .
Mu lready , W'i l l iam,416 .
Mufio z , Sebastian , 416 .
Mu rand,Em anue l
, 417.
Murano,417 .
Muri l lo,B arto lomé Este van, 417 .
Musche r,M ich ie l van , 422.
Musis, Ago stino de , 422.
Mu tina o r Mode na, 422.
Muz iano , Giro lamo , 423.
Myn , Herm an van der, 423.
Mytons, Danie l , the Elder, 423.
Myron, 423 ; mentioned, 7 , 462.
N agler, m entioned, 441 , 448, 548Nah l
,Jo hn August ine, 424.
N a in,424.
Na iwincko r N a iwyncx, H. , 424 .
N anteui l,Robert 424.
N ardi,Ange lo , 424.
N asmyth , 425 .
N aso n, Pie ter, 425.
N ancydes, 425.
N avarrete , Juan Fernandez , 425 .
Neagle , Jo hn , 426.
N ea le , John Pre ston, 426 .
N ecke r or N egker, Josse de , 426 .
Neefs, 426 .
N eer,427 .
Ne lso n, Lo rd, m entioned, 521 .
Nerro ccio , 427 .
Ne tscher, Caspar, 427 .
644 NAMES OF ARTISTS , AUTHORS , ETC.
Neuchate l , N ico las, 427 .
Newton, Gi lbert Stuart, 427 .
N icco lo dell’ Abate . See Abba te .
N ickelen , 428 .
Nico laus, 428 .
N iewenhuys, Mr . C. J.,m entitmed,
Nogari , Giuseppe , 429 .
No l lekens,Joseph , 429 ; m entioned,
Northco te , James, 429.
'
Numan, m entioned, 43.Nuyen, Wynand Jan Joseph, 430.
Nuzz i,Mario de lla Penna , 430.
O .
Obregon, Pedro de , 430.
Ochte rvelt, J., 430.
Ogg iono o r Ugg io ne , 430.
Ohmacht, La ndo l in, 430.
Ol iver, lsaac, 430.
Ommeganck, B a lthasa r Paul , 431.Om odeo o r Am adeo , 431.Oost, Jaco b va n
,431 .
Oo ste rwyck, Maria van, 431 .
Oppenhe im , Mn ,m entio ned
, 208 .
Orhe tto L‘. See Turchi .
Orcagna . Andrea , 431 .Orfo rd, Lo rd, m entioned, 332.
Oriz onte . See B lo emen.
Orlandi , m entioned, 40.
Orleans, Marie , Pr incess o f, 433.Orley , B ernhard van, 434.
Orre nte , Pedro , 434.
Orto lano , L ’
. See B envenuto .
08 , Jan van, 434.
Osorio , Francesco Meneses, 434.Ostade , 434, 435 .
Oudenarde. See Audenarde.Oudry, Jean B apt iste, 435.Overbeck, Frederich, 435.
Ovens, Jurian, 436.
P.
Pacch ia, Giro lam a de l, 436 .
Pacchiaro tti . Jacopo , 436 .
Pacheco , Francesco , 436 .
l’ado uan ino . Se e Vam tari .
Paelinck, Joseph , 437 .
Page , ‘Villiam ,m entioned, 30 .
Paggi o r Pag i , Gio . B a ttista, 487 .
Pigo u, Augustin, 437 .
Pa lamedes, 438.
Pa l issy, B ernard de , 439.
Palm a, Giacomo , 440, 441.Palmaro li , Pietro , 441 .
Palme rin i , m enti oned, 414.
Palmu zano , Marco , 441.
Pa lom ino . See Ve lasco ; mentioned, 47 ,54 , 177 . 5 12.
Pane tti , Do men ico , 442.
Pan icale , Maso l ino da , 442.
Pannels, Wi llem ,442.
Pann in i , Gio . Pao lo , 442.
Pantoja ,Juan de la Cruz , 442.
Papa , 442, 443 .
Pape , Adrie n de , 443.
Papias , 4423.
l’apillo n, 443.
Parce llis, 443.
Pareja , Juan de , 443.
Parroce l, Joseph , 443.
Pass o r Passe , 444 .
Passavant, m e ntio ned,475.
Passe ri , Giamba ttista, 444 .
Passe ro tti , B arto lo meo , 444 .
Patavinus. See Avibus.
Pate l, 445 .
Pater, Jean B aptist e Joseph , 445 .
Patin ier, Joa ch im ,445.
Patras, Lam bert, 445 .
Panditz , Christo pher, 446 .
Pausan ias , mention ed, 10.
Pau tre,Jea n lo , 446 .
Pea le, 446, 447 .
Pe lham , Pe ter, m enti o ned, 217 .
Pe llegrin i , Gio . Anto n io, 447 .
Penez , George , 447 .
Pennach i , 448 .
Penn i , 448 , 449 .
Penny , Edward,Pereda
,Anto n io
, 449 .
Pere lle , Gabrie l , 449 .
Pereyra , Manue l , 449 .
Perkins,Mr. C. C.
,m entioned
,433
,
Perkins, Co l. T. H .,m enti o ned, 30.
Perkins, Augustus Thorndike , men
tio ne d,219 .
Perugino , Pietro . 450.
Peruzz i,B a ldassare , 451 .
Pesaro o r IIPesarese . See Cantarin i .Pesello , 452.
Peene, Jea'n, 452.
Pe ters, 452.
Pe tito t, 452.
Petrarch, m entim i ed, 393Ph idias, 452 ; m enti o ned, 7 , 9 ,
Ph ill ips, Thomas , 453 ; m e ntio n ed, 453.
Piazza , 453.
Pi cart, Etienne. 453.
Piga l le , Jea n B aptiste , 453.
Pi lgrim , Hans Ulr ich , 454.
Pi lon. Germ a i n , 454.
Pineda , B erna rdo S im on , 454.
Pine l l i, B arto lo mmeo . 454.
Pinturicch io , B ernardino , 454.
646 NAMES OF ARTISTS,AUTHORS, ETC.
Rovezzano , B enede tto da , 520.
Rubens, Pe ter Paul, 521 ; menti on ed,
585, 586 .
Rude , Franeo is, 531 .
Rugendas, Geo rge Ph i l ip, 531 .
Rum ohr,m e ntio ned
,473.
Ruskin, m e ntion ed, 555.
Russe l l,Rev. J. Fu ller
,m entioned, 35.
Rustici , Gio . Francesco, 531 .
Ruysch , Rachel, 532.
Ruysdael , 532.
Ryckae rt , David, 533.
Ryn . See Rembrandt.Rysbraek, 533.
Sabba tin i , 533.Sacch i , 533.
Sachtleven , Corne l is, 534.
Saenredam , Jo hn , 534.Sa lerno , Andrea da . See Sabbat ini.Sa l isbury, Stephen , m entio ned, 232.
