, an eminent historical painter, was born at Modena in 1512, and
, an eminent historical painter, was born at Modena in 1512, and was the scholar of Antonio Beggarelli, a Modenese sculptor, whose models Correggio is said to have often made use of for his works. Little is known of his progress at Modena, except that, in partnership with his fellow-scholar Alberto Fontana, he painted the pannels of the Butchers hall in that place; and at the age of thirty-five, for the church of the Benedictines, the celebrated picture of the martyrdom of St. Peter and St. Paul, now in the Dresden gallery: with some fresco paintings, drawn from Ariosto and Virgil, in the palace Scandiano. Of his works at Bologna, tradition has left a very distinguished account, though little or nothing exists of them now but the large symbolic picture in the Via di St. Mamolo; a nativity of Christ, under the portico of the Leoni palace; and four conversation pieces and concertos, of exquisite taste, in the Academical Institute, which have been engraved. Notwithstanding the innate vigour, the genial facility, and independent style of this artist, he owes his fame, in a great measure, to his coalition with Francisco Primaticcio, and to his happy execution of the designs of that great master, particularly the frescoes he painted in the galleries and apartments at Fountainbleau. These, however, being destroyed in 1738, to make room for a new fabric, nothing remains but a few pictures of the history of Alexander. Some of the others were engraved. The period of his death is not known .
, an eminent historical, biographical, and political writer, was
, an eminent historical, biographical, and political writer, was born at Edinburgh, March 8, 1708. His father was Robert Campbell, of Glenlyon, esq. and captain of horse in a regiment commanded by the then, earl of Hyndford; and his mother, Elizabeth, the daughter
, an eminent historical painter, was born at a small village called
, an eminent historical painter, was born at a small village called Castagno, belonging to Tuscany, in 1409, and being deprived of his parents when young, was employed by his uncle to attend the herds of cattle in the fields. His singular talents, which were first manifested in surprising efforts to imitate an ordinary painter, whom he accidentally observed at work, became the common topic of discourse in Florence, and excited the curiosity of Bernardetto de Medici, who perceiving that he had promising talents, placed him under the tuition of the best masters at that time in Florence. Andrea, assiduously improving his advantages, became particularly eminent in design, and found full employment. At first he painted only in distemper and fresco, with a manner of colouring that was not very agreeable, being rather hard and dry; but at length he learned the secret of painting in oil from Domenico Venetiano, who had derived his knowledge of it from Antonella da Messina. He was the first of the Florentine artists who painted in oil but envying the merit of Domenico, from whom he obtained the secret, and whose works were more admired than his own, he determined, with the basest ingratitude, to assassinate his friend and benefactor. At this time Domenico and Andrea lived together, and were partners in business. Insensible, however, of every obligation, and combining treachery with ingratitude, he way -laid Domenico in the corner of a street, and stabbed him with such secrecy, that he escaped unobserved and unsuspected to Jiis own house, where he sat down with apparent composure to work; soon after Domenico was conveyed thither to die in the arms of his assassin. The real author of this atrocious act was never discovered, till Andrea, through remorse of conscience, disclosed it on his death-bed, in 1480. Andrea finished several considerable works at Florence, by which he gained great wealth and reputation; but as soon as his complicated villainy became public, his memory was afterwards held in the utmost detestation. The most noted of his works is in the hall of justice at Florence, and represents the execution of the conspirators against the house of Medici.
, sometimes called Laeti, an eminent historical painter, was born in 1490* or 1494. Being
, sometimes called Laeti, an eminent historical painter, was born in 1490* or 1494. Being descended of poor parents, and educated in an obscure village, he enjoyed none of those advantages which contributed to form the other great painters of that illustrious age. He saw none of the statues of ancient Greece or Rome; nor any of the works of the established schools of Rome and Venice. But nature was his guide; and Corregio was one of her favourite pupils. To express the facility with which he painted, he used to say that he always had his thoughts ready at the end of his pencil.
, an eminent historical and landscape painter, born at Bommel in
, an eminent historical and landscape painter, born at Bommel in 1648, was a disciple of Warnard van Rysen, an excellent artist, who had been bred in the school of Polemburg. He was at first invited to Cleve, where his paintings procured him very great credit; but he was afterwards prevailed on to visit Paris, where not meeting with encouragement in any degree proportioned to his merit, he turned his attention to England, whither he certainly would have directed his course, had he not been dissuaded by Vosterman. After practising, therefore, for some time at Paris and Cleves, he settled at Utrecht, and in that city and its neighbourhood displayed his abilities, in executing several grand designs for ceilings, saloons, and apartments, and also in finishing a great number of easel pictures for cabinets; and his reputation was so universally established at Utrecht, that he was appointed director of an academy for drawing and painting, which he conducted, with great honour to himself, and remarkable advantage to his pupils. He had a lively imagination, a very ready invention, a talent for composition and correctness in the costume. His manner of painting was clean and neat, and he was thoroughly master of the true principles of the chiaroscuro. His figures in general are designed with elegance, his colouring is vivid, natural, and harmonious, his touch is light and firm, and his pictures have a great deal of transparence. His small easel-paintings are as distinctly touched as highly finished; and yet his larger works are always penciled with a freedom that is suitable to those grander compositions.
, an eminent historical painter, was born at Florence, probably about
, an eminent historical painter,
was born at Florence, probably about the beginning of the
fifteenth century, as he was a scholar of, and of course
nearly contemporary with, Massaccio. At the age of sixteen, being entered a noviciate in the convent of Carmelites at Florence, he had there an opportunity of seeing
that extraordinary artist at work upon the astonishing frescoes with which he adorned the chapel of Brancacci, in the
church there; and being eager to embrace the art, such
was his success, that after the death of his master, it was
said by common consent, that the soul of Massaccio still
abode with Fra. Filippo. He now forsook the habit of his
convent, and devoted himself entirely to painting; but his
studies were for a time disturbed by his being unfortunately
taken, while out on a party of pleasure, by some Moors,
and carried prisoner to Barbary; where he remained in
slavery eighteen months. But having drawn, with a piece
of charcoal, the portrait of his master upon a wall, the
latter was so affected by the novelty of the performance,
and its exact resemblance, that, after exacting a few more
specimens of his art, he generously restored him to his
liberty. On his return home he painted some works for
Alphonso, king of Calabria. He employed himself also in
Padua; but it was in his native city of Florence that his
principal works were performed. He was employed by
the grand duke Cosmo di Medici, who presented his pictures to his friends; and one to pope Eugenius IV. He
was also employed to adorn the palaces of the republic, the
churches, and many of the houses of the principal citizens;
among whom his talents were held in high estimation. He
was the first of the Florentine painters who attempted to
design figures as large as life, and the first who remarkably
diversified the draperies, and who gave his figures the air
of antiques. It is to be lamented that such a man should
at last perish by the consequences of a guilty amour he
indulged in at Spoleto; where he was employed at the
cathedral to paint the chapel of the blessed virgin. This
is differently told by different writers, some saying that he
seduced a nun who sat to him for a model of the virgin,
and others that the object of his passion was a married
woman. In either case, it is certain that he was poisoned by
the relations of the lady whose favours he was supposed to
enjoy. Lorenzo di Medici erected a marble tomb in the
cathedral to his memory, which Politian adorned with a
Latin epitaph. His son Lippi Filippo, was renowned for
excellent imitations of architectural ornaments. He died
in 1505, at the age of forty-five. There was also a Florentine painter, Lorenzo Lippi, born in 1606, and likewise
a great musician and a poet. In the latter character he
published “II Malmantile racquistato,
” which is considered as a classical work in the Tuscan language. He died
in 1664.