Full text of "The picture collector's manual : being a dictionary of painters, containing fifteen hundred more names than in any other work"
https://archive.org/images/glogo.jpg
See other formats

THE PICTURE COLLECTOR'S MANUAL, ADAPTED TO THE PROFESSIONAL MAN, AND THE AMATEUR ; BEING A DICTIONARY OF PAINTERS, CONTAINING FIFTEEN HUNDRED MORE NAMES THAN IN ANY OTHER WORK, TOGETHER WITH AN ALPHABETICAL ARRANGEMENT OF THE SCHOLARS, IMITATORS, AND COPYISTS OF THE VARIOUS MASTERS. AND A CLASSIFICATION OF SUBJECTS, SHEWING THE NAMES OF THOSE WHO PAINTED IN THE SEVERAL DEPARTMENTS OF ART, THUS AFFORDING, IN ALL UNCERTAIN CASES, A CLUE BY WHICH THE JUDGMENT MAY BE GUIDED, THE OPINION STRENGTHENED, AND THE DOUBT REMOVED. BY JAMES R. HOBBES. IN TWO VOLUMES. VOL. I. DICTIONARY OF NAMES. LONDON: T. & W. BOONE, 29, NEW BOND STREET. 1849. PREFACE. In submitting the " Picture Collectors Manual" to the Public, the Author has been anxious to supply an omission hitherto felt in all previous Dictionaries, viz. an Alphabetical List of the Names of the various Pupils, Imitators, and Copyists, arranged under the heads of the different Masters, also a Classification of Subjects, whereby the names of every painter of those subjects may be readily discovered. I was led to this mode of classification from the following circumstance. A gentleman some time since purchased a picture at an auction ; it was described in the Catalogue as " a Holy Family, by Perugino." On getting it home, he exhibited his bargain to some friends who professed to understand, and could discourse fluently if not learnedly upon such subjects. One declared it to be an excellent " copy of Raffaelle,'' another thought it was " by Perugino," and a third considered it an original, but not by either of those Masters. A reference to Bryan and Pilkington did not assist his inquiry, as there was in them no clue to any other Master than the two above specified. This difficulty suggested to me the utility of a work in which the names of all the principal painters should be followed by those of their disciples, imitators, and copyists, and having consulted some dealers and amateurs upon the subject, by all of whom the plan was highly approved, I have not only expended much time in maturing it, but have so far extended it as to embrace a classification of subject, as well as of names in connection with style or manner. Whether I have succeeded or not in my attempt, time and the public must determine. Some errors are perhaps unavoidable, but if the plan is approved, the remedy may be easily supplied — practice in this, as in other cases, will doubtless make perfect. J. R. H, INTRODUCTION. The Fine Arts had long been on the decline in the classic regions of Greece and Italy, and although the lambent flame of genius, continued to hover between those countries, and in Egypt, its influence was scarcely felt in either, if we may judge from the rude specimens with which we have been furnished, until the commence- ment of the thirteenth century, at about which period, a spark of its sacred fire appears to have fallen upon Cimabue, who by his example, gave a new impulse to the art, and thus laid the foundation of that greatness, to which the Florentine School now lays claim. Cimabue, the founder of that school, and of the modern art of painting, was born in Florence, in 1240 ; he had received some instruc- tion in that branch of the Arts, and also in architecture and sculpture, but his labours had been confined to the mere copying of the works of others, disdaining those trammels, he determined to take nature for his guide, and soon acquired that confidence in his own powers, from which arose the germ of excellence, that about two centuries afterwards, began to overspread the whole of Italy. The paintings of Cimabue, who has been called the Michael Angelo of that period, were all of a scriptural or religious character, boldly conceived and splendidly coloured, but the attitudes of his figures were stiff, the outlines harsh, and the extremities bad ; his male heads, particularly of old men, were dignified and impressive, but those of females possessed neither beauty nor delicacy, the eyes were generally wide and staring, and the nostrils too much spread, the fingers lean, and the toes peaked and unnatural. Nevertheless, Cimabue had his admirers, and one of his pictures of the Virgin wras borne in procession to one of the churches in that city, accompanied by music : he died in 1300. Giotto, who studied under Cimabue, was born in Florence, in 1276 ; and like him also painted religious subjects, but in a different style to that of his instructor, generally introducing into the back- grounds of his pictures, architectural views ; and colouring his build- ings either red, blue, or yellow, and sometimes white in imitation of marble, his drawing was also more correct, and his attitudes more grace- ful than those of Cimabue, from which circumstance he has acquired the appellation of the Raffaelle of the age in which he lived, and to VI INTRODUCTION. these two masters, and their disciples and followers, we are indebted for the transition from the ancient Greek, to the more modern style Qf painting. The principal schools of Italy, all of which derive their origin from these two masters, are denominated as follows — the Florentine, the Sienese, the Roman, the Venetian, and the Lombard, or Bolognese School, and from them have originated the Schools of Mantua, Milan, Modena, and others. The Sienese School, is said to have first set the example of the more modern style of painting, which the Neapolitan was not slow to adopt ; but it is not my intention to enter into a lengthened disquisition upon the peculiar merits or demerits of each particular school, or of the various masters who have rendered themselves conspicuous by their several works, but rather to select a few examples from each, as a kind of landmark or guide to the others. " Mind, mind alone, bear witness earth and Heaven, The living fountain in itself contains Of beauteous and sublime." The Florentine School is distinguished by boldness of conception, and grandeur of form, by muscular expression, more than by graceful attitudes, and by a kind of design bordering on the gigantic ; this school lays claim to Michael Angelo Buonarotti, Pierino del Vaga, Sebastian del Piombo, Andrea del Sarto, and Pellegrino di Tibaldi, all of whom, more or less, adopted the principles of its founder. The Roman School excels in tasteful design, correctness of outline, softness of touch, beautiful expression, and a judicious mixture of tints ; the head and ornament of this School was Raffaelle, he painted frequently in oil, a medium best adapted to give to his colours, great sweetness, delicacy, and transparency ; his attitudes are natural, easy, and majestic, and the features of his Madonnas beam with ineffable sweetness; amongst his most esteemed disciples and followers, may be ranked Zampieri Domenico, or Domenichino, Pellegrini Munari, Francesco Parmegiano, Benvenuto Tisio, called Garofalo, Andrea Semini, and Giulio Romano, he usually painted scriptural and ancient history, and occasionally emblematical and dramatic subjects. The Bolognese or Lombard School, is characterized by harmony and grace, great purity of colour, and a judicious blending of light and shade, its principal ornament was Antonio Allegri, called Cor- reggio, whom no one ever excelled in the delicacy of his flesh, and the pleasing gradation of his tints, he usually laid his colours on very thickly, in the most conspicuous and brightest part of his picture. The works of the Caracci exhibit a style approaching that of Correggio, particularly those of Lodovico, his subjects were usually of a reli- gious character, distinguished by great simplicity and elegance in design, the heads of his female figures, especially those of his Ma- donnas, were excessively beautiful, the airs and attitudes graceful; and the composition in general sublime. Annibale's style is a mixture of that of Correggio and Titian, that of Agostino, who INTRODUCTION. usually assisted Annibale in his works, so closely approached them, as to be frequently mistaken for the works of Annibale, whose pencil was more adapted for poetical or fabulous subjects^ than for sacred history. Annibale also painted landscapes in a grand style, the forms of his trees are extremely natural, and the colouring excellent, the figures which were spiritedly touched, being accessory only to the other parts of the picture, in fact there was little difference in the works of the Caracci, excepting what was occasioned by their difference of subjects ; their three best scholars were Domenichino, Guido, and Albano. Domenichino's greatest talent was exhibited in his landscapes, his subjects were well composed, his figures admirably designed, and his colouring extremely natural : but his scenery possessed an indescrib- able charm from its simple elegance and quietude ; he draped his figures with great taste and judgment, and some of his heads are full of truth and expression. Guido's pencil was light and delicate, colouring transparent, and touch free, his draperies are disposed with great judgment, and are easy and natural in their folds, the eyes of his figures like those of Cimabue, are usually large, but with a bashful and modest expression, the nostrils wide, and the toes appear to be rather too much joined, but the mouth which is small, has a lovely expression, and the contour is extremely correct. One of his best pictures representing Christ crowned with thorns, is painted in an admirable style, with great sublimity of expression, and pious resignation ; he also painted Auroras, Helens, and similar subjects. Albano's subjects were culled from poetical history, and heathen mythology, such as Venus attired by the Graces, Cupids sporting, the Death of Adonis, the Triumph of Bacchus, &c, his wife and children, who were extremely beautiful, were the models from which he formed his Graces, Nymphs, Cupids, and other figures, which accounts for the great similarity of features, and by which his figures may always be recognised ; his colouring is extremely fresh and delicate, draperies elegantly designed, landscapes natural, trees penciled with great neatness, yet with a spirited touch, but his pictures are not always equally good in colouring. The Venetian School boasts of Titian, Tintoretto, and Jacopo Ponte, called Bassano, as its brightest ornaments. Titian was the pupil of Giovanni Bellini, who was also the master of Giorgione Barbarelli, called Giorgione, whose rich tone of colouring served as a model for Titian to study and imitate. His works were principally of a scriptural kind, and still retain their brilliant hues. Sebastian del Piombo, who assisted Michael Angelo at Rome, was a pupil of Giorgione, and a successful imitator of his style, and Jacopo Palma, distinguished by his fine taste and harmonious colouring, together with Pordenone, whose works are characterized by masterly conception, boldness of design, and daring execution, were also celebrated masters of the Venetian School. Titian's great charm is said, by some authors, to consist in his viii INTRODUCTION. colouring, and he is reported by them to be very deficient in design, whilst others assign to him the first rank in that department of the art; he painted every variety of subjects, scripture history, mythology, landscapes, and portraits, in the latter of which he is said to have exceeded all that the art ever produced. His Venuses and Graces, possess extraordinary beauty, the colouring is truly har- monious, the lights deep and glowing, and he gave to his pictures that extraordinary fine transparent effect, which his numerous pupils and followers have vainly attempted to imitate ; of these, the nearest approach to him in design only, was Girolamo Dante; Lodovico Fumicelli excelled Dante in his colouring, but Jacopo Robusti called Tintoretto, approached him so closely, both in design and colouring, that Titian, jealous of his rising fame, expelled him from his academy, and he then adopted a new style, and became one of the wonders of that School and era. Bassano combined the styles of Titian and Tintoretto, with the principles of the Flemish School, he painted an innumerable quantity of pictures, historical and otherwise, in a natural and pleasing style, his daughters usually serving him as the models for his queens and princesses, madonnas, and other