Sa lmegg ia , Enea, 534.
Sa lviati , Cecch ino de l, 534.
Sa lvi, Gio . B att ista , 534 .
Sa nche z-Coe l lo . Se e Co e l lo .
Sanchez -Co tan. See Co tan .
Sandrart, Joachim von, 534.
Sandvoo rd, D. D., 535.
Sanga l lo , 535 , 536 .
Sansa r ino , 536 , 537.
Santa-Croce, 538 .
Santafede , Francesco , 538.Sante rre, Jean B aptiste , 539.
Saraceno , Carlo , 539 .
Sargent, Henry , 539 .
Sarra z in, Jacques, 539.
Sarto , Andrea de l, 539.
Sassoferra to . See Salvi.Savery , Roe landt, 541 .
Savoldo , Giro lam o . 542.
Savonaro la , m en tio ned, 141 , 464,Scanabecch i . Se e Dalm asio .
Scaramu ccia , Lu ig i , 542.
Schadow, Jo hn Go ttfried, 542.
Schafl'
ner,Mart in , 542.
Scha lken, Gottfrie d, 542.
Scli edo ne, B arto lomm eo , 542.
Schefl'
er, Ary , 543.
Sch iavone, Andrea . 543.
Sch ie velbe in , Hermann, 543.Sch i l l ing, Johannes, 543.
Sch inkel,Karl Friedrich , 543 .
Schlii te r, Andrea s, 544.
Scho enfe ldt, He inrich. 544.
Sch o ngauer, Martin , 544.
Scho re el, Jan , 546 .
Scho te l, Christ ian , 546 .
Schriek, Otto Marsens van, 546 .
Schu t. Corne l is, 546 .
Sch'utz , Christ ian George, 546 .
Schwanthale r, Ludwig, 546.
Schwartz , Christopher, 547 .
Sco tt, 547 .
Scre ta , Carl , 547 .
Sears , Ho n . David,m entioned
, 30.
Sebastiano , Fra . See Piombo .
Seghers o r Zegers, 547 .
Sem o le i,Il. See Franco .
Sene fe lder, Alo is, 548 .
Seque ira , Dom ingos Anto n io de , 548 .
Sergell, Johann To b ias, 548 .
Serm one ta, Giro lamo Scio lante da , 548 .
Serra , M igue l , 548 .
Se sto , Cesare (la , 548 .
Seyde lman , Jaco b Crescentius, 549.
Sharp, Wi ll iam , 549 .
Sherw in, Jo hn Keyes, 549.
S iebo ld, Christian . 549.
Siga lo n , Xavier, 549.
S igno rell i , 549 .
Silvestre , 550.
Simbrecht o r Zimbrecht, 550.
S imonea u , Charles, 551 .
S iran i , Gio . Andrea, 551 .
Slingelandt, Peter van , 551 .
Sm irke , Robert, 551 .
Sm ith , 551 .
Sm ith , m en tion ed, 377, 406 , 427 , 471 ,
563, 602 617 .
Smybert, Jo hn, 551 .
Snayers, Pe ter, 552.
Snyders, Frans, 552.
Soddom a, l l. See B azz i.
So gli an i , Gio . Anton io, 552.
So iaro . See B ernardino Gatti.So lario , 552, 553.
So l imena, Fra ncesco , 553.
So l is, Virgilius, 553.
Sopho n isha . See Angnisc iola .
So pran i , m e ntion ed, 125, 586
So utman , Pie ter, 554.
Spagna , LO, 554
Spagno le tto , l l. See Ribera .
Spierre , Francis, 554.
Spine l lo , Aret ino , 554.
Spranger, B artho lom ew, 555.
Squarcio ne , Francesco , 555.
Stae vaerts, Stevers, o r Stevens.
Pa lam edes .
Stanfie ld. Clarkso n, 555.
Sta nz i o n i,Mass imo
, 555 .
Staveren, Jo han Adrae n ra n , 555.
Ste en. 556 .
NAMES OF ARTISTS ,AUTHORS,
ETC. 647
Ste enwyck, Hendrik van, 556 .
Ste lla , Claudine B o u so nne t, 556 .
Ste phan, Me ister. See Lo th e ner.
Stepha nus, Hans. Se e Ca lcar.Stirl ing, m entio ned, 51 , 328, 350,566 , 595, 597 , 599 .
Stone , Frank, 556 .
Stork, Abraham ,556 .
Sto ss, Ve it, 557 .
Sto thard, Thomas, 557 .
Strange , Sir Ro bert, 557 .
Stru tt, Joseph , 557 .
Stuart, Gilbert, 557 .
Stuerbo u t, Dierick, 558.
Suardi , B arto lomm eo , 559.
Subleyras, Pierre , 559 .
Sueur, Eustache Le , 559 .
Sully, Thom as, 559.
Sunder. See Cranach .
Susterm ann , Lam bert. See
Lombard.
Suste rmans, Justus, 560.
Suyderhoe f, Jonas , 560.
Swanevelt, Herm an van, 560.
Syrlin, Jorg, 560.
Tacca, Pie tro Giacomo , 56 1.Ta li , Andrea , 56 1 .
Talpino . See Sam eggia .
Taum , Frans Werner,56 1 .
Tardie u,56 1 .
Tassi,Ago stino , 56 1 .
Tatt i . Se e Jacopo Sansavino .
Tauriscus, 562.
'
I'
empel, Abraham van de n , 562.
Tempe sta , Anton in, 562.
Tempesta , Pe ter. See Mo lyn .
Ten iers, 562, 565.
Terburg, Gerard, 565.
Testa,Pie tro , 565 .
Theo tocopu li, 565 .
Th ie le,Jo hann Alexander, 566.
Th ie le , m enti o ned, 568 , 569.
Th iers,M. ,
m entio ned,241 .
Tho rwaldse ii , 566 .
Thys, Pe te r, 569 .
Tiba ldi , 569.
Ti lbo rgh , Eg idius van, 569.
Tintore tto, 569.
Tisio . See Garo fa lo .
Titian,571 ; m entioned, 426 .
Tivo li,Ro sa di . See Ro o s.
Tobar, Don Alonso M igu e l de , 578 .
To l, Dom inicus van , 578 .
To ledo,Juan de , 578 .
Torre , F lam in io , 579.
Torregiano , Piero , 579 ; m entioned, 146.
Tribo lo , 579 .
Tr istan, Lu is, 579.
Trumbu ll , Jo hn, 579 .
Tu lden,Theodo r van , 581 .
Turch i , Alessandro , 581 .
M ner, Joseph MallordWilliam , 58 1 .
U.
Ubertin i , Francesco , 582.
Ucce llo , Pao lo , 582.
Uden,Lucas van
, 582.
Udine , 582.
Uggio ne . See Oggio ne .
Ulft, Jaco b van der, 582.
