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, a painter and engraver, was born at Zurich, June 1539. His youth and studies are involved in obscurity, and the first notice we have of him is in 1560, when he went to Nuremberg, where he was admitted a burgess, and where he died in 1591. Here he began in designs on wood, paper, and copper, that career of incessant and persevering exertion which over-ran all Germany. History, allegory, emblem, sciences, trades, arts, professions, rural sports, heraldry, portrait, fashions, were all served in their turns, and often served so well, that his inventions may still be consulted by the artist with advantage. He painted with great brilliancy on glass. His drawings hatched with the pen, or washed, have Italian characteristics of style and execution.

, a painter and engraver, was born at Rome, in 1630, and learned design from Giulio Borgianni his brother; but improved himself by studying the capital performances of the ancient and modern artists, which he was enabled to contemplate every day in his native city. Having had an offer from a nobleman, of travelling with him in a tour through Europe, he willingly accepted it, from a desire of being acquainted with the different customs and manners of different nations. But his progress was stopped by his falling in love with a young woman in Spain, to whom he was afterwards married; and finding his circumstances reduced to a narrow compass, he applied himself to his profession with double diligence, to procure a comfortable support. His endeavours were soon successful; and he was happy enough to find many friends, admirers, and employers, and was accounted one of the best painters in Spain. After the death of his wife, having then no attachment to that country, he returned to Rome, and painted some historical subjects larger than life; but the figures being above his accustomed size, shewed a want of correctness in several of the, members, which made his pictures not quite acceptable to the refined taste of the Roman school. He was, however, engaged in some great works for the chapels and convents, and also to paint portraits, by which he acquired honour, and lived in affluence. He died in 1681, of a broken heart, in consequence of the ill treatment he received, through the envy and villainy of one Celio, a painter, who proved a most malicious competitor, and to whom he had been often preferred, by the best judges of painting at Rome; but he died lamented and pitied by every worthy man of his profession. As an engraver, he is probably best known to many of our readers, for his engravings of the Bible histories, which were painted by Raphael in the Vatican, commonly called “Raphael’s Bible,” small plates, length-ways, dated 1615, which are very slight, and seem to be the hasty productions of his point. Mr. Strutt says, that his most finished etching is “a dead Christ,” a small square plate, the figure greatly foreshortened, and behind appear the two Mary’s and St. John, who is kissing one of the hands of our Saviour. His etchings are, in general, in a bold, free manner, and more finished than usual, when considered as the works of a painter, but in some the drawing is not correct.

an Italian painter and engraver, was born at Florence, in 1437; and being placed as a disciple with Filippo Lippi, he imitated that master, as well in his design as colouring. He performed several considerable works at Florence, and several at Rome, by which he gained great reputation; at the former, a Venus rising from the sea, and also a Venus adorned by the graces; and at the latter, he painted sacred subjects from the New Testament, which at that time were very much commended. He obtained great honour by his performances in the chapel of Sixtus IV. for which he was very amply rewarded; and for the family of the Medici he finished some portraits, and many historical compositions. It was customary with this master to introduce a great number of figures in all the subjects he designed, and he disposed them with tolerable judgment and propriety; but in one of his designs, representing the Adoration of the Magi, the variety and multitude of his figures are astonishing. He received large sums of money for his works, all of which he expended, and died in 1515 in great distress, and far advanced in years.

, a painter and engraver, was born at Utrecht in 1620, and went, at an early period, for improvement to Rome, where the society of Flemish painters, called Bentvogels, distinguished him by the appellation of Bartolomeo. Among the superb ruins and beautiful objects, in and about the city, he acquired an elegant taste; and he peculiarly excelled in landscapes, which he enriched with historical subjects. The figures and animals, which he introduced, were elegantly disposed, and executed with spirit and freedom: especially when they were not larger than the small size, in which he usually painted them. His manner, particularly with respect to colouring, gradually improved; hia touch is light and spirited, his tone of colouring very pleasing, his taste altogether of the Roman school, and his pictures are distinguished both by force and delicacy. The draperies of his figures, which are gracefully proportioned and designed, are easy and ornamental, and in his smallest figures, the expression is lively, sensible, and natural. His pictures are exceedingly rare, and highly valued. We have of his etching a set of 24 views, and landscapes, ornamented with ruins, &c. from his own designs. Sir Robert Strange had an excellent small picture of Breenberg’s, a view of the monument of Caecilia Metella, situated near the banks of the Tiber, a few miles distant from Rome. The foreground is beautifully enriched with figures, and the whole painted with great transparency. The sky in particular is penciled with an elegance which exceeds any thing of the kind in the works of Wouwermans. Breenberg died in 1660.