female figures. Some of his pictures are finished very highly, whilst others have an appearance of negli- gence, which when viewed at a proper distance, produces a charming effect ; his conceptions were elevated, design grand, colouring harmo- nious and brilliant, particularly in his greens, in which he was with- out a competitor, but his perspective was faulty, and his draperies heavy and absurd. The School of Verona, of which Paolo Cagliari is considered the head and ornament in historical subjects, is distinguished from that of Venice by a more spirited execution, and the gorgeous draperies and ornaments by which the figures are usually loaded, frequently without regard to the subject itself. The taste of Paolo Veronese was more suited to large than to small compositions ; his heads possessed more grace than those of Tintoretto, but his outlines were somewhat incorrect, and his attitudes not the most elegant. His scriptural subjects and poetical compositions are full of dignity, glowing in colour, and splendidly expressed, and his works display a fertile imagination, a spirited touch, and a pleasing gradation of tint. Naples boasts of Salvator Rosa and Anniello Falcone ; the former of whom painted in a style peculiarly his own, and which some pro- fessors of the art are not slow to condemn. His usual subjects were landscapes, with wild and romantic looking scenery, which he peopled with bandits, robbers, and other ferocious looking beings, He also painted gloomy caverns or desert plains, with benighted travellers ; sea-ports and battles ; and occasionally historical pictures, such as Samuel and the Witch of Endor, and other supernatural and terrific appearances, some of which fetch enormous sums. Anniello Falcone who was the master of Salvator Rosa, excelled in battle-pieces. His horses were spiritedly designed and the figures naturally expressed. INTRODUCTION. ix In colouring he shone conspicuous and had many admirers and followers. Salvator Rosa, whom we have mentioned above, studied under him for a short time. The Sienese School numbers amongst its most distinguished disciples Guido, of whom we have already spoken ; also Jacopo Pacchiorotto, some of whose portraits have been compared to the works of BafFaelle. Razzi, who is said to have studied the works of Leonardo da Vinci, but only resembled him in his lights and shades ; and Mecherino, whose first style resembled that of Pietro Perugino, aspired to imitate that of Michael Angelo, but without success; the latter excelled in difficult fore- shortenings, and had a peculiar style of colouring, which was greatly admired and highly extolled, which Correggio alone it is said could equal. Andrea Mantegna of Padua shed a lustre on the School of Mantua, and appears to have been the first who introduced the true principles of the art into that place ; but his lustre was soon eclipsed by the superior talents of Giulio Romano, after whose decease its reputation declined, and its fame eventually became entirely obscured. The School of Modena owes its origin to Munari Pellegrino, a pupil of Raffaelle, who had made the works of that master his particular study, and who nearly approached him in sublimity of design and grandeur of form. To the style of Raffaelle succeeded that of Cor- reggio, which in turn yielded to the simplicity and elegance of that of the Caracci. The School of Modena, it will therefore be perceived, partakes of the style of the Florentine, the Roman, and the Bolognese, or School of Lombardy combined. Amongst the early masters of this school were Nicolo del Abate, Prospero Fontana, and Antonio Begarelli; the latter of whom was also a celebrated modeller in clay. The School of Milan adopted Leonardo da Vinci as its model ; and numbers amongst his principal followers Cesare de Sesto, Marco Oggione or Uggione, and Bernardo da Luini ; all of whom painted historical subjects in a pleasing style, the countenances of the female figures extremely beautiful, and the colouring chaste and natural. Lodovico Brea, who flourished in the latter part of the fifteenth century, is considered as the founder of the Genoese School. After him came Pierino del Vaga, whose style partakes of that of Raffaelle and Michael Angelo Buonarotti. Ottavio and Andrea Semini followed in his steps, as also did Giovanni Battista Paggi, who had been a pupil of Luca Cambiaso. But one of its principal ornaments was Valerio Castelli, who had studied under Fiaselli, and who excelled in historical compositions and battle-pieces, particularly the latter. The principal painters of the Cremonese School were Giulio Campi, who imitated the colouring of Titian, and in some of his works approaches the style of Correggio ; and Camillo Boccaci, who also imitated the style of the latter, and whose historical subjects and portraits are highly esteemed. The German school of painting, like that of Italy in its early ages, appears to have been very circumscribed in its powers of X INTRODUCTION. imagination, and to have produced only miracles and the portraits of Saints and Madonnas, until the appearance of Albert Durer, to whom we are indebted for a more enlarged conception, a happier embodiment of ideas, and a superior execution ; as may be seen in his Adam and Eve, Christ bearing the Cross, the Assumption of the Virgin, and similar subjects. His outlines were also greatly superior to that of any German painter who had preceded him, his draperies less stiff and formal, and his colouring more vigorous, harmonious, and chaste. Lucas Kranach was contemporary with Albert Durer ; his works are more inclined to the Gothic, his draperies heavier, his attitudes more formal, and his extremities badly defined. His best works were heads of old men and women, and he sometimes indulged in poetical illustrations with great success. Hans Baldung, Hans John Schaeuflin, and Hans Burgmair, were pupils of Albert Durer, and followers of his style; but his most successful imitator was Christopher A mberger ; he painted historical subjects and portraits, and in one of the latter, representing the Emperor Charles V. has been compared to Titian. Giorgio Clovio, who studied at Rome under Giulio Romano, made the works of Raffaelle and of Michael Angelo his guide, and partakes somewhat of their spirit and execution. His most esteemed produc- tion is a Descent from the Cross. Next in succession to Albert Durer stands Hans Holbein5 whose works are almost too well known in England to require any comment : his Dance of Death and numerous portraits of crowned heads, princes, and peers, having immortalized his name. But it was reserved for Christopher Schwartz to arrive at still greater distinction amongst his countrymen : in him the German school proudly boasts a second Raffaelle. His style is a compound of the Roman, the Venetian, and German Schools ; his design and colouring resembling the two former, and his outline and execution the latter. Of this School also were Bauer or Bouwer, a painter of battle pieces, Netscher, a portrait painter, Matthew Elias, who painted scriptural subjects, and Meyer, who excelled in land- scapes, Joachim Francis Beisch, Christian Reder, and Charles Philip Rugendas, who also painted battle-pieces, and Anthony Faistenberger and John Rodolph Huber, who devoted their pencil to historical sub- jects and landscapes, Lambert Zustrus, who studied under Titian. The Spanish School, like that of Italy and Germany, in its earliest ages teemed with images of the Virgin, the Saviour, and its numerous saints. Antonio del Rincon first introduced historical compositions, which Bias de Prado carried still farther towards excellence by his imitation of Parmegiano. Gallegos, who had been a pupil of Albert Durer, adhered too closely to his style ; but Campanna, who was the master of Morales, and had studied Raffaelle, contributed most to the elevation of its character at that period. Louis Morales, called the divine Morales, some say on account of the subjects he painted, and others on account of the sublime manner in which he handled them, and the heavenly expression in the countenances of his figures, had departed from the fixed and settled rules of the art ; his works, how- INTRODUCTION'. xi ever, bear some analogy to those of Leonardo da Vinci ; whilst those of Marmoliga in grandeur of style and dignity of character remind us of the productions of RafFaelle, under whom he is said to have studied. Cespedes, one of the finest artists in Spain, painted annunciations, nativities, and legendary subjects ; whilst Padouanino soared into the higher regions of the historic department of the art. Bartolomeo Gonzales followed in his steps, but not with equal success. But to Francesco de Herrera was reserved the honour of having exalted the reputation of the Spanish School by his bold and vigorous colouring, spirited style, dignified taste, and accurate delineation of character, Guiseppe Ribera, better known as Spagnoletto, was a pupil of Ribalta, and alternately studied and imitated the style of Correggio and Caravaggio with wonderful success ; but his subjects were of a totally different description to those of Correggio, and he delighted in the terrific, and such as inspired feelings of disgust and horror : his Ixion on the Wheel is depicted with such distressing and overwhelming force that it becomes painful to behold, and nature shudders at the contemplation of such a scene. Occasionally, however, he painted other and more pleasing subjects, which charm by their graceful attitudes, dignified expression, and beautiful composition. Don Diego Velasquez was a pupil of Herrera, and with him and Aionzo Cano, who was called the Michael Angelo of Spain, com- menced the classic era of Spanish art. Velasquez studied nature, and from her he drew his brightest inspirations. In portrait painting he was eminently successful. In historical subjects he had various styles ; his first was like that of Caravaggio, but he afterwards endeavoured to imitate that of Guido and Luis Tristan; the latter of whom he most nearly resembles. Bartolomeo Roman studied under Velasquez, but was more indebted to nature for his guide than to any instruction he received. His subjects were historical ; and in these he was only equalled by Rubens. Aionzo Cano, Francesco Lopez Caro, and Juan Galvan, also painted historical subjects with con- siderable reputation, but not equal to those of Bartolomeo Roman. Francesco Collantes, born at Madrid, 1599, a celebrated landscape painter, usually interspersed his scenes with mouldering ruins, frown- ing battlements, and decayed castles ; he also occasionally painted his- torical subjects, which he handled in a masterly style. Juan de la Cortes' pictures represented battle-pieces. Francesco and Antonio Fer- nandez, Antonio Contreras, and Geronimo d'Espinosa, painted histori- cal subjects with considerable skill ; but the head and chief of the Spanish School is universally assigned to Bartolomeo Estevan Murillo, whose fame was established by his two pictures of the Death of Santa Clara, and St. James giving alms ; but whose happiest effort was exhibited in his celebrated picture of the Marriage of St. Catherine, which in vigour of expression and purity of colouring stands unrivalled. Murillo, like Velasquez, also made nature his guide ; studying with great assiduity and success the plants and flowers of the field, of which his picture of the Flower xii INTRODUCTION. Girl in the Dulwich Gallery affords incontestable proof ; in colouring he is said to be equal to Vandyck, and in expression to Velasquez, but he did not always paint with equal skill, and in his drawing was occasionally incorrect. Amongst other Spanish painters particularly worthy of notice are Juan de Valdes, Don Juan de Alfaro, Antonio Castrejon, Juan de Cabezallero, Juan Guevra, and Don Pedro Atha- nasco, all of whom devoted themselves principally to historical sub- jects. The French School was many centuries after the revival of the art before it put forward any claims to distinction. The first painter worthy of notice as possessing somewhat superior talents to his pre- decessors was Jean Cousin, born in 1528, and who may therefore be considered as the founder of the French School. Hitherto the painters in that country were but drudges in the art, copying with the greatest formality the works of the Italian masters, but destitute of expression, and without the slightest claim to originality, which first exhibited itself in the works