Cyclopedia of painters and paintings, volume 2 (of 4) (part 2 of 3)

Cyclopedia of painters and paintings, volume 2 (of 4) (part 2 of 3)

GOZZOLI, BENOZZO, born in Florence in 1424, died there in 1498. Florentine school. Real name Benozzo di Lese di Sandro; pupil of Fra Angelico, whom he followed to Rome, and his assistant at Orvieto in 1447. He parted from him in 1449, and established himself at Montefalco, near Foligno, where he remained until 1456 and executed many important works in the manner of his master, though they are far from approaching him in spiritual power. Those in S. Fortunato consist of a Madonna with Saints and Angels, an Apotheosis of the titular Saint, an Annunciation, and St. Thomas receiving the Girdle, now in the Museum of St. John Lateran, Rome. In S. Francesco, Benozzo filled the choir with a triple course of episodes from the life of St. Francis, and painted a Madonna and Saints and other frescos in the Chapel of St. Jerome in the same church. In 1456, after painting in Perugia the Madonna and Saints, now in the Academy, Benozzo returned to Florence, and was employed by Piero de’ Medici to paint a series of frescos representing the Journey of the Magi to Bethlehem, in the Chapel of the Palazzo Riccardi. In these, like the realists, he made Scripture incidents a vehicle for the treatment of rich costume, animal life, and landscape. In 1463–67 he painted in S. Agostino, San Gimignano, a series of scenes from the life of St. Augustine, and other subjects in the Pieve. Between 1469 and 1485 he painted, in the Campo Santo, Pisa, a series of frescos representing 24 subjects from the Old Testament, the most pleasing of which is Noah and his Family, which contains the charming episode of the vintage and a rich architectural and landscape background. Among his extant easel pictures are the Triumph of St. Thomas Aquinas, Louvre; Conception, Pisa Academy; Miracles of St. Hyacinth, Vatican, Rome; Madonna with Saints, Vienna Museum; Miracles of S. Jacinto, Vatican; Madonna with Saints, Rape of Helen, National Gallery, London; History of Lucretia, National Gallery, Dublin.--C. & C., Italy, ii. 498; Vasari, ed Le Mon., iv. 184; Baldinucci, i. 490; Ch. Blanc, École florentine; Burckhardt, 538; L’Art (1881), xxvii. 125; Lübke, Gesch. d. ital. Mal., i. 318; Gautier, Guide au Louvre, 91.

GRAAT, BAREND, born in Amsterdam in 1628, died there in 1709. Dutch school; landscape, genre, and history painter, pupil of his uncle, an animal and landscape painter; studied much from nature, and took Pieter van Laar for his model. He established a school of design at his house, where the best artists of his time congregated to draw from life. Works: Home Scene, Buckingham Palace, London; Hunt, Coursing (both with Reinier de Vries), New York Museum.--Immerzeel, i. 290; Kramm, ii. 598.

GRAAUW, HENDRIK, born at Hoorn, North Holland, in 1627, died at Alkmaar in 1682. Dutch school; history and portrait painter, pupil of Pieter de Grebber and of the architect Jacob van Campen; was then employed by Prince Maurice of Nassau to paint frescos in the cupola of the Palace in the Wood, which established his reputation; went in 1648 to Rome, where he was intimate with Poussin; returned after three years, and lived successively at Amsterdam and Utrecht until 1672, when he removed to Hoorn. For the family of Bronckhorst he painted a series of historical and fabulous subjects, which were much admired.--Immerzeel, i. 291.

GRACES, THREE, Palma Vecchio, Dressden Gallery; wood, H. 3 ft. 1 in. × 4 ft. 4 in. Three young women, half-length, grouped in a landscape. Sometimes called Palma’s daughters, but it is doubtful whether they were painted from three models or from one. In 1525 in collection of Taddeo Contarini, then in Giustiniani and Cornari families; bought from the Procuratessa Cornaro della Casa Grande for 600 ducats.--C. & C., N. Italy, ii. 480; Bottari, Raccolta, vii. 374.

By Raphael, Duc d’Aumale, Chantilly; wood, H. 6¾ in. × 4¾ in. Three Graces, nude, grouped in the classical form, each holding one of the apples of the Hesperides. Probably suggested by the antique marble group in the Opera del Duomo, Siena. Painted in Perugia in 1504–5? Passed from the Borghese Collection to M. Reboul, then through the hands of the Woodburns to Sir Thomas Lawrence; thence to Lord Ward, afterwards Earl Dudley; sold (1885) to Duc d’Aumale for £25,000. Sketch of two Graces in Venice Academy. Engraved by F. Foster; J. K. Sherwin.--C. & C., Raphael, i. 207; Gruyer, Raphael et l’Antiquité, i. 229; Müntz, 90, 220; Passavant, ii. 50; Perkins, 63; Lübke, Raphael, 19, 135.

GRACHT, JACOB VAN DER, born at The Hague in 1593, died in 1647. Flemish school; pupil of Raphael van Coxcyen. Principally known through a meritorious work on anatomy for artists, published at The Hague in 1634, but must also have been a good painter, to judge from an excellent portrait by him in the Weimar Museum. Spent most of his life in Italy.--Kramm, ii. 598.

GRAEB, KARL (GEORG ANTON), born in Berlin, March 18, 1816, died there, April 8, 1884. Architecture and landscape painter, pupil of Gerst and of Berlin Academy; visited Switzerland, Southern France, and Paris, and in 1843 Italy and Sicily. Was made court-painter in 1851, professor in 1855, and member of the Berlin Academy in 1860. Great gold medal in 1854; member of Amsterdam and Vienna Academies. Works: View of Palermo (1848); Cross-Way in Ratisbon Cathedral (1850); Interior of Halberstadt Cathedral (1854), Italian Landscape (1855), Cross-Way in a Monastery, Fontana Medina in Naples, Ravené Gallery, Berlin; Strand of Amalfi, Mausoleum of Charlottenburg (1855); City, Castle, and Park of Muskau, Stolzenfels; Graves of Mansfeld Family in Eisleben (1860), View in Halberstadt Cathedral (1860), Thuringian Mill, National Gallery, Berlin; Old City Hall in Berlin (1867); Choir of St. George’s in Tübingen (1869); Interior of Synagogue in Prague; two views of ancient Athens and of Olympia, Berlin Museum.--Allgem. Kunst-Chronik, ix. 114; Brockhaus, viii. 254; Rosenberg, Berliner Malerschule, 348; Kunst-Chronik, xix. 445, 462; xx. 181.

GRAEB, PAUL, born in Berlin in 1842. Architecture painter, son and pupil of Karl Graeb; travelled in Germany, Switzerland, and North Italy. Works: Vestibule of St. George’s, Tübingen (1869), Raczynski Gallery, Berlin; S. Fosca at Torcello near Venice.--Müller, 215.