Utrecht, Adrien van, 582.
V.
Vadder,Lodewyckde , 583.
Vae nius. See Ve e u .
Vaga., Pierino del, 583.
Va ldes, Do n Juan de , 584.
Vanderham en , Juan de , 584.
Vanderlyn, Jo hn, 584.
Vandyck, Sir Anthony, 585, 594.Vanloo , Charles Andre , 594.
Vanucchi . See Sarto .
Vannucci . See Perugino .
Vare la,Franc isco , 594 .
Vargas, Lu is de , 594.
Varo tari , Alessandro , 595.
Vasari, Gio rg io , 595 ; m entio ned, 1 1 , 29,36 , 45, 55, 1 19, 120, 128 , 203, 290,306 , 314, 370, 374, 401 , 457 , 475,51 1 , 536 , 606, 6 10.
Vasquez , Alonso , 596 .
Vecelli , 596 .
Vecch ia , Pietro , 596 .
Veen, Mart in van. See Hemskerk.
Vee n, Otho van, 596 .
Vega , Lo pe de , mentioned, 213, 426.
Ve lasco , 596.
Ve lasquez , 596 .
Ve lde , 601 , 602.
Vendram ini,Jo hn
,602.
Venez iano, Agost ino . See Musis.
Venez iano , Se bastiano . See Piombo .
Venez iano , Carlo . See Saraceno .
Venez iano,Anto n io
, 602.
Ve nu e , Adrian van de r, 602.
Verbo o m , Abraham , 602.
Verne t, 602, 604.
Veronese , Pa o lo . See Cagliari .Veronese , Alessandro . See Turohi.Ve rroch io , Andrea , 604.
Ve rschuring, Henrik, 605
648 NAMES OF ARTISTS, AUTHORS, ETC.
Vertue , Geo rge , 605 . We ige l , m enti lmed, 294, 617 .
Victo r, Jan . 605. Werfl'
,6 18 .
Vien, Joseph Marie , 605. West, B enjam in , 6 18 .
Vigarny , Fe l ipe de , 605 . Westmaco tt, Richard, 620; mentioned.Villam ena, France sco , 605. 105.
Vi llavice ncio , Do n Pedro Nufiez , 605. Weyden, 620, 621 .
Vinc i , Leonardo da, 605 ; m entioned, Wh itmo re , m entio ned
, 217 .
145. Wierix o r Wierinx, Jo hn, 621 .
Vinckenbodns, David, 612 Wi lkie , Sir David, 621 .
Vischer, 612. Wil lae rts, Adam , 622.
Visscher, 615 ,Winkelman , m entioned, 404 .
Vite o r Viti , 615 . Wit, Jaco b de , 622.
Vitruv ius, mentioned. 6 . Witte , Emanue l de , 622.
Vivares, Franc is, 61 5. Woh lgemuth, M ichae l , 622.
Vivarin i, Anto n io , 6 15. Wo lsey , m enti oned, 521 .
Vlieger, Sim o n de , 6 15. Woodvi lle, R ichardCa ton, 622.
Vl ie t,Hendrik van
, 615,Woo lle tt, Wi lliam , 623.
Vo is, Ary de , 615.Wo rnum ,
m entio ned, 169 ,
Vo lpato , Gio ., 6 15. Wo uverm ans
, 623, 624.
Vo lte rra, Dan iele da , 616 ; m entioned, Wright, Jo seph , 624.163. Wynants. Jan , 624.
Vorsterman,Lucas, 616 .
Vos,Mart in de , 6 16.
Vo uet, S imon, 616 .
Vries, Adrian de , 616. Xamete , 627 .
W. Z.
“Iagner, Hans, 616. Zachtleren . See Sachtleven .
Wa ldo , Samuel , 6 16 . Zage l , Matthias, 627 .
Walpo le, m entioned, 508 . Zampieri. See Domen ichino .
Walscape lle , Jaco b , 6 17 . Zan i , m entioned, 274, 354, 382,Ward, James, 6 17 . Zeghera. See Seghers.
‘Vard. Jo hn, m entioned. 232. Ze ithlom , B artho lomew, 628 .
Wate rloo o r Waterlo, 6 17 . Zo éga , "18 7141
0
071067. 566 .
Watso n, Elkanah ,m entioned, Zuccaro , 628 .
Watteau, Anto ine , 617 . Zu l ian i ,Cavaliere , m enti oned, 179, 180.
Weenix, 6 18 . Zurbaran, Francisco , 628.
650 INDEX OF
S . Gio vann i , 77 .
S . Sebast ian , 49 .
B e a um e .
Ho spital , 621 .
B eckford Co ll. , 8 .
B e rgamo .
Mo nastery de l Paradiso , 3.
Loch is Carrara Gal l . , o r CarraraAcad.
, 95, 281 , 386 , 411 , 414.
S . Maria Magg io re, 274.
S . Alessa ndro de l la Cro ce , 3 .
S . Christo fo ro , 126 .
S . Spirito , 470.
S . Marie del la Graz ie, 3.
Capel la Co lle o n i , 431 .
Ch . o f th e Augustines, 126 .
B erli n .
Museum,1,4, 8 , 17 , 19 , 26, 36 , 38 ,
39 , 55, 64, 66 , 75, 76, 77 , 80, 86 ,
93, 94, 95, 96 , 99 , 103, 104, 1 10,
1 12,1 13, 1 15, 1 16 , 120, 122, 124,
125, 131 , 134, 1 35 , 1 39,
140, 187 , 188 , 1 98 , 199 , 204,
208, 216, 217 , 220, 224, 226 , 229 ,
233, 234, 235 , 240, 242, 243, 254,
262, 266 , 268, 269 , 270, 271, 279 ,
289 , 290, 292, 298 , 299 ,
306 , 309 , 316, 321, 327 , 328 , 330,
338 , 342, 349 , 355 , 356 , 358 , 359 ,368 , 369 , 372, 374, 375, 377 , 383 ,
386, 388, 393, 398 , 400, 403, 404,
406,407 , 410, 413, 414, 415 , 422,
438, 442, 443, 448, 449, 464, 470,472, 473, 474, 490, 496 , 513, 514,
515, 516, 524 , 525, 532, 533, 542,543, 558 , 560, 562, 565, 575 , 582,
6 15, 6 18 , 621 , 622, 628 .
Im ho f Co l l . , in Mus.
, 335.
Arsenal , 544.
Theatre, 543.
Guard Ho use , 543.
Lo ng B ridge, 544 .
Charlo ttenburg , 485, 544.
Sans So uc i , 507 , 511.B e rn e .
Civ ic L ibrary , 389 .
B e tton a .
S . Francisco , 21 .
S. Maria, 287 .
Academy o r Gal l e ry, 37 , 55, 60, 64 ,1 40. 1 35, 1 89, 283,306 , 318 , 551 , 615.