of James Blanchard, who having studied in Italy, at Rome, and in Venice, still further improved its character by his vigorous colouring, and obtained amongst his countrymen the appel- lation of the French Titian. Simon Vouet painted historical subjects and portraits, at first in the style of Valentino, but afterwards adopted a more pleasing manner, in which he discovered a fertile imagination and great beauty of expression ; he excelled in the latter. Nicholas Poussin, born in 1594, was the first of that School who combined the splendid style of the Italian with the chasteness of the Greek masters ; his landscapes were magnificently grand, colour- ing natural, but somewhat cold ; groups truly poetic, classical, and well designed. In some of his compositions he evinced great genius and inspiration, particularly in that of Phineus and his followers turned into stone upon seeing the Gorgon^s head, which is represented with an expression truly terrific; his pictures were then and still are highly esteemed in England, as are also those landscapes of Gaspar Dughet, his brother-in-law, called Poussin, whom he closely re- sembles in style, composition, and colouring. Claude Gelee, called Claude Lorraine, the pupil of nature, far surpassed the Poussins in his scenery, but his figures, although much laboured, are very indif- ferent, and neither graceful nor easy in their attitudes ; his perspective is, however, admirable ; his colouring delicate ; his trees are touched with great spirit, and finished with admirable skill ; his skies are warm and brilliant, and his landscapes have an appearance of nature that has not been excelled, and rarely equalled by any other master. In historical composition the names of Le Brun and Le Seuer shine most conspicuous. Le Brun painted numerous subjects, historical and otherwise; his works are composed in a grand style, his attitudes simple yet elegant, expression natural, and his genius fruitful; his Magdalens and battle-pieces are highly extolled and universally ad- mired. Jacopo Cortese or Borgognone, who had studied under Albano, was also esteemed as a battle painter. Le Seuer, called the French Raffaelle, had studied from the works INTRODUCTION. xiii of the Roman School and the antique statues ; he painted some scrip- tural subjects possessed of great merit, poetically conceived, grandly composed, chastely designed, and harmoniously coloured ; such are his pictures of St. Paul preaching at Ephesus, and the Descent from the Cross: both Le Seuer and Le Brun were pupils of Vouet. Pietro Mola, born in 1621, formed his design from that of Paolo Veronese, and in colouring endeavoured to imitate Guercino ; he also painted historical subjects and landscapes, the trees designed in grand taste, distances well kept, and figures neatly penciled. In one of his pictures representing St. Paul in the Desert, his trees resemble those of Salvator Rosa. Noel Coypel, another painter of historical subjects, made the works of Poussin and Le Seuer his study, and endeavoured to imitate their manner. Two of his best pictures represent Solon taking leave of the Athenians, and Severus distributing corn to the Romans. Watteau painted domestic scenes and subjects of gallantry, balls, masquerades, and comic conversations, in which the manners of the French nation, their ridiculous etiquette, and ceremonious frivolities, are admirably depicted ; his colouring is clear and transparent, and his penciling neat ; his pictures are eagerly sought after. Vernet excelled as a painter of sea views, and had few superiors in this branch of the art ; his vessels are correctly drawn, the water has a liquid appearance, the skies are clear and transparent, and the figures are touched with great spirit. John Baptist Greuze painted domestic, moral, and affecting sub- jects, with great success ; he designed well, but there is a great same- ness in the airs of his heads, and his draperies are generally in bad taste ; his compositions, notwithstanding, possess considerable merit. The art, however, had made but little progress in France since 1660, the time of Le Brun, until the appearance of James Louis David, who was born in Paris in 1750; he studied under De Vien, became enthusiastically devoted to the art, and produced a series of pictures, in which he has exhibited the majesty of the Roman with the poetic grandeur of the Grecian School. His best works represent the Death of Socrates, and the Coronation of Napoleon ; his historical subjects are the pride and admiration of his countrymen, and his por- traits are not less esteemed ; he left numerous disciples whose pencils have recorded the various battles of that period, and every other sub- ject of interest that occurred during the French Revolution. The Flemish School dates its origin from the period of Hubert Van Eyck, the brother of John Van Eyck, to whom the discovery of the art of painting in oil is by some authors erroneously, as it appears, attributed, but few of his pictures now remain. One only is mentioned in the Cathedral at Bruges, representing the Virgin and Child attended by several Saints, in which the execution is destitute of that boldness of conception and vigour of outline that distinguishes the Flemish School, but the colouring is still fresh and glowing. Francis Floris, called the Flemish Raffaelle, born in 1520, was the XIV INTRODUCTION. first painter of that School who exhibited in his compositions an air of boldness and a spirited design, combined with an excellent tone of colouring. He painted scriptural subjects with considerable reputa- tion, but in some of his figures the muscles appear much too promi- nent, and the attitudes are stiff and formal. Two of his best works are the Fall of Lucifer, and the Assumption of the Virgin. John Strada or Stradanus, another Fleming worthy of note, studied the works of Raffaelle and Buonarotti, and painted historical subjects and portraits of Saints, Madonnas, &c. with some reputation, the figures well designed, and with an agreeable tone of colouring ; he afterwards devoted himself to battle-pieces and huntings of the wild boar, and other animals of the chace, which he executed in a grand style, and with great freedom of pencil. In the art of perspective and architectural subjects Henry Steenwyck, born in 1550, holds the first rank amongst the Flemish painters; his subjects are usually the interiors of churches and convents illuminated by tapers, and embellished by numerous figures delicately penciled, the lights and shadows so distributed as to produce a grand and natural effect, the figures usually introduced by other masters. Denis Calvart studied the works of Correggio and Parmegiano, and painted landscapes with groups of figures, saints, hermits, &c, the landscapes extremely natural, and the figures penciled with great delicacy. Paul Bril, John Breughel, and Roland Savery, were also celebrated landscape painters ; those of the first are true to nature and sweetly coloured, and when embellished with figures by the Caracci, their value is greatly enhanced. The landscapes of Breughel are also well composed, the leaves and branches of his trees penciled with great minuteness ; his flowers are faithful transcripts of nature. Roland Savery painted animals and landscapes with wild scenery, jagged mountains and rocks, foaming cataracts, and turbulent rivers. Peter Breughel revelled in fantastic whims, scenes of horror, witches, hob- goblins, and unearthly forms. Peter Paul Rubens, whose works are distinguished by great warmth of colouring and vigorous conception, was deficient in ex- pression, and his works are wanting in poetical loveliness and sublime inspiration ; his figures although coarse and vulgar are not without beauty, but it is the beauty of his country, not such as we see in the females of Greece or Italy, yet he fascinated by the powers of his pencil and the splendour of his tints. His subjects are chiefly scrip- tural, and extremely numerous : he is said to have painted upwards of 4000, many of them for private collections. Two of his best pic- tures of another kind, the Rape of the Sabines, and the Chateau of Rubens, are now in the National Gallery. Francis Snyders, who was a pupil of Van Balen, excelled in painting huntings of the boar, the wolf, and other wild animals. Jacques Jordaens was the nearest ap- proach to Rubens in colouring, and Abraham Van Diepenbach was little inferior in that respect to Jordaens. Gaspar de Crayer, who INTRODUCTION. XV had studied under Raffaelle, equalled Rubens in colouring in some of his pictures, and was more correct in design ; he generally painted re- ligious subjects, as also did Abraham Diepenbach. Abraham Janssens partakes with Jordaens in the fame of approaching Rubens in his spirited touches, and in his light and shades, and Theodore Rom- bouts, his pupil, excelled him in elegance of design and fertility of invention. Anthony Vandyck, a scholar of Rubens, in grace of design and dignity of expression, surpassed his instructor, and in harmony of colouring was nearly if not quite equal to him. What Rubens was in history Vandyck was in portrait. David Teniers in rude scenes of humble life is without a competitor ; his pictures represent the sports and drolleries of the vulgar peasant, rustic weddings, and interiors of public-houses, with boors carousing, truthfully depicted and charm- ingly coloured ; his men are sometimes dumpy and ill formed, but in this consists the humour and drollery that characterize his produc- tions ; his colours are beautifully clear and transparent, and his landscapes remarkable for their bright and silvery tone. The Dutch School owes its origin to Lucas Van Leyden, born in 1494, at which time the principles of perspective were but little known in that country. His best picture is a representation of the Last Judgment ; it is composed of numerous figures, neither elegantly nor gracefully disposed, and his draperies are exceedingly stiff and formal. His female figures are, however, delicately touched, and the carnations are extremely natural. Abraham Bloemart, a celebrated painter of landscapes and cattle, succeeded to Lucas Van Leyden, after whom came Cornelius Poelem- berg, whose small pictures, embellished with figures from poetical history, are highly esteemed ; his colouring is chaste and his penciling neat and delicate. John Weeninx, who was also a pupil of Abraham Bloemart, painted landscapes in a natural style, but excelled in dead game ; his pictures of that description are highly esteemed. Rembrandt Van Ryn, born 1604, one of the most celebrated masters of this school, at first bestowed great care and labour on his pictures, which he finished as high as the productions of Mieris or Gerard Douw ; but he soon quitted that style for another, in which he was eminently successful. His figures, although rude, are full of character and expression, his lights are forcible yet natural. He painted pictures of almost every size, and of every description of subject; in penciling extremely rough, the colours frequently laid on with his palette-knife or stick, and like Ugo da Carpi, he not unfrequently used his fingers or thumbs for that purpose, but his handling, although so rough, possesses a charm that no finish could improve, and his lights and shades, which have never been surpassed, produce a magical effect, which lends a lustre to the meanest of his subjects, and pervades every part of his picture. Albert Cuyp, who comes next in succession to Rembrandt, painted landscapes with cattle and figures, also coast scenes and river views ; xvi INTRODUCTION. in colouring harmonious and natural, and in perfect keeping with the subject represented ; he excelled in depicting the various hues of the atmosphere at the different periods of the day ; his morning views are full of juicy freshness and dewy verdure, the mid-day subjects resplendent with warmth and light, and the evening scenes replete with tranquil nature and quiet repose ; his moonlight-pieces are extremely natural, but his winter subjects far excel his other produc- tions, and enchant by their extreme fidelity and wonderful effect. Gerard Terburg's subjects are interiors or domestic scenes, and usually from ordinary life ; he sometimes painted a single figure, and occasionally amusing groups, seldom omitting to dress one of them in white satin, in which he particularly excelled. Adrian Ostade, Gerard Douw, Francis Mieris, and Gabriel Metzu also painted