GRAEF, GUSTAV, born at Königsberg, Dec. 14, 1821. History and portrait painter, pupil of Düsseldorf Academy under Th. Hildebrandt and W. Schadow; was in Italy in 1846–50, acquired a simpler and grander style, and settled in Berlin in 1852; visited Munich and Paris in 1853, Vienna and North Italy in 1872, London and Scotland in 1873, and Italy in 1874–75. Since 1862 has devoted himself more especially to portrait painting. Member of and professor at Berlin Academy. Works: The Niebelungen Lay (1846); Jephthah and his Daughter; Charlemagne and Wittekind; four scenes from Myth of Hercules and Theseus; Departure of Prussian Landwehr (1860); Voluntary gifts in 1813 (1861), National Gallery, Berlin; Farewell of Lithuanian Landwehrman, Solon, Phidias and Demosthenes (1868–70), Königsberg University.--Illustr. Zeitg. (1880), ii. 345; Müller, 215; Rosenberg, Berliner Malerschule, 137; Leixner, Mod. K., i. 23; ii. 44; D. Rundschau, ix. 470; Zeitsch., xv. 47.

GRAFF, ANTON, born at Winterthur, Switzerland, Dec. 20, 1736, died in Dresden, June 22, 1813. German school; portrait painter, pupil of Johann Ulrich Schellenberg; went about 1756 to Augsburg, whence, being hampered by the guild in the free exercise of his art, he proceeded to Ansbach, where he aided the court-painter Schneider in his portraits of famous personages, and studied industriously after Rigaud and Kupeczky. In 1759 he returned to Augsburg, and soon acquired great reputation; in 1766 was called to Dresden as court-painter and professor at the Academy. There he developed an extraordinary activity, painted temporarily also in Berlin and Leipsic, besides making excursions into Southern Germany and Switzerland. According to his own statement, he painted, in 1766–73, 943 portraits and family groups, besides copying old masters for the Russian court and for his own improvement. Works: Portrait of Frederic Augustus of Saxony, do. (3) of himself, of Gellert, and six others, Dresden Gallery; do. of the Actor Eckhoff (1774), Gotha Museum; do. of the Painter Zingg, Saint Gall Museum; seven portraits, Leipsic Museum; six do., Weimar Museum; two do., Zürich Gallery; two do., National Gallery, Berlin; two do., Kunsthalle, Hamburg; Prince Friedrich Albrecht of Anhalt, Brunswick Museum; portraits of himself in Old Pinakothek, Munich, and Christiania Museum; do. of Lessing, Herder, Schiller, Moses Mendelssohn, Weisse, Ramler, Sulzer (Berne Museum), Hagedorn, Tiedge, Gluck, Chodowiecky, King Frederic William II. His son, Karl Anton (born in Dresden, March 10, 1774, died there, March 9, 1832), was an able landscape painter, pupil of Zingg in Dresden.--Allgem. d. Biogr., ix. 565; Brockhaus, viii. 269; Muther, Ant. Graff, sein Leben, etc. (Leipsic, 1881).

GRÄFLE, ALBERT, born at Freiburg, Baden, May 2, 1809. History and portrait painter, pupil of Munich Academy under Cornelius and Schnorr; and in Paris in 1840 under Winterhalter; returned to Munich, went in 1848 to Alsace, where he painted portraits, then to England, again to Paris, and settled in Munich in 1852. Medal, Paris, 3d class, 1846. Works: Madonna, Triumphal Procession of Arminius, Carlsruhe Gallery; altarpieces in Lahr and Dundenheim, Baden; Four Seasons, Royal Palace, Carlsruhe; Procession in Dachau; Intimate Friends at Beethoven’s; Dance of Elves; Woman with a Rose, Provinzial Museum, Hanover; portraits of Queen Victoria and Family, Princess of Wales, Crown Prince and Crown Princess of Prussia, Grand Duchess Louise of Baden, Emperor Maximilian and Empress of Mexico.--Müller, 216.

GRAHAM, JOHN, born in Scotland in 1754, died at Edinburgh in 1817. History painter, first apprenticed to a coach painter in Edinburgh, then in London pupil at the Royal Academy, where he exhibited from 1780 to 1797. Appointed in 1798 master of Trustees’ Academy in Edinburgh, where he had among his pupils Wilkie, Allan, Burnett, and Gordon. Works: Daniel in Lions’ Den (1780); Una (1783); Ceres in Search of Proserpine (1786); Escape of Mary Stuart from Lochleven (1788), Portrait of an Alderman, Stationers’ Hall, London; Mary Stuart before Execution (1792); David instructing Solomon (1797); The Disobedient Prophet, National Gallery, Edinburgh.

GRAHAM, MARY, portrait, Thomas Gainsborough, National Gallery, Edinburgh; canvas. The Honourable Mrs. Graham, wife of Thomas Graham, of Balgowan, afterwards Lord Lynedoch; full length, standing. Painted in 1778; after death of Lord Lynedoch (1843), came into possession of Robert Graham of Redgorton, who bequeathed it in 1859 to National Gallery. Study for the head in same Gallery. Etched by Waltner; C. O. Murray in Portfolio.--Brock-Arnold, Biog. Great Artists, 50; Portfolio (1880), 2; Athenæum, Aug., 1869, 250.

GRAHAM, PETER, born in Edinburgh in 1836. Landscape painter, pupil of School of Design, Edinburgh; removed to London in 1866; elected an A.R.S.A. in 1860, but resigned in 1877, when he was made an honourable member; A.R.A. in 1877, R.A. in 1882. Paints chiefly Highland scenes with cattle, and rocky shores. Works: Spate in the Highlands (1866), Hermon sale, 1882, £787; Crossing the Moor (1875); Glint of Sunshine, Gently Heaving Tide (1877); Wandering Shadows (1878); Cloudland and Moor, Sea-Birds, Resting Place (1879); Mountain Road, Scotch Cattle (1881); After Rain (1882); Quiet Noon, Lonely Shore (1883); Dawn, Sea Mist (1884).--Portfolio (1870), 148.

GRAHAM, THOMAS, born in Scotland; contemporary. Figure painter, educated in Edinburgh; studio in London. Works: Monks playing Bowls (1867); The Dominie (1868); Laird’s Pew, Billet-Doux (1869); Wayfarers (1870); Imogen in the Cave (1874); The Tire-Woman (1877); Mudlark, Philosopher’s Breakfast (1878); Clang of Wooden Shoon (1879); Pleasant Pasture, Spring-Time (1881); Eyes to the Blind (1883); Stobhall--Perthshire (1884).

GRAHAM-GILBERT, JOHN, born at Glasgow in 1794, died there, June 5, 1866. Portrait and genre painter, pupil at Royal Academy, London, where he won the gold medal in 1821, then studied for two years in Italy, especially the Venetian masters; returned to London, and in 1827 went to Edinburgh, where he was made member of the Academy in 1830; soon after settled at Glasgow, where his collection of paintings forms a valuable feature of the Corporation Galleries. Works: Women at a Fountain (1846); Roman Girl (1864); Portrait of Walter Scott, National Portrait Gallery, London; do. of Watson Gordon, John Gibson, sculptor, Italian Nobleman, Bandit’s Bride, National Gallery, Edinburgh.--Bryan--Graves, 592.