Ca th edral , 189.
PLACES .
B russels.
Muse um o r Gal le ry , 55 , 229 , 266 ,355, 363 , 399 , 400, 431 , 434, 438.
La Mado nna del Piom bo , 98 .
S. Petronio , 143 , 372, 472, 519, 579 .
S . Cec i l ia, 55, 284.
S . Anto n i o, 77 .
S . Mart ino Maggio re, 55.
S . Maria de l la Vita,372.
S. Domen ico , 372, 459 .
Mado nna de l'Socco rso , 64, 109 .
S. Pietro , 64, 372.
S . M ichele in B o sc o , 19 .
S . Ignat ius, 67 .
S . Stefano , 46 .
S . Gio rg io , 14, 64.
S. Giacom o Magg io re , 38 , 284.
S . B iag io , 1 19 .
S . Marino , 1 19 .
S . Maria dc Galeria, 14.
Mado nna (l i Me z z a ra ta, 60.
Ce lest ine s, Ch . of th e , 46 , 1 19.
N anz iata, 38 .
Certo sa, 1 19.
Mado nna de l B arracano , 225.
B oston .
Fane u i ! Hal l , 539.
Athe nwum , 33, 215, 219 , 232, 252,347 , 426 , 558, 560, 619 .
Museum , 560.
Mus ic Hal l,232.
Roman Catho l ic Soc ie ty , 539 .
Co l l . o f Massachusetts Histo rica lSo c iety, 428 , 539, 558 .
To s i Gal l . , 281 .
Scuo la Elem entaria , 281 .
S . Jo seph , 61 .
De i M iraco l i , 16.
B resla u .
Cathedral , 612.
B ruges.
Cathedral , 63, 1 13, 330, 558 .
Hdpita l de s Smurs N o ires, 558 .
Co unc i l Hal l , 1 13.
Town Hal l , 21 1 .
Ho spita l , 401 .
No tre Dame, 144. 415.
S. Jacques , 1 13. 127 .
Academ y , 21 1 , 238 , 269, 408.
B runswi ck.
Statue o f Le RSn , 507 .
B runswi ck Ga ll. (Eng land), 245,
INDEX OF PLACES .
Aremberg Gal l . , 134, 185, 326, 328 ,356 , 400, 430, 449 .
L ibrary, 57, 331 .
Jesu it church, 1 12.
Franc iscan church, 63.
Capuch in church , 127 .
S. Gudu la, 3.
Cath edral , 43.
B u rle igh House (Eng land), 268 , 295 .
Cathedral , 628.
Chapel at Mount Auburn , 232.
HarvardCo l lege, 551 .
Ca mbridge (England).Fitzw i l l iam Mus.
, 515.
Capra ro la .
Palace , 72.
Ca rlsruhe .
Art Hal l , 36 .
Ca rlste in .
Castle, 423.
Ca ssel.Gal lery ,
175, 253, 325, 329 , 344, 348,358
,359, 431 , 466 , 488, 490, 512,
515, 622.
Castelfra nco .
Parish church , 304.
Castiglion e d’Olona .
Co l lege Church , 442.
Cha tswo rth.
Duke o f Devonsh ire’s Co l l . , 268,'
299,302, 376 .
Choisy .
Gardens, 128 .
Cinci nna ti .Co l lection of Mr. Longwo rth, 619.
Coble n tz .
S. Castor, 216 .
S . Mart in , 544.
Civ ic L ibra ry, 544.
Museum o r Gal le ry . 138 , 139 , 216,377 .
Cathedral , 216 , 377 .
Shrine o f th e Thre e K ings , 428.
Ram bo ux Co l l . , 255, 286 .
S . Sophia, 47 .
Copenhagen .
Academ y, 566 . 567 .
Tho rwa ldse n Mus ., 567 , 568 .
Charlo ttenburg, 568 .
Frue Ki rke , 568 .
Reg istry Offi ce , 237.
Ga l lery , 291 .
Church , 614.
65 1
Cathedra l, 51 , 205 .
Co rton a .
S . Margare t, 43, 46 1 .
Cos.
Temple o fAsclepius, 48.
Cremo na .
S . Sig ism o ndi , 1 15 .
S . Domen ico,21 .
S . Gismo ndi , 175.
S . Qu irico,1 14 .
Cathedral,1 14.
B ishop’s Pal. , 1 14.
Cu en ea .
Cathedral Clo ister, 627 .
Da n tz ic.
Parish church, 402.
Da rmstadt.
Mu se um,377 .
Delft.B étel de Vi l le , 136, 242, 407.
Deurn e .
Parish church , 243
Museum, 63, 135.
Diru ta .
S. Anton io Abbate, 21 .
Dresde n .
Gal lery ,1, 2, 1 1 , 25, 26, 55, 64, 78,
95,99, 103, 1 10, 1 13, 1 16 , 121 ,
127, 128, 130, 132, 133, 155, 1 66,169, 202, 208 , 220, 231 , 244 , 251 ,254, 269, 27 1 , 274, 279, 283, 284,292, 294, 298, 305, 309,316 , 337 , 338, 339 , 344,348
,358, 369, 400, 404, 406 , 407 ,
408 . 410, 415 , 422, 427 , 440, 444,70, 472, 478 , 489, 490, 504, 512,513, 514, 515, 525, 532, 533, 534,542, 544, 546 , 553, 562,
572, 575, 578, 582, 600, 602, 615,622, 623.
B rii hl Te rrace , 543 .
Statue o fWebe r, 507.
Zw inge rho f, 507 .
DusseldorfGal le ry , 96 .
652 INDEX OF PLACES.
Co nvent, 355.
Fabri a no .
Ch iesa del la Carita , 95.
Casa Mo rich i , 270.
F a enz a .
Cathedral , 98 , 347 .
Ori a no tro fio de ll e M ich e lline,Gymnas i um,
271 .
Duom o , 246 .
Ferra ra .
Stro z z i Pal. , 55.
Co nstab ili Co ll . , 226 .
S . B enedetto , 1 72.
S. N icco lo , 99, 103.
S . Anto n io Abbate, 103.
S. Maria de Servi, 99.
S . Lo re nz o , 99.
S. Francesco , 1 19 .
La Sant issima Trinita, 1 19.
Ho spital o f th e Innocenti , 137 .
B adia, 1 37 .
F lo r ence .
Academy o f Arts, 17, 103, 108 , 145,233, 270, 275
298, 306 , 396, 400, 4 10, 452.
Due al Gal l . , 46 , 286, 302.
Ufl‘i z i Gall . , 16 , 22, 36 , 66 , 80, 95,98 , 108 , 1 17 , 122, 128 , 136 , 140,144 , 164, 198, 211 , 224, 233, 250,
258 , 264, 275, 277 , 292, 297 , 298 ,
339, 374, 381 , 386 , 393, 396 , 397 ,
403 , 404, 406 , 408, 456 ,
518, 520, 537 , 542, 575, 596 , 6 11 ,
616 .
