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, a Genoese Dominican, named also Janua or Januensis, composed, in the thirteenth century, Commentaries, and several >ther works. His “Catholicon, seu Summa Grammaticalis,” was printed at Mentz, 1460, folio, by Fust and Schceffer. He entitled it Catholicon, or Universal, because it is not a simple vocabulary, but a kind of classical encyclopaedia, containing a grammar, a body of rhetoric, and a dictionary. Notwithstanding that this book is badly digested, yet it was much wanted in the time of Balbi. A surprising number of copies were printed of it and it was one of the first books on which the art of printing was employed. It is very dear, and said to be very scarce, but the Diet. Hist, speaks of thirtysix copies being in existence. It was reprinted at Augsburgh, in 1469, fol. also a very rare book. This John Balbi is to be distinguished from Jerom Balbo, bishop of Goritz, who died at Venice in 1535, author of the following works: 1. “De rebus Turcicis,” Rome, 1526, 4to. 2. “De civili et beliica Fortitudine,” 1526, 4to. 3. “De futuris Caroli V. successibus,” Bologna, 1529, 4to. 4. “Carmina,” in the “Deliciae Poetarum Italorum,” and in 1792, Retzer published the whole under the title “Opera Poetica, Oratoria, ac Poetica-moralia,” Vienna, 2 vols. 8vo.

, a famous Venetian navigator, was born about the year 1422, and by his talents attracted the notice of the infant don Henry of Portugal. This prince, animated with the spirit of making discoveries, like his father king John, resolved to gain the attachment of Cadamosto. He accordingly applied to him, through the consul of the Venetian republic in Portugal, named Patrick Conti, for information concerning the advantageous commerce of the island of Madeira, conquered in 14150. Cadamosto, encouraged by the hopes of profit, came to terms with don Henry, fitted out for him a caravelie, of which Vincent Diaz> a native of Lagos, was the patron. It sailed the 22d of March, 1455; and, after having anchored at Madeira, they proceeded to reconnoitre the Canaries, the cape Blanco, Senegal, cape Verd, and the mouth of the river Gambia. In a second voyage which he made the following year, with a Genoese named Anthony, they prosecuted their discoveries as far as the river of St. Dominic, to which they gave that name, and from, whence they returned to Portugal. He resided a long time at Lagos, gaining the affection of the merchants and navigators of the place by acts of kindness and civility. On his return to his native country in 1464, he published the account of his voyages, which was published at Vicenza, under the title of “La Prima Navigatione per TOceano a le terre de Negri della bassa Ktiopia,” 1507, 4to, but the subsequent edition printed at Milan, 1519, 4to, is thought the best.

, a Genoese advocate, who lived in the seventeenth century, and acquired much fame as a lawyer, is now only known as a historian. His Italian history comprehends the transactions that occurred in Italy during his own time, which he has related with clearness, and with sagacity traced to their causes; maintaining at the same time, as he says, a perfect impartiality between the powers of France and Spain, that were concerned in them. The two first parts of this history were published by Capriata in his life-time, from 1613 to 1644; and the third part, extending to 1660, was published by his son after his death. The whole was translated into English by Henry earftrfTVloninoutb, and published Lond. 1663, fol.

, called Nicoletto, a Venetian, artist, was born at Venice in 1659, and was the eldest son, and disciple of John Francis Cassana, a Genoese, who had been taught the art of painting by Bernardino Strozzi, and under his direction became an eminent portraiupainter; and the grand duke of Tuscany invited him to his court, where he painted the portraits of that prince and the princess Violante his consort. Of the historical subjects painted by this master while he resided at Florence, perhaps the most considerable was the Conspiracy of Catiline it consisted of nine figures as large as life, down to the knees; and the two principal figures were represented, as with one hand joined in the presence of their companions, and in their other hand holding a cup of blood. Nicoletto was invited to England, with strong assurances of a generous reception; and on his arrival, painted the portrait of queen Anne, in which he succeeded so happily, that the queen distinguished him by many marks of favour and of honour; but he had not the happiness to enjoy his good fortune for any length of time, dying in London, universally regretted, in the year 1713. He had a younger brother, G. Augustine Cassana, who, though a good portrait- painter, preferred the representation of animals and various fruits his pictures of that class are frequent in the collections of Italy, and sometimes ascribed to Castiglione. He had a sister, Maria Vittoria Cassana, who painted images of devotion for private amateurs, and died at Venice in the beginning of the last century.