GRAN, DANIEL, born at Vienna or in Moravia in 1694, died at St. Pölten, Nether Austria, April 14, 1757. German school; history painter, said to have studied in Vienna under Ferg and Wernle, and afterwards in Venice under Ricci and in Naples under Solimena, though this is doubtful. After his return from Italy he became the first German fresco painter of his time, and executed frescos and oil paintings for churches and palaces in Vienna and Moravia. Became court-painter between 1720 and 1726. Works: Ceiling frescos, Court Library (1730) and Schwarzenberg Palace, Vienna; do., Summer Palaces at Hetzendorf (1742) and Schönbrunn; do., Schwarzspanier Kirche, Vienna; Holy Family, Vienna Museum; St. Elizabeth, Karlskirche, Vienna.--Allgem. d. Biogr., ix. 578; Brockhaus, viii. 280; Wurzbach, v. 307.

GRANACCI, FRANCESCO, born in Florence, July 23, 1477, died there, Nov. 30, 1543. Florentine school; pupil of Domenico and David Ghirlandajo at same time with Michelangelo, with whom he formed an intimate friendship. His early tendency was to imitate the Michelangelesque, at the same time endeavouring to acquire the technical improvements of Mariotto Albertinelli and of Fra Bartolommeo. He was one of those whom Michelangelo invited to Rome in 1508 to aid in the frescos of the Sistine Chapel, but he did not satisfy him, and this led to their estrangement. After that Granacci came under Raphael’s influence. On his return to Florence he became Ridolfo Ghirlandajo’s partner, and devoted himself chiefly to the painting of banners and stage scenery. Among his best pictures are Virgin in Glory, Uffizi, Florence; Holy Family, Palazzo Pitti, ib.; Virgin and Saints, Academy, ib.; Madonna and Saints, The Trinity, Berlin Museum; The Virgin adoring the Child, Four Saints, Old Pinakothek, Munich; Nativity, Hermitage, St. Petersburg.--C. & C., Italy, iii. 534; Vasari, ed. Le Mon., ix. 217; Ch. Blanc, École florentine; Baldinucci, ii. 89; Lübke, Gesch. d. ital. Mal., ii. 181.

GRANDI, ERCOLE DI GIULIO, born in Ferrara about 1462, died there, July, 1531. Lombard school. Called also Ercole da Ferrara. Son of Giulio Cesare Grandi; was in the service of the Duke of Ferrara in 1492–99. He was a disciple of Costa, or rather of Francia as represented by Costa, in his later period. Among his typical works may be cited the Martyrdom of St. Sebastian in S. Paolo, Ferrara, and the St. George and the Dragon in the Corsini Gallery, Rome; Conversion of St. Paul, National Gallery, London.--C. & C., N. Italy, i. 531, 550; Cittadella, Notizie di Ferrara, 422; Vasari, ed. Mil., iii. 141; ed. Le Mon., iv. 247; Burckhardt, 582.

GRANDI, ERCOLE DI ROBERTO, died in Ferrara before 1513. Lombard school. Called also Ercole da Ferrara or Ferrarese. Son of Roberto Grandi, and partner of his brother as a painter and gold-beater in Ferrara in 1479. Salaried by the Duke of Ferrara, by whom he was frequently employed; finished a view of Naples in 1490–93; and painted in 1494 the likeness of Hercules I. for Isabella of Mantua. Vasari, who confounds him with Ercole the disciple of Costa, ascribes to him the frescos in the Garganelli Chapel of S. Pietro, now destroyed. His Capture and Procession to Golgotha in the Dresden Museum (the centre-piece, belonging to these, a Pietà, is in the Royal Institution at Liverpool) show that he was a close follower of Mantegna rather than of Costa. In similar style are: Christ on the Mount, Ravenna Gallery; Crucified Saviour, Museo Civico, Venice; and the Lucretia, Modena Gallery.--C. & C., N. Italy, i. 530; Vasari, ed. Le Mon., iv. 247; ed. Mil., iii. 141; Cittadella, Notizie di Ferrara, 583; Burckhardt, 582.

GRANDSIRE, EUGÈNE, born at Orléans, March 18, 1825. Landscape painter, pupil of J. Noël and Jules Dupré. Teacher of drawing in the École des Arts et Métiers, Paris. L. of Honour, 1874. Works: Pont du Moulin (1865), Orléans Museum; The Brook (1866), Nantes Museum; River Meurthe (1874); Mill of Simoneau, Road to Fountain of St. Guinolé (1877); View near Gratain, Pasture in Sologne (1878); Valley of Plainfaing (1879); Valley of Bains, River Meurthe (1880); Port of Dieppe, Canal at Tréport (1881), Luxembourg Museum; Valley of the Bagnerot in November (1882); The Campine at Antwerp, Dieppe (1883); Kattendyk at Antwerp, Canal at Antwerp (1884); Sunrise, Sunset--Antwerp (1885).--Bellier de la Chavignerie, i. 687.

GRANET, FRANÇOIS-MARIUS, born in Aix, Provence, Dec. 17, 1775, died there, Nov. 21, 1849. Architecture painter, first instructed by an unknown Italian, then by the landscape painter Constantin, and afterwards by David in Paris. In 1802 he went to Rome, where he spent the greater part of his life and painted most of his pictures. They were chiefly interiors of churches, monasteries, etc., with historical scenes. Returned to Paris in 1819, made custodian of the paintings of the Louvre in 1826, and member of the Institute in 1830. After the revolution of 1848 he retired to Aix, and bequeathed to his native city his fortune and all his pictures to found a museum. Medal, 1808; L. of Honour, 1819; Officer, 1833; Order of St. Michael, 1826. Works: Interior of the Coliseum (1806), The Painter Sodoma carried to the Hospital (1815), Interior of the Basilica of St. Francis of Assisi (1823), Ransom of Prisoners in Algiers (1831), Portrait of Himself, Louvre, Paris; Funeral Honours to the Victims of Fieschi’s Infernal Machine (1839), Invalides, ib.; Godfrey of Bouillon hanging up the Trophies from Ascalon in the Church of the Holy Sepulchre, Versailles Museum; Choir in Capuchin Monastery near the Piazza Barbarini at Rome (1819, was repeated fifteen or more times); replica in Buckingham Palace; St. Louis delivering French Prisoners at Damietta (1827), Amiens Museum; Captivity of Vert-Vert (1834), Reception of a Cardinal by Carthusian Monks in Rome (1836), Hermits building a Chapel (1843), Eudorus the Martyr visiting the Catacombs, Michel Nostradamus, Christians drawing a Martyr’s Corpse from the Sewers of Rome, A Quarter of an Hour before Service, Celebration of Mass in Reign of Terror (1847), Capuchins Writing (1849), Burial in a Crypt, and several others, Aix Museum; Choir of St. Scolastica at Subiaco, Reception of Jacques de Molay into the Order of Templars (1843), Avignon Museum; Choir of Capuchin Monks of Piazza Barbarini, Examination of Savonarola (1846), Lyons Museum; Ruins of the Coliseum, Dijon Museum; Alchymist’s Laboratory, Stafford House, London; Savonarola in his Cell, New Pinakothek, Munich; Jacques Stella in Prison painting the Madonna (1810), Leuchtenberg Gallery, St. Petersburg; Franciscan Monks at Early Mass (1818), Hermitage, ib.; Choir of Church at Assisi, Academy, ib.; Benedictines in the Oratory, New York Museum.--Bellier de la Chavignerie, i. 688; Ch. Blanc, École française, iii.; Larousse, viii. 1453; Meyer, Gesch., 145.