Tribune of th e Uffiz i , 71 , 144, 469 ,
Pitti Gal l . , 16 , 30, 76 , 245,
254, 282, 298, 305. 310, 399, 422,
450, 451 , 465, 8 . N icco lo , 36 .
518 , 519 , 575, 586 , 600. F onta ine ble a u .
Pitti Pal. , 41 , 137 , 274. Palace, 1 16 , 329, 434, 519.
Gal lery o f Art ists, 5, 126 , 175, 356 ,400, 414. Cathedral , 1 1 .
L o gg ia de ’ Lanz i, 1 17 , 250, 433 . Pala z z o Pubb l ico , 20.
B adia, 37 1 . Madonna de l Fuoco , 208.
Po nte Sta . Trin ita, 41 . S . Giro lam o , 442
Piaz za de l la S igno ri a , 1 17 .
Piaz za de l Gran Duca, 203. Stade l Gal l . , 95, 120, 207 , 241 , 246 ,Palaz z o N iccolin i , 303. 264, 268 , 275, 285, 334, 438 , 456 ,
Palaz z o Pubb l ico , 298 . 515, 546 , 616, 621 .
Pa laz zo Ve cch io , 1 17 , 298 , 604. L ibrary , 216 .
Casa B uo naro tti , 452.
Muse um o f the B argel lo, 604.
B o bo l i Gardens, 1 17 .
Duomo , 68 , 98 , 137 , 270, 274, 290,510.
Campanile, 510.
Carm ine , 520.
N unz i ata , 8 , 1 7 , 66 , 68 , 275,Scalz o , 539 .
Ce rto sa , 126 , 536 .
Serv i , 283 .
B aptistery , 250, 290, 296 , 531 , 56 1 .
B rancacci Chape l , 371 .
Ogni ssanti , 298 , 308 , 326, 400.
Mo nto live to , 98 , 298 , 410.
Miserico rdia Ve cch ia, 458 .
Orsanm ich e le , 1 17 , 250, 296, 604.
Co nvent o f S . Luc ia, 126 .
Monastery o f S . Marco , 275.
S Marco,109
,308 .
S . Ago stino , 537 .
S . Maria N o ve lla,8, 17
,98
, 209 ,242
,297 , 298 , 393, 394, 432, 582.
Go ndi Chape l, 138 .
S . Maria de lCarm ine,395 .
S . Maria de l Fio re,8,108
,161 , 199,
296, 360.
S . Maria de l Po po lo, 537 .
S . M iniato-ia -Monte, 8, 52, 66 , 518,554 .
S . Ambrogio , 518 .
S . Reparata , 54.
S . Trin ita, 66, 298, 410, 458 .
S . Lo re nz o , 68, 1 37 , 152, 250.
Santa Croce, 98 , 137 , 138 , 164, 210,290
,306 , 307 , 391 , 518 .
S . Maria Nuo va, 108, 310.S . N icco lo di 15 d'Arno , 270S . Spirito , 38 1 .S . Fel ic it‘a, 274, 308 .
654
330, 351 , 354, 359 , 364, 368 , 375,378, 383, 39 1 , 398 , 399 , 406 , 410,
422,427 , 432, 436 , 448 ,
451 , 456 . 457 , 462, 468, 470, 473,
509 , 513, 534, 544, 571 ,
575, 58 1, 582, 599, 602, 6 17 .
Ro y al Acad.
,302
,314
,325, 430,
61 1 .
Nati o nal Po rtrait Gal l . , 30.
B ritish Mus.
,90, 148 , 175, 233, 237,
338,382
,389
,
422, 424, 582, 610.
B ridgewater Gal l . (Earl o f El lesmere ), 63, 565, 591 .
Royal L ibrary , 607 .
Co l l . o fMr. B aring, 103, 1 16 .
Ade lph i So c iety o fArts, 73 .
Co l l . o f Lo rdAshburto n, 99 .
Co l l . o f Lo rd Lansdo wne , 426 .
Marlbo ro ugh Ho u se , 294.
Co l l . o fMr. Ho pe, 103.
Sheepshanks Co l l . , 364.
Garrick Club , 212.
Lo rdHe rtfo rd’s Co l l . , 220.
Co vent Garden Theatre, 278 .
Ho use o f Lo rds, 262.
Queen’s Ro b ing Ro om ,262
B uck ingham Pal. , 220, 302, 316 , 407 ,520, 542.
Kens ingto n Mus.
,144
,234
,274,
377 , 403, 477 , 51 1 , 622.
Co l l . o f Prince Conso rt, Kensington ,1 12
,255
,317 .
Gui ldhal l , Co mmo n Co unci l Chamb e r, 237 .
Westm inster Pal.,235 .
Westm inster Abbey, 235, 579 .
S . James, Piccadi l ly, 299 .
Al l-Sa ints’e h .
, Margaret Street, 262.
S . Paul ’s Cath .
, 73, 299, 519 , 581 .
New B e thlehem Ho spita l , 208 .
Places ne a r L o ndon .
‘Vindso r Castle, 131, 21 1, 283, 299,336, 339, 397 , 448 .
Hampto n Co urt, 78, 84, 299, 300,334
,384
, 387 , 410, 423.
Dulw ich Gal l . , 99 , 330.
Ho l landHo use,212
Greenwich Ho spital , 205, 243.
Other Plac es in Engla nd.
Wi lto n Ho use (Earl o f Pem broke),349, 365.
StansteadHouse , 283.
Sio n Ho use , 439 .
INDEX OF PLACES .
Esco rial , 1 , 1 1, 174, 186, 199 , 213,214, 425, 50 6
, 508, 509, 513, 569,575 .
Roy al Gal lery o r Museum,o r Queen
o f Spa in’s Gal lery , 26 , 40, 47 , 54,55, 95 , 125, 177, 187 , 197, 200.
202, 204, 213, 214, 215, 226 , 265,
272, 312, 347, 350, 363, 391 , 39 2,
393, 404, 407, 4 12, 417 , 420, 434,437 , 443, 449, 468, 477, 506 , 509,5 12, 524, 563, 575, 579 , 584, 599 ,
605 . 628 .
Ch . o f the Impe rial Co l lege, 22.
Ch . o f the Carmel ites, 22.
Ch . o f the Augustine Réco l lets , 70.
Ch . o f the Carthus ians , 79 .
Ch . o f the Ro sary , 449.
La Magdalena, 47 .
S . Francis, 52.
S . Trinidad, 266 .
S . M i l lan, 52.
S . Gero n im o (o r Jerome ), 70, 213.
S . Juan de Dio s, 174.
S . Lo renz o , 1 74.