, a famous engraver, son of John. Callot, herald of arms in Lorrain, was descended from an ancient and noble family, and born at Nancy in 1593. He cherished almost from hig infancy a taste and spirit for the belles lettres, as well as for the fine arts. When he was only twelve years old he set off for Rome, without the knowledge of his parents, in order to see the many curiositjes there he had heard so much talk of; but his money failing, he joined himself to a party of Bohemians, who were going into Italy, and went with them to Florence. There he was taken under the protection of an officer of the great duke, who placed him to learn designing under Remigio Canta Gailina, a skilful painter and engraver. Afterwards he got to Rome, where he was known by a merchant of Nancy, and sent immediately home to his parents. When he was about 14 years of age he left home again, and directed his course towards Rome but being discovered by his elder*- brother, who was at Turin about business, he was brought buck a second time to Nancy. His passion, however, for seeing Rome being still ardent and irresistible, his father at length gave him leave to go in the train of a gentleman whom the duke of Lorrain sent to the pope.

, a painter and engraver, called often from his native place Da Pesaro, was born in 1612, and was a pupil of Pandolfi. After proving himself, by the picture of St. Peter at Fano, less an imitator of Guido than his equal, he entered his school at Bologna more as a rival than as a pupil: the humility which he had affected at his entrance, soon dissolved in a proud display of his powers; and the modest student became the supercilious censor of his companions, and of the master himself. From the general disgust, which the insolence of this conduct had excited, Cantarini fled to Rome, and for some time studied Raffaello and the antiques. When he returned to Bologna, where he taught, and from thence to the court of Mantua, his powers seemed to smooth the road to new success; but fear of those whom he had provoked by arrogance or invective, with the mortification of having failed in the portrait of the duke, impaired his health and drove him to Verona, where he died in 1648, in his thirtysixth year, not without suspicion of having being poisoned by a painter of Mantua, whom he had reviled. Cantarini is not equal to Guido, because the most perfect imitator of a style cannot be called equal to its inventor: but the original beauties which he added, of conception and execution, raise him above all the pupils of that school. If his ideas have less dignity, they are, perhaps, more graceful than those of Guido: if he has less compass of knowledge, he has more accuracy, and no rival in the finish of the extremities. The heads of his saints have been called prodigies of beauty and expression. Sir Robert Strange had a picture of Cantarini’s, “Our Saviour standing on the Globe, attended by Cherubims,” which, he says, is nothing inferior to Guido, inimitably coloured; the composition extremely agreeable, and the whole apparently painted with great facility. Cantarini etched with great spirit. Strutt enumerates some of his works in this manner.

, an excellent painter and engraver, was the son of William Delft, and a near relation (grandson, according to Pilkington) of Michael Miravelt, and born at Delft in 1619. He drew and painted portraits with excellent taste; and having been instructed by Miravelt, acquired a similar mode of design and colouring, and successfully imitated him in the management of his pencil, so that he is said to have equalled Miravelt in force and delicacy. He is, however, more generally known as an engraver; and his best prints are highly finished: some of them are executed in a bold, powerful, open style, which produces a fine effect. Such was his portrait of Hugo Grotius, dated 1652; and others in a neat and much more finished manner, as we find, says Strutt, in the admirable portrait of Michael Miravelt, from a picture of Vandyke. It does not appear that he was ever in England; and yet he engraved several English portraits, as Charles I. of England, Henrietta Maria, his queen, George Villars, duke of Buckingham, &c. and, accor.lmg to lord Orf'ord, styled himself the king’s engraver He died in 1661.