interiors. Those of Ostade are usually of the humorous or convivial order, and his figures are full of comic and mirthful expression ; he may be called the Teniers of the Dutch School. Gerard Douw's subjects, although of a humorous, are of a more pleasing character than those of Ostade, and generally represent the scenes of private life, a woman dozing, and a man tickling her nose with a feather, or a man lighting or filling his pipe. Those of Gabriel Metzu are of a more refined character, and usually exhibit the inside of a well furnished apartment, in which a lady is washing her hands in a silver basin, or a lady reclining in a chair reading a letter, or receiving one from the hands of her domestic, and similar subjects, which for beauty of colouring and exquisite taste are beyond expres- sion. The works of Francis Mieris, although somewhat similar in character to those of Gerard Douw, whose pupil he was, may be dis- tinguished by their accessories, the carpets, silks, stuffs, &c. being so closely imitated that the different fabrics may be easily recognised ; his colouring is also more clear, and his touch more spirited, and he excels Douw in drawing and composition; he occasionally painted candlelight-pieces . Nicholas Berghem, another celebrated painter of this school, excelled in landscapes, usually of a mountainous character, the scenery extremely pleasing, and interspersed with figures and cattle, amongst which he generally introduced goats ; his trees are extremely natural, skies light and floating, and the attitudes of his figures easy and graceful. Philip Wouvermans painted all manner of subjects which would admit of the introduction of horses, such as hawking parties, battles, and skirmishes, farriers' shops, plundering villages, and banditti scenes; he generally decorated his landscapes with castles, fountains, temples, and other edifices. Paul Potter, whose landscapes are considered to surpass all others of that school, and who was decidedly one of the best painters in the Low Countries, was as remarkable for the extreme finish of his cattle, principally cows, oxen, goats, and sheep, as for the masterly ease and negligence with which he penciled the subordinate parts of his picture; INTRODUCTION. xvii his colouring is beautifully transparent, touch spirited yet delicate, his outline correct, and his imitation of nature admirably expressed. Jacob Ruysdael, a celebrated landscape painter, studied nature, and rarely painted any subject without introducing a river or pond of water, which he represented with great truth and effect ; his distances are well kept, colouring harmonious, skies light and clear, and water trans- parent and natural ; he usually painted views on the banks of rivers, woody scenes or groves, with winding paths, and sometimes hilly grounds with natural cascades, interspersed with cottages or huts. William Vandervelde ranks highest amongst the painters of this school in the marine department of the art, and was such an enthu- siastic admirer of that branch, that he frequently exposed himself to great danger in sailing between the hostile fleets, the better to be enabled to represent the position and manoeuvres of the different vessels ; in the latter part of his life, he painted in two colours only, black and white, and his pictures have the appearance of being painted on paper ; his works are highly esteemed. The British School, in its earliest period of the art, exhibits the same character and design as those of Italy at the time of Cimabue, and are chiefly of a religious or legendary character. Ancient records exist to prove that the art was known and cultivated in England as early as 1233, and that the painters of that time worked by contract, using such colours only as were stipulated therein. William Windsor, a monk, is the earliest mentioned ; from this, however, it appears, oil being also included in the contract, that the art of painting in that vehicle was known in England even before the time of John Van Eyck, the pretended discoverer of that mode of painting ; but although known and cultivated so early, it was not until the reign of Henry VIII. that any great improvement was made therein. The same kind of subjects continued to be painted, and in the same stiff and antiquated form ; a Madonna or a saint was all that was ever attempted, until about that period, when Holbein visited England and produced groups of figures, into which he infused new life and character, and proved that ideality and sentiment were capable of personification and expres- sion both in poetry and painting. In portraiture the art was confined to miniature size, until the appearance of Jamesone, in 1628, called the Vandyck of Scotland, who was the first British artist that attempted those subjects life size, from which time, until Reynolds arose, scarcely any painter of more than ordinary merit had appeared ; he it was who astonished the world by his wonderful skill in the art of colouring, his vigorous touch, and judicious management of his lights and shadows, and which had never been witnessed in England since the days of Rubens and Vandyck. As miniature painters, Oliver, Hilliard, and Cooper, claim precedence over all competitors. In landscape painting, we boast of Richard Wilson, Gainsborough, Morland, Constable and others, but in historical or poetical subjects, the names of Benjamin West, Sir Thomas Lawrence, Northcote, Stothard, Hilton, Newton, shine most conspicuously. Hogarth excelled in the representation of domestic xviii INTRODUCTION. subjects, which he painted with a happy vein of irony and satire, that appeals most forcibly to the feelings of our nature, and whilst he exhibits vice in all its depravity, he teaches us a great moral lesson, that neither the poet nor the historian could depict with more truth, nor with greater effect. Our British artists now embrace every subject, history, pcetry, portraiture, landscape, and marine views, and in each and all of these vie with those of every other country. From the foregoing statement, it will be seen that almost every nation has its peculiar character in painting ; that of Spain is chiefly of a gloomy cast, and exhibits a mixture of religious enthu- siasm, with gross superstition ; France still manifests its partiality for show and splendour, although the frivolous gaiety of its people has given place to military ardour and patriotic enthusiasm, all her historical subjects are but types of this feeling ; Germany is still allied to its wild, mysterious, and poetical associations^ Holland to its every- day occurrences, and plain matter-of-fact subjects. The Low Countries present features of a mixed character, Saints on velvet cushions, Devotees before golden altars, Patriarchs in gorgeous robes, Virgins and Madonnas, Saints and Anchorites, Princes and Kings, are alike attired in gaudy habiliments, and with all the pomp and splendour of eastern magnificence. We shall conclude our description of the various schools, by a brief outline of the characteristics of a few of the principal masters. Titian's lights are generally in the centre ; his shadows are broad and extended ; his middle tints in the extremities of his figures, such as the hands, feet, &c, are of a reddish brown ; those parts most distant from the light, are weakened in colour, and have a dusky appearance ; his receding figures, and those on the outside of his groups, are always the most obscure ; his dead colours are made with cold middle tints, and finished by laying on warm colours, extremely thin, light and transparent ; his middle tints of shadows are thinly covered with yellow, and in the darker parts with red and black ; he used but little white in his lights, and none at all in obscured parts of his pictures ; whilst Raffaelle uses it largely, he is neither so bright in his lights, nor dark in his shadows as other masters ; and in the old men of Rubens and Titian the principle appears to be the same, little or no white in the carnation, and a sort of orange colour, made up with yellows and reds ; in historical compositions, his great light is in his skies and behind his figures, he does not affect a whiteness and glitter when the light is thrown upon the fleshy part in his female figures ; it shines but is subdued, and not opposed to dark shadow in obscure parts. Con- ceive a scale of colouring between the chalky hard manner, and the opposite extreme of obscurity, the strongest light being at No. 1 ; we then arrive at this comparison : Guidons strongest light on the flesh is at No. 1, his middle at No. 3, and his dark at the extreme ; Titian's strongest light is at No. 2, his middle at 3, and his dark at the flesh ; Agostino Caracci's are at 3, and his middle at 1 ; and Vandyck's are almost as strong as those of Guido, but his strongest shadows are off the flesh, and in the draperies and backgrounds. AN EXPLANATION OF THE TECHNICAL TERMS USED BY PAINTERS AND WRITERS ON THE ART. Accessories, — any thing- introduced into a picture which is not necessary to the subject represented ; as a curtain, a flower, a book, or a landscape on the background of an historical composition or portrait. Aerial Perspective, — a gradual weakening of the tones of colours, to represent the appearances of objects as they recede from the eye, produced by the inter- position of air between that and the object when seen at various distances. Antique. — This term is applied to the different productions of art, whether paintings or sculpture, previous to the time at which this work commences, but is more particularly applicable to statues, intaglios, cameos, and engraved stones. Attitude, in painting, is the disposition of the limbs and body of a figure, by which the action, object, or sentiment is conveyed, and in a judicious arrange- ment of which the principal art of grouping consists. Background, in historical subjects, is what aerial perspective is in landscape, and was considered, both by Rubens and Reynolds, as one of the most difficult parts of painting. Bentvogcl Society. — This Society originated with some Flemish painters who resided at Rome, who held their meetings at a tavern in that city ; of which Society all their countrymen who were deserving were allowed to become members. Some whimsical ceremonies had to be passed through, and the can- didate then received a mock name, which had reference to any remarkable defect of person or peculiar habit, or manner of style in painting; as, Bamboccio, Studio, the Hermit of Italy, and such like. Breadth is applied to such pictures as are painted with freedom and grandly composed, in opposition to such as appear tame and studied. Correggio's works are said to possess more of that character than those of any other master. Cartoons are the designs prepared by painters, from which their works were intended to be executed. Casting of Draperies, means the manner in which the folds are displayed : thus, when easy and natural, they are said to be well cast ; and when the stuffs of which they are composed are well contrasted, they are described as harmo- niously coloured. Charged, in painting, has the same meaning as overcharged, in the ordinary acceptation of the term : thus, when the outlines are exaggerated, or there is a departure from the bounds of nature and simplicity, the picture is said to be charged ; but, in some cases, this is admissible, and even necessary, where pic- tures are to be viewed at a great distance. XX TECHNICAL TERMS. Chiaro-oscuro is the art of distributing1 the lights and shadows so as to give to objects an appearance of roundness and natural effect : chiaro, which means clear or transparent, is applied to any thing- exposed to a direct light, and also to such colours as are bright and luminous; and oscuro, or dark, implies all the shadows caused by the privation of light, and also all such colours as, when exposed to the light, still retain their apparent obscurity, such as, dark velvets, brown stuffs, polished armour, and the like. And when, by skilful management, they are so disposed, that all the lights are together on one side, and their shadows on the other, it is termed a judicious distribution of the chiaro-oscuro. Composition, which depends upon the conception or invention of the painter, is one of the greatest difficulties that he has to contend with, and requires a com- prehensive view of the art, in the arrangement of the objects, and the disposition of the parts, so as to produce an harmonious