GRANGER, JEAN PÉRIN, born in Paris, May 10, 1779, died there, Dec. 1, 1840. History painter, pupil of David, and a skilful imitator of his style. Won the grand prix de Rome in 1801. Painted chiefly Greek and Roman mythology and history. Medals, 1812, 1817, and 1820. Works: Ganymede (1812), Bordeaux Museum; Apollo and Cyparissus (1816), Leipsic Museum; St. Charles Borromeo (1819), Church of St. Sulpice; Homer and Glaucus the Shepherd (1819), Dijon Museum; Titus receiving the Homage of the Campanians (1822), Amiens Museum; Jesus healing the Sick (1839), Notre Dame, Paris; Marshal Boucicault forcing Bajazet to raise the Siege of Constantinople (1840), Versailles Museum; Mercury carrying Bacchus into Olympus, Besançon Museum; Wounded Soldier, Nancy Museum.--Bellier de la Chavignerie, i. 689.

GRANICUS, PASSAGE OF THE, Charles Lebrun, Louvre, Paris; canvas, H. 15 ft. 5 in. × 33 ft. 9 in. Alexander, contrary to the advice of his generals, crosses the rapid stream at the head of his cavalry, under a shower of missiles from the Persians, who occupy the opposite bank. He is attacked by Rœsaces and Spithridates, two Persian captains, but, aided by Clytus, overthrows them; and the Macedonian phalanx crossing at the ford, the Persians are put to rout (Plutarch, Alex., xvi.). Series of History of Alexander. Engraved by G. Audran (1672).--Landon, Musée, iii. Pl. 45; Filhol, i. Pl. 5.

GRANT, Sir FRANCIS, born at Kilgaston, Perthshire, Scotland, in 1804, died in London, Oct. 5, 1878. Portrait painter, relinquished the law for art, and first became known in 1835–40 as a painter of sporting pictures containing portraits of noted huntsmen and horses, such as Meet of the Queen’s Stag-Hounds (1837), and The Melton Hunt (1839), well known through engravings. Later he turned his attention to portrait painting; in 1841 exhibited an equestrian portrait of the Queen, and was elected an A.R.A.; in 1851 became R.A., and in 1866 succeeded Sir Charles Eastlake as P.R.A., and was knighted. His portraits were noted for striking resemblance, elegance, and simplicity. Among his many distinguished sitters were the Duke and Duchess of Beaufort; Dukes of Cambridge, Roxborough, Rutland, and Buckingham; Duchess of Sutherland; Earls of Derby, Fife, and Elgin; Lords Palmerston, Herbert, and Stanley; Sir Colin Campbell, General J. Sir Hope Grant (his brother), Disraeli, Landseer, Macaulay, and Lockhart.--Ottley; Art Journal (1878), 232.

GRAN VASCO. See Fernandez Vasco.

GRANVELLA, NICHOLAS, portrait, Titian, Besançon Museum; canvas, figure to hips, large as life. The Chancellor, in state dress, with white beard falling to his chest; the chain of the Golden Fleece round his neck. Painted in Augsburg in 1548.--C. & C., Titian, ii. 183.

GRASHOF, OTTO, born at Prenzlau, Brandenburg, in 1812, died in Cologne, April 23, 1876. German school; history, genre, portrait, and animal painter, pupil of Düsseldorf Academy under Schadow; spent several years in Russia, visited Mexico, and the La Plata States in South America, and settled in 1845 at Cologne. He became blind in 1861. Works: Recha’s Salvation (1834); The Cid (1835); Guardian Angel (1845); Christ and Samaritan Woman (1846); Presenting the Sword, Wolves by Dead Horse (1847); Battle of Shumla, Vanguard of Lesgians (1848); Russian Bear Hunt; St. Wassily; Russian Pilgrims; Odalisque; Horses in Flight; Russian Invalid; Halt of Georgians; Till Eulenspiegel; Fight between Circassian and Russian; St. William; Scene from Nathan the Wise; Portrait of Franz Liszt. Many dog and horse portraits.--Kunst-Chronik, xi. 514.

GRASS, KARL GOTTHARD, born at Serben, Livonia, Oct. 8 (19), 1767, died in Rome, Aug. 4, 1814. Landscape painter, pupil in Zürich of Ludwig Hess, visited Paris in 1801 and with Rehfues went to Italy in 1803, where he spent considerable time in Sicily. Works: Spring Morning in Valley San Angelo di Brolo; Concordia Temple near Girgenti; Falls of Carcacci under Mt. Etna; Idyl after Theocritus; Two views of Mt. Etna (1811).--Brockhaus, viii. 303; Tielemann, Karl Grass (Riga, 1818).

GRASSHOPPER AND ANT (Cigale et la Fourmi), Jehan Georges Vibert, Comte de Camondo, Paris. Illustration of La Fontaine, Fables, i. 1. Salon, 1875.

GRASSI, JOSEF, born in Vienna, April 22, 1757, died in Dresden, Jan. 7, 1838. German school; portrait and history painter, pupil of Vienna Academy; was in Warsaw during the revolution of 1793, and underwent great perils, but escaped by the aid of Kosciuszko. Went by invitation of the Duke of Courland to Sagan, and thence to Dresden, where in 1799 he became professor at the Academy. In 1816–21 was in Rome as director of the Saxon art pensionaries. Distinguished and decorated by the King of Saxony and the Duke of Gotha; also member of several Academies. Works: St. John Baptist, St. Peter, Dresden Gallery; The Arcadians, Callisto asleep, St. Ann instructing the Virgin, Female Figure walking, Fairy on Chariot, Portrait of Duke Frederic IV. of Saxe-Gotha, do. of Minister von Lindenau (1814), and copies after Albani, Correggio, and Raphael, Gotha Gallery.--Allgem. d. Biogr., ix. 592; Wurzbach, v. 314.

GRATELLA. See Filippi, Sebastiano.

GRAY, HENRY PETERS, born in New York, June 23, 1819, died there, Nov. 12, 1877. Portrait and genre painter, pupil of Huntington. Visited Europe in 1840, studied in Rome and Venice; went abroad again in 1846, and to Florence in 1871, remaining four years. Elected N.A. in 1842, President of National Academy from 1869 to 1871. Works: Pride of the Village, R. M. Olyphant; Wages of War, Metropolitan Museum, New York; Portrait of William Cullen Bryant, Historical Society, ib.; Cupid begging his Arrow, Pennsylvania Academy, Philadelphia; Judgment of Paris, Corcoran Gallery, Washington; Twilight Musings; Blessed are the Pure in Heart; Truth; Ophelia; Normandy Girl; Jessica or the Pride of the Rialto; Model from Cadore; Immortality of the Soul, Edwin Hoyt; Birth of our Flag (1875); Flower of Fiesole, Just Fifteen (1875), M. O. Roberts, New York; Apple of Discord (1876).--Tuckerman, 442.