Petwo rth (Ea rl o f Egrem o nt), 49,
407 .
Wroxto n Abbey,508 .
L OO.
Palace,47 .
L o re tta .
B as i lica, 95.
Santa Casa, 537 , 579 .
L o uva in .
S Peter’s. 558 .
Town Hal l, 558 .
L o ve r e .
Co l l . o f th e Co unts o f Tadini , 90.
L abe ck.
Cathedral , 403, 430, 434.
N o tre Dame, 436 .
L u cca .
S . Mart ino,458 .
S . Frediano , 55 .
Duom o , 21 1 .
L uc e rn e .
L ibrary,336 .
L io n,568 .
L yons .
HGte l de Vi l le, 1 11 , 205.
S . Anto ine, 205 .
Ch . de la Trinité,205.
xlfagdeburg.
Cathedral , 6 12.
INDEX OF PLACES . 655
Acad. o f S . Fe rdinand, 468 .
August ine Co l l ege , 565.
Square befo re the Pal. o f Phil ipV.
561 .
Church , 507 .
Cathedral, 5 1, 177 , 403.
Cathedral , 39 .
M a n tua .
Palaz z o de l Te , 513, 521 .
S . Andrea, 17 , 46 .
Gardens, 375.
Ma rse ille s.Museum , 36 1 .
Carthus ian ch 346 .
M ay ence .
City Gal l . , 207 .
M echlin .
Cathedral,1 12
,128 .
Museo Peloritano,405.
M iddle borough .
Town Hal l,103.
M ila n .
B rera,36 , 93, 95, 169 , 187 , 233, 234,
269,274, 28 1, 305, 306 , 378 ,
386 , 41 1 , 4 14, 473, 534, 559 .
Am bro s ian Gal l . , 38 1 , 6 10.
Ambro s ian L ibrary ,394.
Casa S i lva, 38 1 .
Pala z z o B o rromeo,455 .
S. Alessandro Mart ire, 2.
S . Ambrog io , 108 , 124.
S. Mar ie de l le Graz ie. 3, 274, 412,608 .
S . Mauriz io , 381 .
S. Giro lam o , 681W0d6 72’1 uGal lery, 314, 409 .
.lIon ca lvo .
Ch iesa de ’Conventuali, 167 .
S Francesco . 286Mun ich . Fo unta in, 468 .
Pinako thek (o r Gal lery), 17, 35, 56 ,86, 89, 99 , 1 12, Cathedral , 359 .
128,132
,134, 138, 139, 166 , 1 88 , N u remberg .
216 , 217 , 228, 229, 231, s. Maurice, 35, 86, 334, 377 ,235, 254, 266 ,
274, 279 , 284, 289, 295, 298 , 305, 8 . Lawre nce, 357 .
317 , 322, 323, 8 . Sebald, 356 .
343,348 , 355,
77 , 404, 406 , 407 , 422.
427 , 436, 446 , 448 , 512,5 14, 515. 524, 525, 532, 542, 544,546 , 547 , 558 , 563, 575,
Glypto thek , 203, 204, 233, 322.
Leuchtenberg Gal l ., 95, 422.
Je su i t eh ., 3 .
Town Hal l,355.
Ch . of Our Lady , 3.
Studj Gal l . o r Museo B o rbo n ico,76,80, 95 , 1 72, 246 , 267 , 277 , 292,310, 399 , 456 , 533, 542, 553.
L ibrary , 213 .
Cathedral , 246 .
S . Dom en ico Magg io re , 37 .
S . John B apt ist, 172.
S . Rest itu ta (B as i lica), 165.
S . Ago stino , 56 .
S . Mart ino , 555S . Gio . a Carbonara, 1 10.
S . Severino , 553.
S . Lo renz o Maggiore, 553.
B anco de Po ve ri , 37 .
Monte Ol iveto , 443, 518 .
Ch iesa del l’ Inco ronata, 307 .
Capel la Teso ro , 359 .
Ch ie sa del la Piet ‘a de Turch in i , 96 .
N ewpo rt (Flanders).Town Hal l , 129.
Church , 129.
N ewp ort (Rh ode Island).Redwo od L ibrary
,272
,354, 558.
Histo rica l So cie ty, Co l l . o f, 215, 232,349, 447 , 617 .
City Hal l , 263, 347 , 349, 6 17 .
Acad. o f F ine Arts, 256.
Central Park, 232.
Metropo l itan Mus. o f Art, 85.
Co l l . o fMr. Lenno x, 302.
Co l l . of J. T. Jo hnston,30, 215, 263.
Grace Oh .
,286 .
656 INDEX OF PLACES.
Tom b o f S. Sebald, 6 12fi a u e nki rche , 356 .
E g idie nkirc he , 6 14 .
Landauer B rude rhaus, 35, 325, 343448 .
Olie roVi l lage o f, 76 .
Orle a ns.
Cathedral , 437 .
Orvi e to .
S. Domenico,54, 360.
Cathedral , 275, 393, 549.
Chapel o f the Santiss im o Co rpo rale,403.
Osborn e .
Palace,302.
Osm a .
Cathedral , 351.Osnabrdck.
Rel ic case,428.
Oste nd.
Church, 129 .
Town Hal l,353.
Museum, 91 .
Magdalen Co l lege, 504 .
Trin ity Co l lege, 102.
All So u ls’Co l lege, 329 .
Padua .
Gal lery , 95.
Co mmunal Gal l ., 9 1 .
Co l l . o fCo nte Ri va , 299 .
Ch . o f the Erem itan i,
Chape l o f the Mado nna del l’Arena,307 .
S. Anto nio,20, 250, 506 .
S. Maria in Vanz o , 76 .
S. Giust ina, 95.
Carthus ian Co nvent, 559.
Pa le rmo .
S . Pie tro Martire, 12.
S . Domenico , 12.
Co nvent o f Monte Sion, 107 .
Pam'
s .
Lo uvre, 2, 5, 15, 16 , 22, 25, 27 , 37 ,45, 47, 74, 76 , 77 ,
85,87, 96
,102
,103
,1 1 1 ,
1 13, 1 15, 1 16, 127 , 128, 129, 135,
137 , 140, 163, 17 1 , 172, 177 , 1 86,
187 , 188 , 189, 1 91 , 206 ,
207 , 210, 214, 215, 217 , 224, 226 ,
227 , 229 , 233. 235 , 243, 253, 262,
264, 266, 268 , 272, 274, 27 5, 287 ,
292, 295, 298, 305, 309 , 312, 314,316, 317 , 321 , 322. 325, 327 , 329 ,330, 338, 340, 342, 343 , 345 , 347 ,348
, 35 1 , 352, 358 , 362,369 , 372, 38 1 , 385, 387 , 388, 406 ,407 , 412
,415, 420, 421.