union of the whole. Contour or Outline, is that which terminates and defines the figure, and much of the skill of the painter is required in a judicious management thereof. Contrast, is an opposition of two or more figures in a group : thus, when one figure presents a front view, another a side view, and the third shews his back, there is said to be a contrast ; and this also applies to the limbs and attitudes of the figures. A well managed contrast is one of the chief beauties of painting. Correctness in design implies that it is without a defect in its measures and proportion. Costume is an Italian word, which signifies custom or usage, and, when applied to historical subjects, means that the painter must not only be particular in describing the fact, but must also represent the scene of action correctly, and the dresses, customs, and manners peculiar to each people, whether Greeks, Romans, Jews, or Barbarians. Demi-tints implies the various gradations of which a colour is susceptible. Design consists of several parts, of which the principal are correctness, style, character, variety, and perspective, and implies the representation of one or more human figures or animals, or parts of either ; also a scene taken from nature, a plant, fruit, flower, insect, or piece of drapery, taken from life in order to its being inserted in some part of the picture ; and in this sense it is called a study. It is likewise applied to the outline of objects, and the measures and proportions of exterior forms. Distemper is a preparation of colours without oil, only mixed with size, white of eggs, or some glutinous or unctuous substance ; with which kind of colour all the ancient pictures before the year 1410 are said to have been painted, as also all the celebrated Cartoons by Raffaelle. Dryness is a term by which artists express the common defects of the early painters in oil, the flesh in their pictures appearing hard and rigid, instead of soft and pliant, and the draperies, particularly of the Germans, concealing the limbs of the figures, and, instead of exhibiting the form, frequently encumbering the figure, without either elegance or grace. Elegance in a design is a manner which embellishes and heightens objects as to their form or colour, or both, without perverting the truth. De Piles says, that elegance is not always founded on correctness, as may be seen in the works of Raffaelle and Correggio, in the latter of whom, notwithstanding his incorrect- ness of design, his elegance of taste and the turn which he has given to his actions cannot but be admired. Expression principally consists in representing the human body and all its parts in the action suitable to it, exhibiting in the face the several passions proper to the figures, and marking the motions they impress on the other parts. The term expression is often confounded with that of passion : but the former implies a representation of an object agreeable to its nature and TECHNICAL TERMS. xxi character, and the use or office it is intended to have in the work, whilst passion in painting- denotes a motion of the body, accompanied with certain airs of the face which mark an agitation of soul ; so that every passion is an expression, but not every expression a passion. Foreshortening. — When a figure, viewed lengthways, appears shorter than it would be in an erect attitude, or fully extended, it is said to be foreshortened. This difficult mode of designing animal forms is chiefly adopted in ceilings. Fresco is a kind of painting- upon fresh plaster, or on a wall covered with mortar not quite dry, and with water colours. The plaster is only to be laid on as the painting- proceeds, no more being- to be done at once than the painter can dispatch in a day; the colours being prepared with water, and applied over plaster quite fresh, become incorporated with it, and retain their beauty for a great length of time. Grace principally consists in the turn a painter gives to his objects, to render them agreeable, even those that are inanimate. It is more seldom found in the face than in the attitude, and is neither found in constrained nor in affected manners, but in a certain freedom and ease between the two extremes. In a word, a woman can be beautiful but one way, but she may be graceful in a thousand : thus, Milton, in describing Eve, says, " Grace was in all her steps." Grotesque. — This term was, by the early Italian painters, used to express a representation of a cave or grot, and thus all paintings in imitation of antique designs or fragments discovered in ancient ruins were termed grotesques ; but it is now used as implying a style in which the imagination and the flights of inventive fancy are principally exerted, without any regard to nature, truth, or probability. Group, is the combination of objects in a picture for the satisfaction of the eye, and also for its repose. A picture may consist of different groups, yet those groups should exhibit a unity of purpose and tend to one object, which ought to predominate and attract the eye more powerfully than the rest. It is this due subordination of the inferior groups, that creates that union and harmony in the whole, which is described as the tout ensemble, and by means of which, and a due spread of the lights and shades, the effect of the other groups is neither destroyed nor impaired. Harmony, as applied to composition, is the opposite of any thing that disturbs the order or regularity. Thus, in a single figure, the attitude and expression or passion should correspond with each other. The same definition also applies to the lights and shadows in a picture. Invention consists not only in the composition of a. picture, but in so represent- ing it, that the story intended to be described may be conveyed to the beholder. Thus, what is meant to be touching and awful should produce a corresponding effect upon our senses, and should appeal to the heart as well as the eye ; and this cannot be the case unless the action and attitude of the several figures is in unity with the whole. Local Colours are such as faithfully imitate those of a particular object, or such as are natural and proper to the object represented ; and colour is distinguished by the term local, because the place it occupies requires that particular colour in order to give a greater character of truth to the several tints with which it is contrasted. Linear Perspective is that which describes or represents the position, magnitude and form of the several lines or contours of objects, and expresses their diminution according to their distance from the eye. Manner is that habit which painters have acquired, not only in the manage- ment of the pencil, but also in the principal parts of painting, invention, design, and colouring. It is by the manner of painting that a picture is judged to be by the hand of Rubens, Titian, Guido, the Caracci, and others. Some masters varied greatly in their manner at different periods of their life, whilst others adhered so xxii TECHNICAL TERMS. closely to one only, that those who have seen but a few of their works, will imme- diately recognize them without the chance of a mistake. The variety observable in some masters arises from the manners of the different schools in which they have studied, or of the artists by whom they were instructed; and many young" artists, having a partiality for certain masters, have imitated them until they could not divest themselves of their manner, whilst others have altered it so effectually, that their works have exhibited a greater degree of excellence and a more refined taste. Thus, Raffaelle acquired a more elevated manner after he had quitted the school of Perugino, and seen the works of Leonardo da Vinci. Ordonnance is the arrangement of the figures in respect to the whole compo- sition, or the particular disposition of figures as to the different groups, masses, contrasts, decorum, and situation. Outline is that which traces the circumferences of objects in a picture. This must be drawn as thin and fine as possible, so as scarcely to be discerned by the eye ; and it should be observed, that a correct outline may excite pleasure even without any colouring, but that no colouring can afford equal satisfaction to a judicious eye if the outline is incorrect. Passion, in painting, implies an emotion of the body, visible in the face from certain expressive lines, which denotes an agitation of the mind. Pasticcio, a term which signifies, amongst the Italians, a pie or pasty, and is applied by them to such pictures as can neither be termed originals nor copies ; thus, a painting in which the style or colouring of some other master is adopted, but the subject or composition was original, would be called a Pasticcio, and vice versa. Many celebrated masters adopted this mode, but none more so than David Teniers, who imitated Giacomo Bassano so closely, as to deceive at first sight the most judicious. Luca Giordano and Bon Boullongne also excelled in this kind of painting. The most effectual way to detect these kind of paintings is to compare them with an original by the master who has been imitated. Relief 'or Relievo is applied to objects which are represented on a plain surface, but which appear to project from it. Site or Scite, in landscape, signifies the view, prospect, or opening of a country, and is derived from the Italian word sito, situation. Style, according to Sir Joshua Reynolds, is the same in painting as in writing, and implies a power over materials, whether words or colours, by which concep- tions or sentiments are conveyed : thus, some are grand, others plain ; some florid, others simple. It is also applied to the subject itself, as well as to the peculiar manner of treating it. DICTIONARY OF PAINTERS. AA A a (Thierry Van der), born at the Hague in 1/31, and pupil of J. H. Keller, after having quitted his master painted conjointly with G. Metz ; although all his works possess much merit with good finish he has not left any easel pictures ; his genius con- sisted in painting flowers, fruit and birds, in the decoration of apartments. He died in 1809. Aaelst — See Aelst. A b arc a (Maria de) flourished about 1633, the most classic period of Spanish art, that of Cano and Velasquez, and was eminent as a portrait painter. Abate (Andrea), a Neapolitan, born 1692, died 1732. Studied under Luca Giordano, but excelled in paint- ing fruit, flowers, vases and other inanimate objects, and was employed by Charles II. King of Spain. Abatini (Guido Ubaldo), born at Citta di Castello, flourished about 1590, was a disciple of Cavaliere Gui- seppe Cesari, a distinguished painter in fresco ; one of his principal works is the Ceiling of the Chapel of St. Theresa, in St. Maria della Vittoria at Rome. Died 1656, aged about 60. Abbate, said to have been born at Geneva ; at Bologna is a picture of a Carita by him, painted with boldness and energy. Abb ati (Nicolo del), born at Mo- dena, 1512, died 15/2. Studied under Begarelli, and is supposed to have been instructed by Correggio ; he painted the celebrated picture of the Martyrdom of St. Peter and St. Paul now in the Gallery of Dresden, ABB also some fresco paintings, and at Bo- logna the Nativity of Christ and four conversation pictures of exquisite taste. At the Gallery of Fontainebleau are some historical paintings by him in the style of Primaticcio, representing the history of Alexander. He com- bined the symmetry of Raffaelle, the sublimity of Michael Angelo, the truth of Titian, and the greatness of Cor- reggio with the grace of Parmegiano. Abb att (Pietro Paulo), born at Mo- dena, flourished about 1 530, was con- sidered unequalled in battle-pieces for the spirit and animation with which he designed horses, and the attacks of combatants. Abb ati (Ercole), born at Modcna, 1563, died 1613: painted historical subjects ; the Marriage of Cana in the Florentine Gallery, and some pic- tures in the Council Ilall at Florence. Abbiati (Filippo), born at Milan, 1640, was a scholar of Nuvalone, and painted history in oil and fresco, and excelled in the latter ; died 1/15. — There was another Milanese of the same period, named Joseph Abbiati, who was also apainter, butof little note. Abbott (Lemuel), born in Leicester- shire, was a scholar of Francis Hay- man, and painted portraits with some celebrity ; the heads of his men some- times approach to excellence : died 1 803 . Aberli (John Louis), a German, born 1/86, was a pupil of H. Meyer, and