GRAYSON, CLIFFORD PREVOST, born in Philadelphia in 1857. Genre painter, pupil of Pennsylvania Academy and in Paris of Gérôme. Works: Breton Idyl (1881); Going to Market (1882); Un fichu temps (1883); Ohe, le canot! (1884); Fisher-chilren at Concarneau (1885).--Art Journal (1884), 222.

GRAZIANI, ERCOLE, born at Bologna in 1688, died in 1765. Bolognese school. History painter, pupil of Donato Creti (1671–1749, a coronation of Charles V., by whom is in the Bologna Gallery), whom he surpassed in both design and colouring; painted a great number of pictures for public buildings at Bologna and Piacenza, and especially for the churches of Bologna. Works: St. Peter consecrating St. Apollinaris amidst an Assembly of Early Christians, Bologna; Marriage of St. Catherine, St. Ann teaching the Virgin to read, S. Bartolommeo di Reno, ib.; Ascension, Chiesa della Purità, ib.; Annunciation, Madonna delle Rondini, ib.; replica of first-named, and Baptism of Christ, Sant’Apollinare, Rome.

GREATOREX, ELIZA, born at Manor-Hamilton, Ireland, Dec. 25, 1820. Landscape painter; settled in New York in 1839. Pupil of Émile Lambinet in Paris, in 1861; earlier helped by the criticisms of Cafferty, W. W. Wotherspoon, and James M. Hart. Has visited Europe repeatedly. Elected an A.N.A. in 1868. Studio in New York. Works: Road Scene in Connecticut; Old House in Bloomingdale; Joy Bridge--Peltigor, Ireland; Amsterdam; Fort Hamilton--Long Island; Bay Ridge; Normandy Cottage (1881); Fontainebleau Forest, Cressonières-Veules en Caux (1882); Laurel Run--Virginia; Louis Philippe House in 1868--Bloomingdale, M. de Mendonça; Somerendyke Lake--Bloomingdale (1884). Kate and Eleanor, daughters of Mrs. Greatorex, also paint and exhibit at the National Academy; they have studied abroad and under their mother, whose studio they share. Miss Kate Greatorex has exhibited: Last Bit of Autumn (1875); Goethe’s Fountain--Frankfort (1876); Thistles (1877); Algerian Messenger Boy (1882); Hollyhocks (1883). From Yuba’s Kitchen--Ober Ammergau, was exhibited by Miss E. Greatorex in 1876, and The Bath in 1884.--Am. Art Rev. (1881), 12.

GREBBER, FRANS PIETERSZ DE, born at Haarlem in 1570 or 1579 (?), died there in 1649. Dutch school; history and portrait painter, pupil of Jacques Savery. Dean of the guild at Haarlem in 1627. Works: Four Banquets of City Guard Officers (1600, 1610, 1619), Haarlem Museum; Lot and his Daughters (?), Schwerin Gallery.--Allgem. d. Biogr., ix. 618; Schlie, 220; Van der Willigen, 135.

GREBBER, PIETER DE, born at Haarlem in 1600, died after 1665. Dutch school; history and portrait painter, son and pupil of Frans Pietersz and scholar of H. Goltzius. His pictures recall Rubens and Lastmann. Works: The Shepherds (1628), Works of Charity (1628), Barbarossa and the Patriarch of Haarlem (1630), Hippocrates refusing the Presents of Artaxerxes (1637), Haarlem Museum; The Apostles giving Alms to the Poor, Oudemannenhuys, Haarlem; Jacob receiving from his Sons the Bloody Garment of Joseph, City Hall, Haarlem; Portraits (3), Moses in the Bulrushes (1634), Dresden Museum; Heraclitus and Democritus, Oldenburg Gallery.--Allgem. d. Biogr., ix. 618; Van der Willigen, 137; Rembrandt, ses Précurseurs, etc., 76.

GRECHETTO, IL. See Castiglione, Giovanni Benedetto.

GRECO, EL, born in Greece (or in Venice of Greek parents?) about 1548, died in Toledo in 1625. Spanish school; Real name Domenico Theotocopuli (Teoscopoli); surnamed in Venice, where he studied under Titian, Il Greco (The Greek). Settled at Toledo about 1577, and became known by an altarpiece, Parting of Christ’s Raiment, in the sacristy of the cathedral, quite in Titian’s style. Called to Madrid to paint at the Escorial by Philip II. His best work is the Burial of the Count of Orgaz, S. Tomé, Toledo. Later he adopted a grayish style of colouring, and greatly deteriorated. He left some good portraits. Works: Dead Christ in the Arms of God the Father, St. Paul, Crucifixion, Annunciation, Holy Family, Baptism of Christ, Male Portraits (8), Madrid Museum.--Stirling, i. 276; Viardot, 107; Ch. Blanc, École espagnole.

GREENGROCER, Gerard Dou, Louvre, Paris; wood, H. 1 ft. 3 in. × 9 in.; signed, dated 1647. At right, a woman, the greengrocer, standing behind a table holding balances in her hand; on other side of table, an old woman counting money; a young servant with a wooden pail, and a boy carrying a vase. The whole is seen through a window, on the sill of which are vegetables and a jug. Beunengen sale, Amsterdam (1716), 1,200 florins; Backer sale, Leyden (1766), 7,150 florins; Randon de Boisset sale (1777), 15,500 livres; Comte de Vaudreuil sale (1784), 16,901 livres; Duc de Praslin sale (1793), 34,850 livres. Engraved by Dambrun.--Filhol, v. Pl. 356.

GREENHILL, JOHN, born at Salisbury in 1649, died in London, May 19, 1676. Pupil of Sir Peter Lely, whose style he imitated both in oil and crayons. Left a few fine portraits, but dissolute habits injured his reputation. Died suddenly by an accidental fall in Long Acre. Works: Bishop Seth Ward, Town Hall, Salisbury; Charles II., Earl of Shaftesbury, National Portrait Gallery, London.--Redgrave; F. de Conches, 60.

GREFE, KONRAD, born in Vienna, Sept. 7, 1823. Landscape painter, pupil of Schindler, then of Vienna Academy under Mössmer and Gsellhofer, but studied chiefly from nature; devoted himself for several years to etching, and since 1855 has painted in water-colours the mediæval churches of Austria. Works: Woodland in Fog, Sunset (1852); Ruin in Park of Schönbrunn, View near the Schneeberg (1853); Ruins near Hainburg, Evening Landscape (1855); Old Jewish Cemetery at Prague (1856); Deserted Mill (1858); Storm Landscape (1859).--Wurzbach, v. 321.

GREGORY, EDWARD JOHN, born at Southampton in 1850. Portrait and landscape painter, pupil of Southampton and South Kensington Art Schools. Elected member of Institute of Painters in Water Colours, where he exhibited his St. George in 1876. First exhibited at Royal Academy in 1875; elected an A.R.A. in 1883. Visited Italy in 1882. Works: Portrait of Duncan McLaren, M.P. (1877); Portrait of Rev. Thomas Stevens (1879); The Signal, A Rehearsal (1882); Piccadilly--Drawing-Room Day, Grand Canal--Venice, Boat-Builder’s Yard--Venice, Gates of Arsenal--Venice, Cà d’Oro--Venice (1883); Startled, Fishing in Marlow Backwater (1884).--Art Journal (1883), 95; Portfolio (1878), 161; Mag. of Art (1884), 353.