, an eminent artist, the companion of Luca Cambiaso, is commonly called il Bergamasco, in contradistinction of Gio. Bat. Castelli a Genoese, scholar of Cambiaso, and -the most celebrated miniature-painter of his time. This, born at Bergamo in 1500, and conducted to Genoa by Aurelio Buso of Crema, a scholar of Polidoro, was at his sudden departure left by him in that city. In this forlorn state, he found a Maecenas in the Pallavicini family, who assisted him, sent him to Rome, and received in him at his return an architect, sculptor, and painter not inferior to Cambiaso. At Rome, Palomino numbers him with the scholars of Michael Angelo. Whatever master he may have had, his technic principles were those of Luca; which is evident on comparison in the church of S. Matteo, where they painted together. We discover the style of Raffaello verging already to practice, but not so mannered as that which prevailed at Rome under Gregory and Sixtus. We recognize in Cambiaso a greater genius and more elegance of design, in Castello more diligence, deeper knowledge, a better colour, a colour nearer allied to the Venetian than the Roman school. It may however be supposed^ that in such fraternal harmony each assisted the other, even in those places where they acted as competitors, where each claimed his work, and distinguished it by his name. Thus at the Nunziata di Portoria, Luca on the panneis represented the final doom of the blessed and the rejected in the last judgment; whilst G. Batista on the ceiling, expressed the judge in an angelic circle, receiving the elect. His attitude and semblance speak the celestial welcome with greater energy than the adjoined capitals of the words, “Venite Benedicti.” It is a picture studied in all its parts, of a vivacity, a composition, and expression, which give to the pannels of Luca, the air of a work done by a man half asleep. Frequently he painted alone; such are the S. Jerome surrounded by monks frightened at a lion, in S. Francesco di Castello, and the crowning of St, Sebastian after martyrdom, in his own church, a picture as rich in composition as studied in execution, and superior to all praise. That a man of such powers should have been so little known in Italy, rouses equal indignation and pity, unless we suppose that his numerous works in fresco at Genoa prevented him from painting for galleries.

, a Genoese, and frequently mentioned in history as the discoverer of America, was born in 1442. Ferdinand his son, who wrote his life, would suggest to us, that he was descended from an ancient and considerable family; but it is generally believed that his father was a woolcomber, and that he himself was of the same trade, till, by having been at sea, he had acquired a taste for navigation. In his early years he applied himself much to the study of geometry and astronomy at Pavia, in order to understand cosmography: and learnt to draw, in order to describe lands, and set down cosmographical bodies, plains, or rounds. He went to sea at the age of fourteen: his first voyages were to those ports in the Mediterranean frequented by the Genoese; after which he took a voyage to Iceland; and proceeding still further north, advanced several degrees within the polar circle. After this, Columbus entered into the service of a famous sea-captain of his own name and family, who commanded a small squadron fitted out at his own expence; and by cruising against the Mahometans and Venetians, the rivals of his country in trade, had acquired both wealth and reputation. With him Columbus continued for several years, no less distinguished for his courage than his experience as a sailor. At length, in an obstinate engagement, off the coast of Portugal, with some Venetian caravals returning richly laden from the Low Countries, his ship took fire, together with one of the enemy’s ships to which it was first grappled. Columbus threw himself into the sea, laid hold of a floating oar, and by the support of it, and his dexterity in swimming, reached the shore, though above two leagues distant.

, or Donato, one of the principal revivers of sculpture in Italy, of an obscure family at Florence, was born in 1383. He learned design under Lorenzo de Bicci, and abandoning the old dry manner, he was the first who gave his works the grace and freedom of the productions of ancient Greece and Rome; and Cosmo de Medicis employed him on a tomb for pope John XXIII. and in other works, both public and private. Cosmo also availed himself of his taste and judgment in forming those grand collections, which gave celebrity to Florence as the parent of modern art. Amongst his performances in that city are his Judith and Holofernes in bronze, his Annunciation, his St. George and St. Mark, and his Zuccone, in one of the niches of the Campanile at Florence; all of which are as perfect as the narrow principles upon which the art was then conducted would allow. To these we may add another excellent performance, his equestrian statue of bronze at Padua, to the honour of their general Gallamalata. Conscious of the value of his performances, he exclaimed to a Genoese merchant, who had bespoke a head, and estimated it by the number of days which it had employed the artist, “this man better knows how to bargain for beans than for statues he shall not have my head” and then dashed it to pieces yet no man less regarded money than Donatello. Cosmo at his death having recommended him to his son, the latter gave him an estate; but in a little while Donatello, who began to be plagued with his farmers and agents, begged his benefactor to take it again, as he did not like the trouble of it. The gift was resumed, and a weekly pension of the same value assigned to the artist. He had no notion of hoarding; but it is said that he deposited what he received in a basket, suspended from a ceiling, from which his friends and workpeople might supply themselves at their pleasure. He died in 1466, at the age of 83, and was buried in the church of St. Lorenzo, near his friend Cosmo, that, as he expressed himself, “his soul having been with him when living, their bodies might be near each other when dead.” He left a son, named “Simon,” who adopted his manner, and acquired reputation.