painted with success landscapes and portraits. Abbondio (Alexander ) a Florentine, was a scholar of Buonarotti, he infused colours into wax, with which he de- A B S 2 AEL lighted in forming little histories, he also painted portraits, and was so cele- brated for his likenesses that the Em- peror Rodolphus II. sent for him to Prague that he might see him work ; he died in that city, leaving a son of his own name who is believed to be of equal merit with his father, he also died in Prague. The father flourished till about 1580. Sandrart, p. 339. Abshoven, born at Antwerp, flourished about 1660, he was the fa- vourite disciple of D. Teniers the younger, and the most successful fol- lower of his style ; his pictures may easily be mistaken for those of his i master. Died about 1665. His sub- jects were rural sports, ale-houses, and apothecary shops. Accama (Bernard), born at Leu- warde in 1697; was a good portrait painter ; he painted the portrait of the poet B. de Bosch, and that of Sicco Van Goslinga, ambassador from the States of Holland to the court of France in 1731. His talent was much esteemed in Friesland. He died at Leuwarde in 1756. Accama (Mathew), born at Leu- warde in 1 702 : painted historical and emblematical subjects, and copied seve- ral paintings of the ancient masters with great skill when in Italy ; some of his works are in the Hotel-de-ville, and in several other public edifices in Leuwarde, in which city he died in 1783. Ach, or Ac hen (John Van), born at Cologne 1566. Studied first under Jerrigh, a portrait painter, and after- wards under Bartholomew Spranger, whose works he copied ; he after- wards visited Rome and Venice, and at the former place painted a Na- tivity for the church of the Jesuits, and a portrait of Madona Venusta, a celebrated performer on the lute ; he then went to Bavaria, and painted the portraits of the Electoral family in one picture as large as life, also a grand design of the discovery of the Cross by Helena the mother of Con- stantine ; and at Prague, a picture of Venus and Adonis, which was greatly admired ; his style was a compound of the German and Venetian schools. Died 1621. Achtschelling (Lucas), born at Brussels, 1570. A scholar of Lucas Vadder : painted landscape, broad and bold, the foliage lightly touched, and apparently waving, his distances broad, with a pleasing effect, and his colouring almost transparent ; his works are chiefly in Brussels and the Low Countries. Adolfi (Giacomo), son of a painter named Benedotti Adolfi, born at Ber- j gama 1682, died 1741, was chiefly employed in decorating the churches in Italy. His brother Ciro painted some fine altar-pieces ; one of his best represents the death of St. John the Baptist in prison. ADOLFi(Ciro),bornl683,diedl758, brother of Giacomo, in whose style he painted similar subjects, chiefly in fresco, in which he distinguished himself. Died 1758. Adriano, a Spanish Monk, born at Cordova ; painted religious subjects for the Carmelite Convent in the manner of Raffaele Sadeler ; his chief work is a Crucifixion, with the Virgin, St. John, and the Magdalen, with other figures, half length. Adriensen (Alex.), born at Ant- werp, 1625. Painted vases of marble, decorated with ornamental basso-re- lievos, and filled with flowers, or em- broidered with festoons, grouped and disposed with considerable skill, but particularly excelled in fish, which were well coloured, and with a remarkable transparence. Aelst (Evert van), born at Delft, 1602, died 1658. Painted dead game and still life, helmets with plumes of feathers, armour, vases of gold and silver, &c. sometimes on a clear white ground, in a manner that produced a singu- larly pleasing effect, disposed with elegance and finished with neatness. Aelst (Wm.), born at Delft, 1620, died 1679. Nephew of Evert, painted similar subjects, delicately finished AEL 3 A I N with extraordinary lustre ; superior to Evert, and more highly prized than those of Weeninx. Aelst (Paul Van), a natural son and pupil of Peter Koeck, called also Peter Van Aelst ; was a good painter of flowers and fruit, and copied very faithfully the pictures of John Mabuse. He died at Antwerp. Aerts (Richard), born 1482, died 1552. Studied under Mostaert, and painted history for the Churches at Haerlem, altar pieces, &c. ; those of Joseph and his brethren are consi- dered his best performances. Aertsen (Peter), called by the Ita- lians Pietro Longo, a Dutchman, born 1519, died 1575. Studied under Alaert Claussen, painted portraits and interiors of kitchens, with culinary utensils, in a strong, bold, and per- spective style, and afterwards his- tory, amongst which, his altar-piece at Amsterdam, representing the death of the Virgin, also the Nativity and the Wise Men's Offering possess extraordi- nary merit. He was well skilled in per- spective and architecture, and enriched his landscapes with elegant ornaments and animals, the figures well dis- posed, attitudes good, and draperies well cast. Apes a (Pietro), a Neapolitan, flou- rished about 1560. Painted history, wholly on religious subjects; his works are chiefly to be found in the churches and convents at Naples. Agar (Jaques d'), born at Paris, 1640, died 1710; was a scholar of Vonet, but devoted himself to portrait painting, and was employed by the King and Court of Denmark, also visited England ; his portrait by him- self is in the Florentine Gallery. Agelio (Gioseffo),born at Sorento; a scholar of Roncalli, painted land- scapes, in which he excelled, and usually painted the back grounds for several of his contemporaries ; lived about the middle of the 16th century. Agiiinetti (Mark di Guccio), worked in Florence with many other painters, after the manner of Giotto ; in the books of the Purveyor of the works of St. Reparata, the works done by and payments made to him are recorded. He lived about 1370. Baldinucci, sect. 2. p. 80. Agresti (Livio), born at Forli, 1586; studied under Pierino del Vaga, and was employed by Pope Gregory XIII. in the Vatican and in the churches at Rome ; he painted both in oil and in fresco ; was rich in inven- tion, correct in design, and excellent in colouring. Agrtcola (Christopher Ludwig) born at Ratisbon, 1669 ; painted portraits and landscapes, in which he excelled, but he is chiefly known as an engraver. Airman (Wm.), born 1 682, at Aber- deen in Scotland ; painted a large picture of the Royal Family, in the middle of which -are all the younger branches ; on one side, a half length I portrait of Queen Caroline, and on the opposite it was intended to have placed the portrait of the King, but j it was never finished, owing to the artist's decease. Aikman painted many portraits of noble personages, particu- larly of the Earl of Buckinghamshire, and some of the relatives and friends of that nobleman ; in the Florentine Gallery is a portrait of Aikman painted by himself. Died 1/31. AlNZ, or Enzo (Joseph), with Hoef- nagel, Breughel, Sadeler, and other painters, were in the pay of the Em- peror llodolpho II ; he was sent to Rome and to Venice to copy the best pictures and statues, especially the Leda by Correggio, which was so much admired, that he received aug- mentation to his pension for it. He passed several years in painting large works, which were engraved by Sade- ler and by Mayr. He died in Prague, where he had a son also named Joseph, who, in all sorts of whimsical fancies, monsters and transformations, in small figures, had no equal, for which he obtained the favour of several princes, and especially of Pope Urban the B 2 AIR 4 ALB VII Ith., who created him a knight of the Golden Spur. Sanclrart, p. 277 ; Boschini, p. 62, 534. The father flourished about 1 GOO, the son about 1640. Airola (Donna Angela Veronica), born at Genoa in the 17 th century; was a scholar of Fiasella, called Sara- zana, and painted some pictures for the churches at Genoa on religious subjects. Aken (John Van), a Dutchman, born about 1656; was contemporary with Petro de Laer, called Bamboccio, but no mention is made of his works as a painter. His prints of landscapes by himself are executed in a masterly style. Aken (John Van), a Fleming; passed his artistic life in England, principally in London, in which city he died in 1749. He was at first employed in painting the figures in the pictures of the best painters there ; he afterwards painted on satin, velvet, &c. and produced some good works. Akerboom ( ), a Dutch painter; was celebrated for interiors of towns and villages ; he lived about the middle of the 17th century ; his works are admirably executed, and very highly finished. Alabardi (Joseph), painted many pictures in the new Banqueting Hall of the magnificent Palace of the Go- vernment of Venice, which works are registered by Boschini in his Miniera dell a Pittura, p. 61. Alb an o (Francesco), born at Bo- logna, 1578, died 1660; entered the school of Denis Calvart, and was assisted by Guido in learning to de- sign ; studied also in the school of the Caiacci, and became one of the most agreeable painters of the Roman school His pictures are usually small size, from poetic or fabulous history ; his male figures usually lean, and with- out masculine beauty ; he was fond of introducing Cupids, lovely and grace- ful in form, and in variety of atti- tudes ; but his figures of women and children, though beautiful, have an appearance of sameness, his wife and family invariably serving for his mo- dels. His landscapes are agreeable, and usually selected from nature, co- louring fresh and tender, particularly in his carnations ; his design excellent, and his draperies elegant; his pic- tures are highly finished, and with great neatness of pencil. In the pa- lace of the King of Sardinia are the Four Elements by Albano, each about four feet square ; they possess extra- ordinary beauty, and are well pre- served. Albano (Giovanni Battista), died in 1668; was the brother and dis- ciple of Francesco, and a successful imitator of his style. He excelled in landscape, which he designed well, touching his trees with spirit and with great sweetness of colour. His works are sometimes mistaken for those of his brother. Alberelli (Giacomo), born at Ve- nice, flourished about 1600, was a disciple of Jacopa Palma the younger, painted history with considerable suc- cess, and several of his works are in the public edifices at Venice, and that which is most esteemed,* the Baptism of Christ, is in the church of Ognis- santi ; died about 1650. Alberici (Enrico), born near Ber- gamo, 1714, died 1775, was a scholar of Cairo, painted history, and was chiefly employed in the churches in Italy. Albert (Simonz), a highly distin- guished historical painter, born at Haerlaem in 1523. He was a pupil of Jean Mostaert, and lived to a great age, although he had experienced great vicissitudes. Alberti (Durante), born at Borgo San Sepolcro in 1538, died 1613, painted history in oil and in fresco, and was chiefly employed in the churches at Rome. Alberti (Pietro Francesco, son of Durante), born 1584, painted history in the style of his father. ALB 5 ALE Alberti (Michele), born at Rome, brother of Durante, was a disciple of Volterra, painted similar subjects, and was similarly employed. Alb e rti (Cherubino ) , born at Borgo San Sepolcro, 1552, died 1615, son of Michele, painted history both in oil and in fresco for the churches, &c. but is better known as an engraver. Alberti (Giovani) , born at Florence, 1558, died 1601, went to Rome and studied the works of Buonarotti and other great masters, but excelled in landscape and perspective ; the figures were usually inserted by his brother Cherubino. Alberts (Gerard), was born at Ni- meguen, where he always lived ; his earlier portraits, painted after Kneller, are well worthy of notice, but those painted in the latter part of his life are very inferior, and have the appear- ance of not being finished. He died at a very advanced age between 1 750 and 1760. Albertinellt (Mariotto), born at Florence, 1475, died 1520; was a dis- ciple of F. Bartolomeo, whose style he imitated with considerable success. Many of his works are to be found in the churches and convents at Rome, Florence, and Viterbo. Albertus (H. C), a native of Saxony, flourished about 1600; he painted portraits, of which one of John SeckendorfF, Rector and Pro- fessor at Zurickau, is engraved by him. Albini (Alessandro), born at Bo logna about 1575, was a disciple of Lo- dovico Caracci, whom he imitated with considerable success ; he painted