, a painter and engraver, was born at St. Quentin, in France, in 1617, and manifesting an early inclination for the arts, was placed under Simon Vonet, a painter at that time of great reputation, whose daughter he married, and whose manner as a painter he copied, but is better known as an engraver. He performed his plates chiefly with the point, in a bold, powerful style: the lights are broad and massy, especially upon the figures. But the marking of the folds of the draperies, and the shadows upon the outlines of the flesh, are frequently so extravagantly dark, as to produce a harsh, disagreeable effect, and sometimes to destroy the harmony of the engraving entirely. Although he understood the human figure, and in some instances it was correctly drawn; yet by following the manner of Vouet, instead of the simple forms of nature, his outlines were affected, and the extremities of his figures too much neglected. This artist was made professor of the royal academy of painting at Paris, where he died in 1665, aged forty- eight. His works are said by abbe Marolles to have consisted of 105 prints. Amongst these were, “the Adoration of the Magi,” the “Nativity of Christ,” “Venus at her toilet,” “Venus, Hope, and Love, plucking the feathers from the wings of Time,” “Mercury and ther Graces,” and “the Rape of Europa,” all from pictures of Vouet. He also engraved from Le Seur, Sarasin, and other masters.

, an ingenious artist, was a native of Ireland, where he was born in 1710. He came very early to London, when he practised portrait-painting in oil, crayons, and in miniature. In 1734 he had the honour of painting his royal highness, Frederick prince of Wales, a full length, now in Sadler’s-hall, Cheapside. But his genius was not confined to this art, and it is said that he was the inventor and first manufacturer of porcelain in England, and that he spent fifteen years of his life in bringing this to perfection at a manufactory at Bow, during which, his constitution being impaired by constantly working in furnaces, he retired into Wales, with little hope of recovery. Here, however, his health was perfectly restored, and he returned again to London, and resumed his profession, to which he now added the art of mezzotinto engraving, and had considerable employment and success, both as a painter and engraver, tie died of a decline, brought on by intense application, April 2, 1762.

, commonly called Lucas Van Leyden, and by the Italians, Luca d'Ollanda, was born at Leyden, 1494. He was the disciple of his father Hugh Jacobs, and after him of Cornelius Engelbrecht, and distinguished himself in very early life as a painter and engraver. With fewer faults than his contemporaries, he possessed qualities to them unknown, more freshness and mellowness of colour, more aerial perspective, and equal dexterity in oil, distemper, and on glass. He delighted in subjects of extensive composition, though he was ignorant of light and shade in masses. His forms, like those of Albert Durer, are implicit copies of the model, but with less variety and less intelligence, lank, meagre, ignoble. Of expression he had little more than the vulgar grimace. Though he was without attention or knowledge of the costume in the general attire of his figures, his drapery is often ample and broad, but rather snapt than folded. Many pictures of this master in oil and distemper still exist in public places and private collections, at Leyden, Amsterdam, Paris, Vienna, and elsewhere. His name, however, chiefly survives in the numerous prints which he engraved with equal diligence and facility of touch. He died in 1533.

, the most celebrated of the old masters in the art of engraving, was born at Bologna, as is generally supposed, about the year 1487 or 1488. His first master was Francesco Francia, or Raibolini, (See Francia,) a painter and engraver, from whom he learned the principles of drawing, and succeeded so well, that the name of Francia was added to his own. It does not appear from whom he learned engraving; but it must have been early, as the print of “Pyramus and Thisbe” is dated 1502, and this, as well as several of his first works from the designs of Francia, were probably executed before his departure from Bologna.

, an eminent painter and engraver, was born at a village near Leyden, in 1606. The real name of his family was Gerretsz, but from having resided early in life at a village upon the banks of the Rhine, he obtained that of Van Ryn. Of his personal history we have very few particulars. His father was a miller. After an unsuccessful attempt to avail himself of the advantages of a college education at Leyden, he is said to have been indebted for his earliest instruction as a painter to Jacques Vanzwanenburg. He afterwards studied under Peter Lastman at Amsterdam, under whose name a print is in circulation, which the author of the supplement to the works of Rembrandt denominates “Lot and his Daughter,” but which is intended to represent Judah and Tamar. Had this print, says Rembrandt’s late biographer, been in fact the production of Lastman, it would have appeared that Rembrandt had been much indebted to his preceptor, as well for the manner of his execution in his etchings, as for the style of his design; but it is the work of Van Noordt, probably after a design of Lastman, and is certainly posterior in point of time to many of those of Rembrandt.