GREGORY PROMULGATING THE DECRETALS, Raphael, Camera della Segnatura, Vatican; fresco, right of window. Pope Gregory IX. (portrait of Julius II.) seated, blessing the Decretals, which he hands to a kneeling jurist of the Consistory; among the prelates around him are Giovanni de’ Medici (Leo X.), Alessandro Farnese (Paul III.), and Antonio del Monte. Illustrates the consecration of Canon Law; companion piece to Justinian promulgating the Pandects. Painted in 1511. Engraved by Fr. Aquila; Giangiacomo.--Passavant, ii. 87; Müntz, 345; Vasari, ed. Mil., iv. 337.

GREGORY, ST., MIRACLE OF, Andrea Sacchi, Vatican; figures life-size. Some ambassadors desiring to carry certain relics into their country were given by Gregory the Great a vase containing cloths which had touched the bodies of saints. They having expressed dissatisfaction at the gift, Gregory took one of the cloths, and, piercing it, showed them, to their astonishment, drops of blood falling from it. Carried to Paris in 1799; returned in 1815.--Landon, Musée, 2d Col., ii. Pl. 41.

GREGORY, ST., SUPPER OF, Giorgio Vasari, Bologna Gallery; wood, H. 12 ft. 2 in. × 8 ft. 4 in.; signed, dated 1540. Pope Gregory I. (the Great) always had twelve poor men to sup with him; but one night he saw thirteen at the table, though his steward could count but twelve, and he believed the odd one to be Christ himself. The picture represents this scene. Formerly in refectory of monastery of S. Michele in Bosco. Engraved by G. Tomba.--Pinac. di Bologna, Pl. 19; Vasari, ed. Mil., vii. 664.

GREIL, ALOIS, born at Linz, Upper Austria, in 1841. Genre painter and illustrator, pupil of Vienna Academy under Christian Ruben; lived alternately in Southern Germany and Upper Austria, and in 1873 settled in Vienna. His water-colours fetch high prices, and are to be found in many private galleries. Works: Imperial Huszars marching through Suabian Country Town (1880); School Examination (1882); Knight Drama (1883).--Neue illustr. Zeitg. (1881), i. 27; (1882), i. 8, 14; (1883), i. 3.

GRENIER DE SAINT MARTIN, FRANÇOIS (Francisque Martin Grenier), born in Paris, July 22, 1793, died there, Dec. 21, 1867. History and genre painter, pupil of Pierre Guérin, of David, and of the École des Beaux Arts. He was a skilful genre painter, and several of his works have been engraved. Medals: 2d class, 1810: 1st class, 1834; L. of Honour, 1841. Works: Atala Dying (1810); St. Geneviève allaying a Storm (1822, 1827); Sentinel by a Gabion (1822), Montpellier Museum; Battle of Campillo de Arenas (1823); Surrender of Ulm (1831); Little Peasants surprised by a Wolf (1833), Nantes Museum; Little Thieves arrested by a Gamekeeper, Old Vagabond (1834); Marriage Proposals (1836); Battle of Muga (1838), Incident in Battle of Austerlitz (1840), Versailles Museum; Stolen Child (1841), Rodez Museum; Napoleon’s Farewell to his Son (1844); Smuggler (1848); Poacher asleep in his Hiding-Place (1855); Rabbit Hunt (1857), Marseilles Museum; Country Doctor (1859); A Discovery (1863); Young Mother (1864); The Brook (1865). His sons, Henri Gustave and Théophile Yves René, were also painters.--Bellier de la Chavignerie, i. 693; Meyer, Gesch., 158.

GRETCHEN. See Marguerite.

GREUZE, JEAN BAPTISTE, born at Tournus (Saône-et-Loire), Aug. 21, 1725, died in Paris, March 21, 1805. French school; genre and portrait painter, pupil in Lyons of Grandon, and in Paris of the Academy in 1755. His picture of the Father reading the Bible to his Children was exhibited and greatly admired in the same year, at the close of which he was taken to Italy by the Abbé Goujenot. After his return he exhibited at the Salons of 1757, 1759, and 1761, at which latter his Accordée du Village (Louvre) excited the greatest enthusiasm. Angry at being received into the Academy (1767) as a genre and not as a history painter, Greuze retired for a time to Anjou, whence he returned to exhibit pictures in his studio which attracted all Paris. He amassed a large fortune, but lost it at the Revolution. Neglected by the public, which admired only the new school of David, Greuze passed his last years in misery and regret. His wife, Mlle. Babuty, whose charming face appears in so many of his pictures, was an extravagant and worthless woman, from whom he was separated long before his death. Works: Septimius Severus reproaching Caracalla (1769), Village Bride (1761), Broken Pitcher, Father’s Curse, Punished Son, Portrait of Greuze (1761), Portrait of the Painter Jeaurat (1769), two studies of Young Girls, Head of Young Girl, do. of Young Man, Danaë, Artist’s and two other portraits, Louvre, Paris; Pelotonneuse, Inconsolable Widow, Female Portrait, two Children’s Heads, Duc de Morny, ib.; Return from Tavern, Little Lazy One, Madeleine, and others, Baron Rothschild, ib.; Triumph of Galatea, Study of a Child, Aix Museum; Lady with Spaniel, Angers Museum; Boy’s Portrait, Girl’s Head, Besançon Museum; Male Portrait, Cherbourg Museum; Psyche crowning Love, Lille Museum; Artist’s Portrait, Lyons Museum; Male Portrait, Marseilles Museum; Danaë, Bacchante, Boy’s Bust, Male Portrait, Metz Museum; Morning Prayer, Twelfth Cake (1774), Little Mathematician, The Paralytic, Idle Child (1755), six studies of Girls, Montpellier Museum; Portraits of M. de St. Maurice and Son, Nantes Museum; Girl’s Head, Narbonne Museum; Old Woman’s Head, Nîmes Museum; Male Portrait (1776), Troyes Museum; Napoleon as Consul, Portrait of Fontenelle (1793), Versailles Museum; Old Woman with Crutch, Madrid Museum; Girl with Apple, two studies of Girls, National Gallery, London; La Trompette, two studies of Girls, Buckingham Palace, ib.; Innocence, Portrait of Artist’s Mother, South Kensington Museum, ib.; Innocence, Girl with Doves, Reflections, Sir R. Wallace, ib.; Throwing a Kiss, Young Girl with Watch, The Letter, Baron Alfred de Rothschild, ib.; Portraits of Madame de Pompadour and of Louis XVI., Hampton Court Palace; Beggar Boy, Fitzwilliam Museum, Cambridge; Interior of Peasant Cottage, Girl with Dead Canary, Boy with Lesson Book, two studies of Girls, National Gallery, Edinburgh; Child’s Head, Sulky Boy, Glasgow Gallery; Young Woman and Child, Rotterdam Museum; Portrait of Louis XVI., Carlsruhe Gallery; Emperor Caracalla, Gotha Museum; Young Girl, Old Pinakothek, Munich; do. (1787), Berlin Museum; do., Leipsic Museum; Father reading the Bible to his Children (1755), Dresden Museum; Paralytic with his Children, Young Girl, Boy with School-book, Male Portrait, Hermitage, St. Petersburg; Girl with Doll, Academy, ib.; nine pictures in Leuchtenberg Gallery, ib.; Five Studies of Heads, Academy, Vienna; Others in Liechtenstein Gallery, ib.; Contemplation, Accademia San Luca, Rome; Study for Head in Father’s Curse, Museum, New York; Nymph of Diana, Portrait of Louis XVII., do. of Duc de Choiseul, Replica of L’Aveugle trompé, Virginie, two Female Heads, Historical Society, ib. Nearly all of his works have been engraved.--Bellier de la Chavignerie, i. 695; Ch. Blanc, École française; Dohme; Gautier, Guide au Louvre, 184; Gaz. des B. Arts (1860), vii. 349; viii. 195, 236; (1862), xiii. 401, 512; (1870), iv. 277; (1874), x. 193; (1877), xvi. 201; Goncourt, L’art du XVIII. Siècle, i. 291; Houssaye, Gal. du XVIII. Siècle, iv. 161; Jal, 658; Meyer, Gesch., 7; Renouvier, Hist. de l’art pendant la Revol., etc. (Paris, 1863); Wurzbach, Fr. Maler des XVIII. Jahrh., 35; Zeitschr. f. b. K., xx. 251.