his tory, and his principal works are in the churches at Bologna, amongst which are St. Pietro Martire kneeling before St. Catherine and St. Cecilia, in the church dedicated to the Saint, and the Burial of St. Valeriano and St. Tiburzio in S. Michele, in Bosco ; died about 1610. Alboresi (Giacomo), aBolognese, bom 1632, died 1677. Worked both in oil and fresco, but chiefly in fresco ; he painted some historical subjects, but is more celebrated for his architectural j views. Alde (H. Van), a Dutchman, flourished about 1650; painted a portrait of Gaspar de Charpentier, of which there is an etching by himself. Aldegrever (Henry), born at Westphalia, 1502 ; was a disciple of Albert Durer, whose manner he fol- lowed, but less correct in design, and more muscular in his bodies. One of his principal works is a Nativity, which is much commended by De Piles; died 1562. Aldrovandini (Tommaso), an Ita- lian, born 1653, died 1706 ; excelled in perspective views, and architectural subjects, the figures usually inserted by Franceschini and Carlo Cignani. Alefounder (John), an English portrait painter, lived in Bow Street, Covent Garden, and died about 1790. Alemans (X.), a Flemish painter of portraits in miniature, and of ani- mals. Alen or Olen (John Van), born at Amsterdam, 1651, died 1698; painted fowls, landscape, and still life, and successfully imitated the style of Melchior Ilondekoeter, whose pupil he was, but could imitate the style and touch of any master. Aleni (Tommaso), born at Cre- mona, 1500, was a disciple of Galeazzo Campi ; he painted history in his style, and approached him so nearly that it is difficult to distinguish then works, some of which are in the church of St. Domenico at Cremona ; he died about 1560. Alesio (Mateo Perez de), born at Rome, flourished about 1 585 ; painted chiefly in fresco in the style of Michael Angelo ; visited Seville, and painted for the cathedral there a colossal pic- ture of St. Christopher, with the Infant Christ on his shoulder, a palm tree in his right hand instead of a staff, the hermit with a lanthorn and a pic- turesque landscape in the distance. ALF 6 ALL Alfani (Orazio di Paris), born at Perugia about 1530, died about 1583 ; was educated under Pietro Vanucci, and also studied and imitated the works of RafTaelle with great success, and of some Madonnas in private cabinets a doubt exists whether they are the products of that school or of Alfani. Alfaro (Y. Gamon don Juan), born at Cordova in Spain, 1G40, died 1680, was a scholar of Antonio de Castile, but finished his studies under Velas- quez, whom he particularly resembles, and his portraits in colouring also re- semble those of Vandyck. Two of his finest pictures are the Nativity, and the Guardian Angel. Alewyn (W.), a Dutch amateur painter, made many designs after the pictures of the great masters of the old school ; he lived in Amsterdam and in Utrecht, where he died in 1839. Algarottt (Francesco), born at Venice, 1712; studied the fine arts, and produced some excellent speci- mens of painting and engraving, but is better known as a writer on those subjects than as a painter ; died 1 764. Aliberti (Giovanni Carlo), born at Piedmont, 1680, died 1740: painted chiefly in fresco. In the churches at Piedmont, his native city, are several capital pictures painted by him. Alibrandi (Girolamo), born at Messina in Sicily, 1470, died 1524. Studied first under Bellini, and after- wards under L. da Vinci, whose style he imitated very closely. His works are chiefly to be found in the churches and convents at Messina. One of his best is a picture of the Purification. Alix (John), a Frenchman, was a scholar of Philip de Champagne ; but there is no account of his works. Allan (David), born at Edinburgh, Scotland, 1735, died 1796: painted landscapes in the style of Gaspar Poussin : also bambocciate and por- traits. Allegrain (Etienne), born at Paris, 1655, died 1736: painted land- scapes, in which he excelled, but we have no description of his style. Allegrain (Gabriel), son and dis- ciple of the above, painted similar subjects with considerable reputation, died 1748. Allegri — See Correggio. Allegri (Pomponio), born at Cor- reggia, 1522; son of Correggio, by whom he was instructed, and after his death, by Rondani ; painted history, and in Parma is a work in fresco by him, of Moses shewing the Israelites the Tables of the Law Alloisi (Baldassare) — See Gala- NINO. Allegrini, called da Gubbio Fran- cesco, born at Italy, 1587, died 1663. Scholar of Cesare de Arpino, painted history in oil, and in fresco for the churches and palaces at Rome. Allegrini (Flaminio and Angelo), sons of Francesco, painted history in a similar style to their father. Alleland — See L'Allemand. Alloisi (Baldassare), born at Bo- logna, 1758. Studied under the Ca- racci, whose style he retained in all his compositions ; but in portraits he surpassed all his contemporaries, and the Italians have ranked him with Vandyck. Allori (Alessandro), called Bron- zino,bornat Florence, 1535, died 1590. Studied under Agnolo Bronzino, whose manner he imitated : also studied the works of M. A. Buonarotti,and painted history in oil and fresco ; his first per- formance was a Crucifixion, intended for an altar-piece, well grouped, beau- tifully coloured, and with fine expres- sion*; and many of his works adorn the churches in Naples, one of which, the Last Judgment, is entirely in the style of Buonarotti ; he excelled as a portrait painter, and several of the nobility sat to him. Allori (Cristoforo), son of Ales- sandro, also called Bronzino, born at Florence, 1577, died 1621. Studied ALM 7 AME first under his father, afterwards under Santo da Titi, and finally under L. Cardi, called Cigoli, and formed a style totally different from that of Alessandro ; he painted history for the churches and convents at Florence, but excelled in small pictures, with numerous figures, exquisite for cor- rectness in drawing, and so round and delicately touched, that it seemed wonderful how either the eye or hand could execute them : also painted portraits as large as life, true to nature, and with a fine expression, which are highly valued ; in the Museum at Amsterdam is a painting by him re- presenting Judith with the head of Holofernes. Almeloveen (Jan.), a Dutch artist, born about 1 G 14 : painted por- traits and landscapes, but is chiefly known as an engraver. Alsloot (Daniel van), was born in Brussels in 1570, and died there in 1620: he was painter to the Arch- duke Albert. In the Museum at Brussels is a topographical plan of the former Park and Chateau of Ma- riemont. Altdorfer (Albert or Albrecht), born at Ratisbon in Germany 1488, is said to have been a scholar of Albert Durer, but is better known as an engraver, some of his works are at Ratisbon. Altissimo (Christopher dell'), a Florentine, was a scholar of Pontor- mo, and afterwards of Bronzino, he painted historical pieces, and was also excellent in portraits, for which reason he was sent by the Grand Duke Cosmo to Como to copy from the collection of Monsig. Giovio many portraits of illustrious persons to enrich his own noble Gallery. He flourished about 1600. Baldinucci, par. 3. sec. 4. p. 170. Alunno (Nicolo), born at Foligno about 1450, flourished about 1492: painted in * distemper only for the churches in Italy (the common mode of painting previous to Vanucci), a Pieta on the dome of one of the chapels is highly extolled by Vasari. Amalteo (Pomponio), born at St. Vito in the Friuli, 1505, died 1576 : was a scholar of Pordenone, painted history chiefly for the churches and public halls at Friuli, and at Belluno, in the Notary's Hall, of which latter place there are five subjects by him from the Roman History ; his brother Geronimo would probably have ex* celled him, but he quitted painting for commercial pursuits. Amato (Giovanni), called Antonio il Vecchio, born 1475, died 1555. Studied under Silvester Bruno and Perugino, and painted history in the style of the latter. Amato (Francesco), born at a later date, as appears from his engravings, but of his works as a painter little is known. Amberger (Christopher), born at Nuremberg, 1485, died 1550. Studied under Hans Holbein, in whose style he painted, and is sometimes mistaken for him ; he painted the history of Joseph in twelve pictures ; and the Emperor Charles V. had his portrait painted by Amberger, which he considered equal to any of those which were painted by Titian. Ambrogi (Dominicio), called Me- nechino del Brizio, born at Bologna, flourished about 1653 : was a scholar of Francisco Brizio, and painted history both in oil and in fresco, also excelled in perspective and ornamental archi- tecture. Amklsfoort (Quirinus van), born at Bois-le-Duc in 1/60, having ac- quired the principles of design and painting, went to Dusseldorf, where he studied with great attention, and upon returning to his own country, distinguished him self by his historical paintings, and especially by his por- traits, which were remarkable for their fidelity. In the council-chamber of the United Provinces are two paintings by this artist, one of the goddess Pal- las surrounded by the genii of the AME 3 AND Sciences : and the other, of the Ro- man Consul Curius, despising the gold of the Samnites. He died at Bois- le-Duc in 1820. Amerom (H. J. van), born at the Hague in 1/77, was a scholar of Be- sters, of J. H. Prins, and of Moritz ; he lived at Arnheim, where he painted village scenes, interiors, and por- traits, and formed some pupils who all visited artistically Paris and Rome, the classic land of the fine arts. Amico (Bernardino), born in Na- ples : practised the art, but is better known as an author than as a painter ; he lived about 1620; he also made drawings of the City of Jerusalem. Amicone or Amigone (Ottavio), born at Brescia, 1605, died 1661 : was a disciple of Antonio Gandini, and chiefly excelled in fresco paintings, his compositions were grand, his de- sign elegant, and his figures usually large as life ; several are to be found in the churches in Italy ; he had a free, firm, and masterly touch. Amicone ( Jacopo), born at Venice, 1675, died 1 752 : master not known ; he painted history and portraits, and had many of the accomplishments of a good painter, but his colouring was much too cold, too pale, and too chalky ; he left two daughters, one of whom painted in crayons. Amidano (Pomponio), born at Parma, flourished about 1595, and from his style is supposed to have been a disciple of Parmegiano ; one of his pictures at Parma has been ascribed to Mazzuoli. Amigazzi (John Baptist), studied under Claudius Ridolfi, and delighted in copying the works of his master, many of his works are considered as originals by those who have not a perfect knowledge of the master. He painted also from his own designs in public churches, as Pozzi says, p. 168. He flourished about the year 1640. Amigoli (Stephen), a Florentine painter, shewed early a genius for drawing, when one of the noble family of the Riccardi, who were always ad- mirers of the fine arts and literature, distinguished and assisted him with the means of learning the art of de- signing ; he did not produce much in oil painting, in fresco he exhibited great talent ; there are two frescos by his hand in the church of the Padri del Belmorire, in the great altar, and others by him for private persons. Amman (Justus), born at Zurich, 1539, died 1591 : painted with great brilliancy on glass, and his pen and ink drawings and designs in oil, on wood, paper, and copper, in history, allegory, science, rural sports, &c. may still be consulted by the artist to advantage. Amorosi (Antonio), born near As- cali, 1685 : painted some pictures for the churches at Rome ; but is more known as a painter of bamboc- ciate or fancy subjects. Died about 1740. Amstel (John d' ), was an excel- lent painter of landscapes, with nu- merous figures. In Genoa, Captain Gardiner, an Englishman, has in his collection a large painting on panel by this artist, of the Crucifixion, with more than two hundred figures, singu- larly well designed and painted. He imitated the manner of John Brussala, and was scarcely inferior to him. Anchilus (N.), born at Antwerp in 1688 : was a good painter of conversations after the manner of Teniers and Watteau ; he went to London, and during his stay there, copied some paintings of Sneyders for Sir Robert Walpole ; he died near Lyons in France, on his way to Rome, in the year 1733. Ancona (Andrea, Lilio D. Nella