, a skilful painter, was descended of a good family, and born at Rome in 1634, where, being in. easy circumstances, he pursued his inclination and taste for painting. He was a faithful imitator of Peter da Cortona, whose favourite disciple he was, and to whom he came so near in his ideas, his invention, and his manner of painting, that his cielings particularly are often mistaken, for Cortona’s. Generally, however, Mr. Fuseli says, Ferri has less grace of design, less ease in his actions and draperies, and less compass of mind; but he has more solidity and carefulness of finish than his master. Though he set great prices on his works, he was in continual employ. Pope Alexander VII. had a great esteem for him; and his three successors were no less favourable to him. The great duke sent for him to Florence, and assigned him a large pension to finish the works which Cortona had left imperfect. He entered so well into the spirit of them, and acquitted himself so worthily, that the whole work seems to be of the same hand. The great duke nominated him chief of the school of Florence, in which rank he continued for a long time. Ferri returned to Rome, where he appeared a great architect as well as a good painter. Several palaces and grand altars, as St. John of the Florentines, and that of the Chiesa Nuova, were raised from his designs. He diverted himself more with drawing than painting. He was much importuned for devices, figures for breviaries, and titles of books: several of which have been engraved by Spierre and Bloemart. The pope employed him in making cartoons for the Vatican; and few men have worked in more different ways. The cupola of St. Agnes, in the palace of Navona, was his last work. The chagrin he felt in seeing the angels of Bacici, a Genoese painter, which were directly under it, the force of whose colouring made his appear too weak, is said to have been the cause of his death. One day he told Lazaro Baldi, his companion, that his cupola appeared very different on the scaffold from what it did from below, and that the angels of Bacici gave him great pain; and, falling sick soon after, he died in 1689, at the age of fifty-five.

, a learned Genoese, was born in that city in 1518, and descended from a noble family. Some writers have styled him a priest, but we do not find him in any of his writings assuming any other title than that of a Genoese noble. The troubles which agitated his country induced him to write a work by which they might be quieted, the subject of which was the distinction between noble and plebeian families; but he took so many liberties with the characters of the nobles, that they procured his banishment, a treatment which suggested to him as his future device, a lighted tiambeau with the inscription “Officio mihi officio.” Moreri says that he took an active part in the troubles at Genoa, which was the cause of his banishment, but this does not appear to have been the case. He submitted, however, to his sentence, like a philosopher, and applied his leisure to the cultivation of his mind. He chose Rome as the place of his retirement, and there acquired the patronage of Hippolyto cardinal d'Este, who received him into his house, where he died in 1581. His works were numerous, of which the following are the chief: 1. “Historia Genuensium, lib. 12.” L535, folio; diffuse, but faithful and elegant; translated into Italian by Francesco Sardonati. 2i “De ratione scribendae HistQrise.” 3. “Conjuratio Johannis Ludovici Flisci,” Neapoli, 1571, 4to, a very rare edition. 4. “Elogia clarorurn Ligurum,” 1574, 4to. 5. “De Linguae Latinae usu et prsestantia,” Romse, 1574, repubiished by Mosheim, 1723, with a life of the anthor. 6. “De causis magnitudinis Turcarum imperil.” 7. “Delia Republica di Genoa,” 8vo. 8. “Opuscula nonnulla,” 1574, 4to. Most of these works are scarce. His Latin style was peculiar, elegant, and pure, and his judgment at once accurate and sound.

, otherwise called Molyn, and Pietro Mulier, another artist of note, was born at Haerlem in 1637, and according to some authors, was the disciple of Snyders, whose manner he at first adopted, and painted huntings of different animals, as large as life, with singular force and success. He afterwards changed both his style and subjects, and delighted to paint tempests, storms at sea, and shipwrecks, which he executed admirably, and therefore got the name, by which he is generally known, of Tempesta. After travelling through Holland he went to Rome, and having changed his religion from protestantism to popery, became greatly caressed as an artist, and received the title of cavaliere. After passing some years at Rome he visited Genoa, where he was likewise highly honoured, and fully employed, but appears to have lost all sense of principle or shame; for, in order to marry a Genoese lady, he caused his wife, whom he had left at Rome, to be murdered. This atrocious affair being discovered, he was sentenced to be hanged, but by the intervention of some of the nobility, who admired his talents, his sentence would probably have been changed to perpetual imprisonment. From this, however, he contrived to escape, after being confined sixteen years, and died in 1701, in the sixty-fourth year of his age. It was from this crime that he obtained the name of Pietro Mu­Lier, or de Mulieribus. His pictures are very rare, and held in great estimation, and those he painted in prison are thought to be of very superior merit. He executed also, by the graver only, several very neat prints, in a style greatly resembling that of Vander Velde. They consist chiefly of candle-light pieces, and dark subjects.