431,445
,452
,454, 46 1 ,
468 , 469 , 470, 474, 496,506 , 51 1, 512, 514,531 , 539
, 549, 559, 503,565 , 570, 571 , 575, 582, 594, 597,599 , 600, 615
,616 , 6 18 ,
Luxem bo urg Gal l . , 102, 126, 173,240, 241 , 329 , 347 .
Palais Ro y al , 437 .
Ex-Po urta les Gal l . , 17 .
Musée de s Mo nume nts Francai s,140, 227 , 228 , 311 .
Theatre Francais , 167 , 239 .
Musée Napo leo n , 207 .
L ’Eco le de s B e aux Arts , 241 .
Pa lais de s Deputes , 224.
Palais de Just ice, 402.
Héte l de s Inva l ides, 167 , 358 .
Ch . de s Inval ide s, 227 , 271 .
Arc de l’Eto i le , 224, 531 .
Garden o f Tu i lerie s, 128 .
Place da Carro use l , 126 .
Place de s Victo ire s, 126 .
Place da Chatel e t, 1 16 .
Place Ve ndGm e , 102, 126 .
Po rte S . Den is, 45 .
Jardin de s Plante s, 58 .
Imperia l L ibrary o r B ib l io theque o fParis, 58, 1 17 , 277 , 394 .
No tre Dame, 2, 1 1 1 , 129 , 130, 137 ,227 , 228 , 454.
S . Germain-des-Pres, 257 .
Ch . o f th e So rbonne,44.
Ch . o f th e Celestine s , 44.
Val-de -Grace, 45, 408 .
De l’Ora to i re , 44.
S . Sulpice, 128 .
S . Et ienne-du -Mo nt, 2.
S . Hippo lyte, 205.
S . Ho no ré. 130.
S . Den is de la Chartre , 45, 454,464 .
S . Eustache, 228 .
S . André-de s-Arcs , 44.
S . Ro ch, 227 , 27 1 .
S . N ich o las , 228 .
S . Clo ti lde , 468 .
G58 INDEX OF PLACES .
Scala Santa , 42.
La te ran, 18 , 42, 174, 281 , 293, 302.
S . Ago st ino , 167 .
S . Maria Magg io re , 42, 78, 290, 496 .
Ch ie sa deg l i Orfane l l i , 1 18 .
Ch iesa Nuo va, 42, 71 , 1 18 .
S . Ono frio , 455 .
S . Maria in Val l icel la, 522.
S . S isto Vecchio , 50.
S . N icco lo in Carcere , 64.
S. Luke, 65, 313.
S . Maria Supra M inerva, 71 , 292,412.
S. Maria deg l i Ange l i , 78, 108 , 246 ,423
,516 .
S . Cec i l ia in Trastevere , 455 .
S . Francesco di Pao lo , 60.
Ch o f the Cappuc in i , 174.
S . Maria de l Po po lo , 18, 293 .
S . Pietro in Vinco l i,157 .
S . Maria-de -Mo nt i,18 .
S . Pude nz ia u a,208 .
S . Giro lamo del la Carita,18
, 79 .
Santa Croce in Gerusa lemme, 1 18,455, 521 .
S . Clemente , 394.
S. Ursula , 201 .
S . Mar ia del la Vittoria,105.
S. B ib iano , 105.
S. Griso go no , 201 .
S . Anastas ia, 105 .
8 . Maria in Tra stevere, 201 , 208S . Grego rio in Mo nte Ce l io
,220.
S . Silvestro a Mo nte Caval lo,204.
Paul ina, 220, 535.
Stimmate, 98 .
Pantheo n, 98 , 174, 194, 204.
B o rghese Pa l. o r Ga l l . , 14, 27 , 39 ,80, 187 , 224, 234, 25 1, 292,
316,378 , 474, 477 , 553, 575.
Vil la B o rghese, 105, 184.
Sc iarra Pa l. , 39 , 440, 575, 611 .
Sciarra Co l o nna Pal. , 477 .
Ro spiglio si Pal. , 1 13, 496 .
Ch ig i Pa l. , 15, 105 .
Quirinal Pal. , 28 1, 568 .
Cors in i Gal l . , 189,Do ria Gal l . o r Pa l. , 95, 1 13, 189,398
,456 .
Palaz z o Ce sarin i , 201 .
Casa Pa nfili , 29 . Cathedral , 21 , 51 , 53, 177 , 205, 384,Vi l la Lant i , 514. 391 , 413, 420, 454, 584 , 595.
Spada Pal . 39 , 98 , 204, 318 . S. Juan de la Palma, 41 1 .
Vi l la Ludo v isi . 318 , 463. S . Mart in , 434.
Co lo nna Pal., 29 , 60, 64, 1 13, 140.
Vi l la Farnesina ,80
,451 , 477 . 514.
Hadrian’s Tiburt ine Vi l la,424 .
Palaz z o To rlo n ia , 302.
Farnese Pa l., 49 , 193, 466 .
Mass im i Pal.,423, 436 .
Po nt ifica l Pal. , Monte Ca val lo, 65,
1 13.
Pavil io n o fMonte Caval lo,78 .
Pa laz z o B arberini,224
, 259 , 440,476 .
Acad. o f S. Luke, 18 , 98,313,
542.
Capito l ine Gal l . , 39, 1 18 , 184, 217 ,318 , 398 , 422, 443, 469 , 496 .
Muse o Pio Clem e n tine , 363.
B a ths o f Caracal la , 49 , 31B aths o f Di oclet ian, 163.
B aths o f Ti tus, 7 .
Esqui l ine Hi l l , 7 , 20.
Piaz za Navona, 106 .
Castle o f S. Angelo , 412, 535.
B ridge o f S. Ange lo , 106 .
Convent o f S. Anna, 201 .
Co l leg io Urbano di PropagandaFide ,105.
Ro tte rdam .
Sal le de s Princes, 350.
Rou en .
Academy , 62.
Cathedral , 130, 227 .
Rovigo .
Museum , 95.
Sablo nville .
Chape l , 433.
Sa lama nca .
S. Clement, 291 .Sassofe rra to .
S. Ago stino , 5.
Episcopal Pal., 375.
Sa vona .
Cathedral , 29 .
S. Maria di Castel lo,281 .
Schle isshe im .
Gal lery , 86 , 262, 274, 289, 334,
496 . 563.
Sco tla nd.
Nat io nal Gal l . o f, 472.
INDEX OF PLACES . 659
8. B e rnard, 328 , 594. S tuttga rt.
S. M igue l , 21 . Muse um,95, 402.
S. Is ido re, 512. Neckar Stree t Fo untain , 238 .
S. Lo renz o , 392, 41 1 .
S. Maria la B lanca, 498, 420. Vi l la o f Hadrian, 443.
Santa Cru z , 419 .