Marca), flourished in the Pontificate of Sixtus Vth ; painted in fresco, and his works are chiefly to be found in the churches at Rome : one of which, our Saviour washing the Disciples' Feet, is highly commended. Anderton (Henry), born 1630, AND 9 ANG died about 16G5: painted history and portraits, and acquired the patronage of Charles II. by his portrait of Mrs. Stuart, afterwards Duchess of Rich- mond. Andrea (Maestro), born at Sa- lerno in Naples, 1480 : he is said to have visited Rome for improvement in the art, and died in 1502; of his works we have no account. Andre (Jean), born at Paris in 1662, studied under Carlo Maratti, and from the works of M. Angelo and Raffaelle ; he also painted history and portraits with considerable suc- cess, died 1 753. # Andreani (Andrea), born at Man- tua, 1540, died about 1610 : little is known of his works as a painter, but | his prints are numerous. Andriessens (Hendrick), born at Antwerp, 1600, painted principally subjects of still life, which he designed correctly and finished highly ; he died 1655. Andringa (Tjeerd), was born at Leuwarde in 1806, and a pupil of W. B. Van-der-Kooy, and of C. Kruse- man. He had given proofs of his talents for painting when he died at the age of 21, in 1827. Androli (Girolama), a Veronese painter, followed the ancient manner of the 14th century, in which he lived. In Verona are still preserved some of his works. Rossi, p. 9. Anesi (Paolo), born at Florence, flourished about 1720, painted land- scapes with considerable reputation ; several are in the palaces and private col- lections at Florence, and at Rome : he wasoneoftheinstructorsofF.Zucarelli. Angarono (Ottaviano), born at Venice, flourished about 1650, painted history, and acquired considerable celebrity by a picture he painted for the church of S. Daniele at Venice, representing the Nativity. Ange (Francis!'), born in Annecy, a city of Savoy, 1675, was taught the principles of drawing by Andrew Chevil, his maternal uncle ; he was sent into Italy, and remained eight years in Turin, where he was appointed painter to the Prince of Carignano, and taught the princes Amadeus and Thomas the art of design, also several other princes, noblemen, and others in the Royal Academy. In 1 706 he went to Bologna to improve himself in painting, and after studying for some time the best masters, ancient and modern, he adopted Albano as his model, and in that style painted a variety of historical pictures, and ultimately a picture of the Descent of the Holy Spirit, to be placed in the palace of Rivoli ; his manner was soft, in good keeping, careful and strong, and where he introduces land- scapes, they are very pleasing. Angeli (Julius Csesar), a skilful painter of Perugia, and a scholar of Caracci ; in his own country are to be found many beautiful paintings by his hand ; he lived in the year 1613. Angeli (Scipio), of Perugia, was much esteemed as a flower painter, and his pictures are still much sought after for the freshness and beauty of the colouring. Pascoli nella Vite de1 pittori Perugini, p. 255. Angeli (Filippo) (D' Angeli), called II Napolitano, born at Rome in 1600, died 1640: painted landscapes, battles, and architectural views, with nume- rous figures ingeniously arranged and well coloured. His favourite subjects were such as admitted of a great number of figures, public build- ings, porticoes, and the areas before them, which he usually crowded with people at different sports or enter- tainments. Angeli (Giovana Battista) — See II Moro. Angelica, flourished about 1636 ; such is the name and date affixed to the Missals in the ^cathedral at Tar- ragona. Angeli co (Fra Giovanni da Fie- sole), born at Fiesolo, 1387, died 1445: was a disciple of Giottino, a ANG 10 ANG Dominican friar, and always painted religious subjects, he was employed by Nicholas V. to decorate his chapel, also in embellishing books in minia- ture ; his pictures are well designed and neatly handled, but not without faults. Angelio (Joseph), of Soriento, a scholar of Cavaliere Roncalli: painted perspective and figures, and assisted several painters in various public places in Rome: he flourished about 1640. Baglione, p. 316. Angelis (Peter), born at Dunkirk, 1685 : visited Flanders and Germany, and improved himself by studying the paintings in the Electoral Gallery : painted conversations and landscapes with small figures, into which he often introduced fruit aud fish. Visited England, where he resided 16 years. His style is a mixture of Teniers and Watteau, with more grace than the former, and more nature than the latter, in pencil easy and flowing, but in colouring occasionally faint and nerveless : he afterwards adopted the habits of Rubens and Vandyck, and occasionally copied the pictures of Rubens and Snyders : died 1734. Walpole, v. 4. p. 16. Angelo (Michael) — See Buona- rottj. Angelo (Michael da Caravaggio) — See Caravaggio. Angelo (Michael Cerquozzi), called dalle Battaglia, born at Rome, 1600, died 1 660. Studied first under Bonzi, called Gobbo del Frutti, and painted fruit and flowers in his style, then battle pieces, and obtained the name of dalle Battaglia; and afterwards un- der Peter de Laer, called Bamboccio, and painted similar subjects, but his mobs, instead of being Dutch or Fle- mish, resemble those of Italy, and the physiognomy of his features is also different. In one of his works he has represented an army of fanatics. Angelo (Michael Colonna), born at Ravenna, 1600, d. 1687. Studied first under Ferrantino, and then under Curti, called II Dentone, in conjunc- tion with whom he executed several works for the chapels in Bologna. Angelo (Michael), called II Cam- pidoglio, born at Rome, 1510, died 1670, was a scholar of Fioravante, and painted fruit and flowers, in a bold and vigorous style, naturally coloured, and with a fine effect of light and shade. Angiolillo, called Boccaderome, born at Naples. Studied under So- lario, called Lo Zingaro ; flourished about 1450, and painted several pic- tures for the churches of that city ; amongst others the Virgin and Child, attended by three saints. Angiolis (Dominic), a Roman painter, and disciple of Marco Bene- fiali ; painted several ceilings in the Villa Pinciana of the Prince of Bor- ghese, in an excellent manner, and was besides a good designer ; he occupied himself in Rome with great credit ; and was living there in 1776. Angosciola, or Angussola. (So- phonisba), born at Cremona, 1533. This lady studied design under Ber- nardino Campi, and colouring and per- spective under Bernardo Gatti, called Sejaro ; her first performance was a portrait of her father, which excited universal admiration; she afterwards painted a portrait of the Queen of Spain; also a portrait of herself, play- ing on the harpsichord, with an old woman attending upon her, which is now in the possession of Lord Spencer at Althorp ; she also painted the Marriage of St. Catherine for the Pembroke Collection at "Wilton ; and designed many historical subjects, with figures of a small size, touched with great spirit and ease, natural and graceful in their attitudes : died 1626. Angosciola (Lucia, sister of So- phonisba), practised as a portrait painter, and gained a reputation not inferior to Sophonisba, as well in re- gard to the delicacy of her colouring, as the fidelity of their resemblance. Angosciola (Europa, also a sister of Sophonisba and Lucia), painted ANG 1 i APP similar subjects, and was considered little inferior to either of the above. Angosciola (Anna Maria, sister of the famous Sophonisba), was a skilful paintress, and so distinguished for her likenesses, that she painted the por- traits of the most noble ladies of her country, she lived in 1 5 70, that being the date with her name to one of her portraits in the possession of the Marquis Lewis de Menefes, Viceroy of India. This admirer of the arts is mentioned by Anthony Campi, in a manuscript preserved by Peter Gua- renti, author of the additions to that work. Angosciola (Minerva, one of the four sisters of Sophonisba), was also celebrated for her paintings, and still more so for her love of the Belles Lettres; she lived to old age, and flourished about 1 570, the same time as her sisters. Anraat (Peter van), born about IG40; painted history, and one of his pictures, the Last Judgment, is men- tioned by Houbraken as a composition containing a multitude of figures, well designed, correct in outline, and pen- cilled in a bold, free manner. Ansaldo (Giovanni Andrea), born in the Genoese territory, 1584. Stu- died under Cambiasi : painted history both in oil and in fresco. Of the former his picture of St. Thomas baptizing three Kings in a Temple, is considered the best. He formed a style some- what in the manner of Paul Veronese, and others of that school, in which he displayed great taste : died 1638. Ansaloni (Vincenzio), born at Bo- logna, was a disciple of Ludovico Caracci, and chiefly employed in painting history for the churches at Bologna. Anselmi (Michel Angiolo), called the Michel Angelo of Lucca, born at Lucca about 1491. Studied under II Sodoma, but some of his works at Parma, of which there are several, are an imitation of the manner of Cor- reggio : died 1554. Ansiaux (J. J. E. A.), a painter of history, and one of the best scholars of Vincent, was born at Liege in 1 754. His portrait of Marshal Kellerman is considered as one of the best in the Marshal's collection of portraits; most of his works are in France : he died at Paris in 1840. In the church of St. Paul in Liege are three paintings by him. Antiquus (John), born at Gronin- gen, 1702. Studied under John Was- senberg, and afterwards in Italy, but is principally known as a painter on glass. At Florence there is a large picture of the Fall of the Giants, the sketch of which is still preserved in the Florence Gallery: his compositions exhibit that elegance of taste which he had acquired in the Roman school : died about 1 745. Antonella da Messina — See Messina. Antonitez (Don Joseph), born at Seville, Spain, 1636, died 1670. Studied under Sebastian Ricci, and painted history, portraits, and land- scapes : his two best pictures repre- sent Christ as the Good Shepherd, and the Miraculous Conception. Antonio (Mark) — SccRaimondi. Antonio da Trento — SeeTiiENTo. Antoniano (Anthony), a pupil of Federico Baroccio, flourished about 1570. Antonisze (Cornelius), born at Amsterdam, 1 500 : painted interiors of towns, views of Amsterdam, &c. executed with surprising fidelity. Apollonio (Jacopo), born at Bas- sano, 1584, died about 1650, was a scholar of Bassano, and resembled him in style, but was not so vigorous in tone, nor so animated in his touch. Appel (Jacob), born at Amster- dam, 1680, died 1751, was a disciple of Vander Plaas, and also of T. de Graaf: he painted landscape in the manner of Tempesta, and afterwards adopted the style of Meyering, and painted landscapes and portraits with APP 12 ARC some reputation : he frequently intro- duced marble statues into his compo- sitions. Appeldoorn (John), a landscape painter and skilful designer, was a pupil of Jordanus Hoorn, a professor at Amersfort, where he was born in 1/65 ; he lived near a half a cen- tury at Utrecht, and died at Amers- fort in 1838. He painted but few pictures in oil. Appelius (John), born in Middle- burgh, 1778: was a painter of por- traits, history, and landscapes. Al- most all his paintings are of large dimensions, and shew great skill and eminent talent : they serve to orna- ment an apartment with more than ordinary grandeur. Appelman (Barent or Bernard), born at Hague, 1640, died 1686, excelled in landscapes, usually views in the vicinity of Rome, Frescati, and other parts of Italy ; embellished the hall of the palace of Loesdyck with landscapes, designed with great taste, finely pencilled, and well coloured ; also painted some portraits, which were greatly admired : he sometimes painted landscapes in the back grounds of John de Baans' pictures. Appiani (Francesco), born at An- cona, 1702, died 1792, studied under Simonetta, and painted history in a pleasing and harmonious style : most of his works are at Perugia, in the churches there. Appiani (Andrea), an Italian, born in the Upper Milanese, 1754, studied under Guido, and afterwards formed a graceful style of his own, almost rivalling that of Correggio ; he painted equally well in fresco and in oil, amongst the latter of which his Or- lando in the Garden of Armida and Venus and Love are distinguished by grace, purity 