GRÉVEDON, (PIERRE LOUIS) called HENRI, born in Paris, Oct. 17, 1776, died there, June 1, 1860. Portrait painter and lithographer, pupil of Regnault. After exhibiting (1804) a picture of Achilles landing on the Shores of Troy, for which he received a first-class medal, he spent several years in St. Petersburg, where he painted many flattered portraits, and was made Member of the Academy. In 1812 he went to Stockholm, then painted portraits in England, and after his return to France in 1816 became popular as a lithographer. Medals: 2d class, 1824; 1st class, 1831; L. of Honour, 1832.--Bellier de la Chavignerie, i. 697.

GREVEN, ANTON, born in Cologne in 1810, died there in 1838. Portrait and genre painter, studied in Düsseldorf and Munich. Works: Drinking Monks; Coffee-Drinkers; Knight and his Sweetheart; Count Eberhard the Rauschebart, The Toper (1834).

GREY, LADY JANE, EXECUTION OF, Paul Delaroche, H. W. Eaton, M. P., London; canvas. Beheading of Lady Jane Grey in the Tower of London, February 12, 1554. She is kneeling upon the scaffold beside the block, her eyes bandaged, her hands extended, while a priest encircles her form with his arm and whispers consolation; at right, the executioner, standing, holding his axe; at left, two women overwhelmed with grief. Painted in 1834. Bought at San Donato sale (1868), 110,000 francs. Engraved by P. Mercury.--L’Illustration (1870), i. 100.

GRIEF. See Gryeff.

GRIEN or GRÜN. See Baldung.

GRIEPENKERL, CHRISTIAN, born at Oldenburg, March 17, 1839. History and portrait painter, pupil in Vienna of Rahl; a masterly colourist, with a predominant fancy for allegories; executed decorations in the Vienna Opera House with Bitterlich after Rahl’s compositions, then in 1878 in the Augusteum at Oldenburg, afterwards in the Academy of Science at Athens, and in the new Houses of Parliament in Vienna. Professor at Vienna Academy since 1875. Works: Œdipus led by Antigone, Scenes from Anacreon, Baron Todesco, Vienna; Myth of Orpheus, Opera House, ib.; Coronation of Esther, Sentence of Haman, Palais Ephrussi, ib.; Poseidon’s Wedding Procession, Demons of Storm, Guardian Spirits of the Sea, Baron Sina, Venice; Wedding of Aphrodite and Adonis, Villa Simon, Hietzing, near Vienna; Venus Urania, Genii of Truth and Fancy, Myth of Prometheus, Allegorical Figures of Plastic Art (1878), Augusteum, Oldenburg; Myth of Prometheus, Academy of Science, Athens; thirteen pictures from Antique Mythology and History, House of Lords, Vienna.--Brockhaus, viii. 417; Illustr. Zeitg. (1865); Kunst-Chronik, i.-iv.; xx. 755; Müller, 217.

GRIFFIER, JAN, born in Amsterdam in 1656, died in London in 1718. Dutch school; landscape painter, pupil of Roeland Rogman, in whose atelier he became acquainted with Rembrandt, Ruysdael, Adriaan van de Velde, and Lingelbach. In 1667 he went to London, where he painted Italian landscapes with ruins, and views of the Thames. As the latter found great favour, he bought a vessel in 1695 and sailed about between Windsor and Gravesend in order to study coast scenery. In 1695 he sailed for Rotterdam, but was wrecked and lost all his property. Nevertheless, he bought a new vessel and again cruised from place to place to paint. In 1787 he returned to England, where his pictures were greatly valued. Works: Ruins, View of Windsor Castle, Hampton Court Palace; Landscape, Fitzwilliam Museum, Cambridge; View on the Rhine (2), Louvre, Paris; do. Bordeaux Museum; River View, Amsterdam Museum; Landscapes (2), Stuttgart Gallery; do. (2), Augsburg Gallery; do. (2), Brunswick Museum; Winter Landscape near Leyden, with Skaters, Gotha Museum; do. (15), Dresden Gallery; Soldiers crossing a River, Stockholm Museum; Rhine Views (2), Vienna Museum; Landscape, Hermitage, St. Petersburg. His younger son, Jan (died about 1750), was noted as a copyist of Claude Lorrain.--Ch. Blanc, École hollandaise; Immerzeel, i. 285; Kramm, ii. 604; Quellenschriften, xiv. 425.

GRIFFIER, ROBERT, born in London, Oct. 7, 1688, died there or in Amsterdam in 1750. Dutch school; son and pupil of Jan Griffier, whom he often surpassed in painting Rhine views, marines, and battle pieces. He had an extraordinary talent for imitation, and deceived even connoisseurs with his clever copies after Wouwerman, Van de Velde, and Saft Leven. Works: Landscape, Amsterdam Museum; do., Darmstadt Museum; do., Schwerin Gallery; do., Hermitage, St. Petersburg.--Immerzeel, i. 296.

GRIGOLETTI, MICHEL ANGIOLO, born at Rorai-grande di Pordenone, Aug. 29, 1801, died in Venice, Feb. 10, 1870. History painter, pupil of Venice Academy. Visited Florence and Rome, and settled in Venice, where in 1839 he became professor at the Academy. His works, distinguished for their fine colouring, recall the old Venetian masters. Works: Jupiter caressing Love (1825); Last Interview of the two Foscari, Museum, Vienna; St. James and St. Joseph, Liechtenstein Gallery, ib.; Francesca da Rimini; Odalisques at the Bath; Jacob receiving Joseph; St. Paul preaching at Ephesus; Prodigal Son; Madonna, St. Anthony’s, Trieste; Christ on Sea of Galilee, Brescia Cathedral; Altarpieces for Cathedrals of Erlau and Arad, and Assumption (1846) for Cathedral of Gran, Hungary.--Wurzbach, v. 336.

GRIJFF. See Gryeff.