Ho spital de la Sangre , 384, 392. Cathedral , 12, 38, 95, 271 , 403, 509 ,Ho spital o f S . Laz arus
,391 . 565, 605.
Ho spital de la Caridad, 41 8, 420, S . Peter Marty r, 398 .
512. Ho spita l o f S . John B aptist, 565.
Alcazar, 52, 509 . City Hal l , 565.
Museum o r Academy, 55, 61 , 31 1 ,328 , 392, 41 1, 417, 420, 512, 579,
Academy, 74, 80, 83,
Picco lom in i Pal. , 518 .
Palaz z o Pubb l ico , 80, 393, 554.
Palaz z o del la S igno ria, 74.
Ho spital de l la Scala, 75.
Ca thedral , 84, 254, 255, 296,455
,474.
S . Domenico , 80, 104.
S . Cate rina, 80, 436 .
S . Spirito , 80.
S . B ernardino,80
,83.
Osservanza (near Siena),
Palace,49 .
Speye r.
Cathedral , 430.
Spole to .
S. Maria deg li Angeli , 554.
Gal lery , 2, 26 .
St. Gim ign a n o .
S. Fina, 298 .
Capitular e h .
,104.
Hal l o f Justice,403. Carmel ites,
St. Pe tersbu rg.
Herm itag e , 17, 187, 347, 421600.
Go rtschako fi Gal l 17
Co l l . o f Prince N a risclikin, 246.
S t. R emo
S. Maria de l la Co sta, 1 19.
S t. S eve r ino .
Cisterc ians o f 375.
S trasbo urg .
Gal le ry , 403, 430.
S . Thomas,453.
Sto ckho lm .
Museum, 548.
Museum, 386 .
Tri este .,
Arsenal,293.
Turin .
Gal lery,274, 403, 462.
S . Pe lag ic , 1 11 .
Ch iesa de l la Croce, 83.
Mo nte del la Piet’a, 52.
Cathedral , 542, 561 .
B esser chapel , 542.
Museum,560.
Fischkasten Fo untain, 561 .
Urbino .
Cathedral , 71 .
Fraternity o f Co rpus.Christi,S . Agatha, 352.
S . Gio . B attista, 375.
U trecht.Ho spita l o f S . Jo b, 62.
Town Hal l, 546.
Valdem oro .
Ch urch, 53.
M useum,124
,177, 265,
Cathedral, 52,
S . N icho las,350.
S . Ph i l ippe o f th e
79.
Co leg io Patriarca, 504.
Je su i t Co nvent, 348.
Va llado lid.
Muse um,243
,328, 351 ,
Castle , 401 .
Va ra llo .
S . Maria di Lo re tto (near Varal lo ),274.
Ven ice .
Academy , 76, 91 , 92, 94, 1 10, 1 14,120
,122, 1 69, 174, 1 88, 270, 274,
279,280, 292, 299, 305, 359, 386,
6 60 INDEX OF PLACES .
406,411
,417
,464
,471 , 506, 570,
572, 575, 595.
Du e al (o r Doge’s ) Pa l. , 91 , 285, 441 ,
509, 570.
Co unc i l Cham ber, Due al Pal. , 92.
Casa Albriz z i , 9 1 .
Farse tt i Pa l. , 178, 184.
Pasini Pa l. , 1 84.
Cdrre r Mus.
,91
,93
,95 .
Ma nfrin i Ga l l . , 94,1 10, 122,
304,305
,406
,470, 513
, 514, 539,
542, 572, 575.
Ze cca, 537 .
Fabbriche N no ve, 537 .
Pub l ic L ibrary, 537 .
Schoo l o f S . Ro ch,570.
Scuo la del laM iserico rdia, 537.
Sch oo l o f S . Gio . Evange lists,92.
S. Mark’s,91 , 299
,363, 537,
538 .
Library o f S . Marco,363.
Scuo la di S. Marco,373.
Co nfraternity o fS . Mark’s, 95.
S . Zaccaria,91 , 94.
S . Giro lamo , 126 .
S. Gio . Criso stomo , 94, 373.
S . Soph ia, 77 .
S. Marta, 98 .
S . Mo se, 447 .
S . N icho las, 98 .
S. Francesco del la Vigna, 285, 537 .
S. Maria de ’ Frari , 94, 509 .
S . Maria Fo rmo sa, 440. Church, 382.
SS. Gio vanni e Pao lo , 94, 95, 363,373, 409, 575, 604.
S . Salvato re, 94.
S . Giul iano , 1 14.
S . Sebast iano , 168.
S. Carlo , 171 .
Ch . o f the Ognissanti , 16,Ch . de lCarm ine, 216 .
Ch . de l Redento re, 94.
Ch . o f the Asc e ns io n, 96 .
Jesu i t Oh .
,575.
Ve rce lli .Cathedral
,274.
S . Pao lo,274.
Verona .
Cathedral, 91 .
S. Carlo , 40.
S. Zeno , 386.
S. B iag io , 409 .
8 . Ma ria in Organo , 414.
S. Giorgio , 272S . Eufem ia, 1 88 .
S. Caterina di S iena, 43.
Arch—Episc opal Pa l. , 9 1 .
Palaz z o delCo ns ig l io , 188.Gal le ry , 386 .
Versa i lle s.
Gardens, 45, 128, 265, 875.
Chape l , 227 .
Vicenza .
Gal lery, 409, 411 .
zenna .
B e lvede re o r Impe rial Gal l . , 3,26
, 55, 66, 76 , 89, 95 , 99, 1 13, 120,122
,128
,130
,131
,134, 206 , 229,
240,243
,252
,254
,258
,259 , 263,
264,265, 269 , 28
5
,289
,293
, 295,303, 304, 310, 311 , 323, 324, 326,327, 329 , 330, 339 , 343, 345 , 348 ,355
,358
,362
,365, 378, 402, 406,
407 , 410,422, 434, 452, 466 ,
471 , 472, 515, 516 , 524,546
,552
,555, 561 , 562,
563, 575, 597 , 600, 627 .
L ichtenste in Gal l . , 19 , 525.
Esterhazy Gal l . , 74, 122, 298, 381,422, 449, 475.
Imperial L ibrary, 331 .
Arsenal,293.
N ew OperaHo use, 293.
Karl Theatre, 293.
Theatre, 2.
Church, 273.
Viterbo .
Palaz z o B raschi , 1 19.
Wash i ngton .
Capito l , 315, 364.
We ima r .
Muse um , 69.
Statue‘s o f Go ethe and Schil ler,West Po i n t.
Po rtra it o fJefferso n, 560.
Wilh e lmsh iihe .
Castle, 43 1 , 580.
Wi ltsh ire .
Seat o f Lo rdHey te sbury , 268.Lo ngfo rdCastle, 336 .
Wittenberg.
Church, 612, 614.
Worcester .
Histo rical So cie ty , 55L
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