, a very learned German, was descended from ancient and noble families; and born at Aurach, a town of Franconia, Dec. 20, 1626. He made good use of a liberal education, and was not only a master of the French, Latin, Greek, and Hebrew languages, but had also some skill in mathematics and the sciences, The great progress he made in his youth coming to the ears of Ernest the pious, duke of Saxe-Goth'a, this prince sent for him from Cobourg, where he then was, to be educated with his children. After remaining two years at Gotha, he went, in 1642, to Strasbnrg; but returned to Gotha in. 1646, and was made honorary librarian to the duke. In 1651, he was made an lie and ecclesiastical counsellor; and, in 1663, a counsellor of state, first minister, and sovereign director of the consistory. The year after, he went into the service of Maurice, duke of Saxe-Zeist, as counsellor of state and chancellor; and was no less regarded by this new master than he had been by the duke of SaxeGotha. He continued with him till his death, which happened in 1681; and then preferred a life of retirement, during which he composed a great many works; but Frederic III. elector of Brandenburg, again brought him into public life, and made him^. counsellor of state and chancellor of the university of Halle, dignities which he did not enjoy long, for he died at Halle Dec. 18, 1692, in the sixty-sixth year of his age. He was twice married, but had only one son, who survived him. Besides his knowledge of languages, he was learned in law, history, divinity; and is also said to have been a tolerable painter and engraver. Of his numerous writings, that in most estimation for its utility, was published at Francfort, 1692, 2 vols. folio, usually bound up in one, with the title, “Commentarius Historicus & Apologeticus de Lutheranisrno, sive de lleformatione Religionis ductu D. Martini Lutberi in magna Germania, aliisque regionibus, & speciatim in Saxonia, recepta & stabilita,” &c. This work, which is very valuable on many accounts, and particularly curious for several singular pieces and extracts that are to be found in it, still holds its repu^ tation, and is referred to by all writers on the reformation.

, of Ch'uhester, the second, but most known, of three brothers, all distinguished as painters, was born in 1714. George is celebrated as a painter of landscape, but it was expected by the connoisseurs of the time, that his younger brother John would have surpassed him in that syle of painting. In the contests for prizes, at the society for the encouragement of arts, John’s landscapes were frequently preferred to those of George; but he died at an earlier period, and all memory of his works, as well as of the artist himself, has been nearly obliterated. William, the eldest brother, was a painter of portraits, but produced also some good landscapes. He is said, however, by some who remember him, to have been more remarkable for painting fruit and flowers, than for the other branches of his art. William was deformed, and his countenance was thought by many to resemble that of the celebrated John Locke. John died July 29, 1764, at the age of forty- seven, William on the 27th of the ensuing September, at the age of fifty -seven. George survived till Sept. 7, 1776, when he died, at the age of sixty-two. Their remains are deposited in the church-yard of St. Paneras at Chichester, and distinguished only by a plain stone, containing their names and the profession of each, with the dates above recited. Mr. W. Pether, an ingenious painter and engraver in mezzotinto, who was intimate with these brothers, published several years ago an admirable print, with fine likenesses of the three, represented in a groupe; the eldest is reading a lecture upon landscape to the two younger, who are listening with great attention.

, an Italian painter and engraver, was born at Lucca in 1611. It is thought that he began his studies in his native city, but he was impatient to see Rome, where he became a disciple of Dominichino. He was so attached to the pursuit of his profession,that while he was copying the antiques at Rome he forgot to provide for his own subsistence. He was relieved from great wretchedness by the compassion of Sandrart, who recommended him effectually to prince Giustiniani, and other patrons. He was unfortunately drowned in the Tiber, at the age of thirty-nine, in 1650, endeavouring to recover hrts hat, which had been blown into the river.