GRIMALDI, GIOVANNI FRANCESCO, born at Bologna in 1606, died in Rome in 1680. Bolognese school. Called sometimes Il Bolognese. Pupil of the Carracci; became one of the leading landscape painters of his day. Employed many years in Rome by different popes, and in Paris by Cardinal Mazarin and Louis XIV. Works: Scenes from Old Testament, Quirinal, Rome; Series of Landscapes, Palazzo Borghese, ib.; Landscapes with Figures (2), Washerwomen, Louvre, Paris; Landscapes, Bibliothèque nationale, ib.; do., National Gallery, Edinburgh; Baptism of Christ, Darmstadt Museum.--Lanzi, iii. 132; Ch. Blanc, École bolonaise; Burckhardt, 764, 808.

GRIMANI, ANTONIO, Doge, portrait, Titian, Palazzo Giustiniani, Padua; canvas, H. 3 ft. 10 in. × 3 ft. 3 in. Painted in 1521; in Titian’s house till his death; sold in 1581 by Pomponio Vecelli to Cristoforo Barberigo, and inherited by Count Giustiniani. Another, painted same time, in possession of Mr. De Rosenberg, Vienna; and a third, also same date, in Morosini-Gattersburg Collection, Vienna.--C. & C., Titian, i. 243.

GRIMANI, DOGE, KNEELING BEFORE FAITH. See Fede.

GRIMER, ABEL, born at Antwerp about 1575, died there before 1619. Flemish school; history and landscape painter, son and pupil of Jacob Grimer; master of the guild in 1592. Works: Christ bearing the Cross (1593); Skaters under the Bridge of Sint Jorispoort--Antwerp (1604), Th. van Lerius, Antwerp; Christ with Martha and Mary (1614), Brussels Museum.--Van den Branden, 300.

GRIMER, JACOB, born at Antwerp about 1526, died there before May, 1590. Flemish school; landscape painter, pupil of Gabriel Bouwens, Matthys Cock, and Christiaan van den Queeckborne; master of the guild in 1547. One of the best landscape painters of his time. Works: View of the Kiel at Antwerp (1575), City Hall, Antwerp; Village Kirmess (1586), Th. van Lerius, ib.; Legend of St. Eustace, Brussels Museum; Christ and the Adulteress, Ghent Museum.--Rooses (Reber), 116; Van den Branden, 297.

GRIMM, LUDWIG EMIL, born at Hanau, May 14, 1790, died at Cassel, April 4, 1863. History, genre, and portrait painter, pupil in Munich of Karl Hess; took part in the campaign of 1814 against France, returned to Cassel, and in 1815 spent some time in Munich. Visited Italy in 1816, and then settled in Cassel, where he became professor at the Academy in 1833. Works: Madonna (1818); Holy Family; Baptism of the Moors; Death of St. Elizabeth; Hessian Peasant Girl in Sunday Attire; Young Peasant Girl going to Church; Peasant Woman at a Grave; Portraits of Artist, of Ludwig Hassenpflug, Baron von Dörnberg, Clemens Brentano.--Allgem. d. Biogr., ix. 689; Andresen, v. 117.

GRIMMER, HANS, German school, 16th century. Portrait painter, pupil at Mentz of Matthias Grünewald. Works: Altar wings, Städel Gallery, Frankfort; Portraits (1570), Vienna Museum; do., Ratisbon Gallery; Male and Female Portrait, Germanic Museum, Nuremberg.--Kugler (Crowe), i. 188; W. & W., ii. 440.

GRIMOU (Grimoux, or Grimoud), ALEXIS (Jean?), born at Romont, Switzerland, about 1680, died in Paris about 1740. French school. Trained himself by copying works of Van Dyck and Rembrandt; painted mostly female half figures, represented as singing or playing, or as pilgrims. Received into the Academy in 1705, but struck off the list in 1709 on account of his habitual drunkenness and disorderly life. Works: Portrait of Himself (1724), Man Drinking (1724), Young Officer (2), Female Pilgrim (1729), Louvre; Mme. Lebaïf, Versailles Museum; Portrait of Little Girl, Nîmes Museum; Young Woman, David and Goliath, Besançon Museum; Female Portraits (3), Avignon Museum; Capuchin, Young Pilgrim, Female Musician, Bordeaux Museum; Head of a Young Man, Grenoble Museum; Portrait of an Architect, Nantes Museum; do. of an Actor, Orléans Museum; Artist’s portrait, Perpignan Museum; Girl as Page, Basle Museum; Female Portraits (2, 1731), Carlsruhe Gallery; Portrait of Young Man, Städel Gallery, Frankfort; Boy playing a Flute, Dresden Museum; Portrait of a Woman, Dulwich Gallery; copy of Murillo’s Good Shepherd, Lord Ellesmere; Woman holding a Mask, M. Furtado; Head of a Young Woman, M. Adolphe Fould.--Bellier de la Chavignerie, i. 699; Ch. Blanc, École française; Lejeune, Guide, i. 422; Mariette, Abecedario, 2.

GRISWOLD, C. C., born in Ohio in 1834. Landscape painter, formerly had a studio in New York; has lived several years in Rome. Elected an A.N.A. in 1866, and N.A. in 1867. Works: Autumnal Scene, December, Last of the Ice (1864); Winter Morning (1865); August Day--Newport (1866); Early Spring (1869); Purgatory Point, Newport, Seaside Landscape (1870); Lago de Nemi (1874); Ponte Nolle across the Tiber (1878), E. B. Haskell; View on the Hudson, J. J. Astor, New York.

GRITTI, ANDREA, Doge, portrait, Titian, Palazzo Giustiniani, Padua; canvas, H. 3 ft. 11½ in. × 3 ft. 3 in. Painted in 1524; in Titian’s house until his death; sold in 1581 by Pomponio Vecelli to Cristoforo Barberigo; thence passed by inheritance to Count Giustiniani. Many replicas by Titian; copies by Pordenone in Czernin Collection, Vienna, by Tintoretto in Hermitage, St. Petersburg, and by Rubens, exhibited in Royal Academy, London, 1870.--C. & C., Titian, i. 299; Ridolfi, Maraviglie, i. 262; Vasari, ed. Mil., vii. 438.

GROB, KONRAD, born at Andelfingen, Switzerland, in 1828. Genre painter, pupil of Munich Academy under Ramberg, after he had studied (1842–45) the elements of art in Winterthur, and spent many years in Italy. Works: Captured Mouse (1870); Italian Beggar Children; Painting a Peasant Girl; Painter on Study Trip, Zürich Gallery; Visit on the Ladder; Sunday Afternoon in Switzerland; Father Pestalozzi (1879), Basle Museum. Müller, 218; Kunst-Chronik, xi.; Zeitschr., xii. (Mittheilungen, v. 10).

GRÖGER, FRIEDRICH KARL, born at Ploen, Holstein, Oct. 14, 1766, died in Hamburg, Nov. 9, 1838. Portrait painter, self-taught. In 1789 he went with Aldenrath to Berlin, frequented the Academy for some time, then went to Hamburg, and in 1798 studied in Dresden. Painted for several years in Kiel and Copenhagen, and finally settled in Hamburg. Works: Portrait of the Artist, Dresden Gallery; Portraits of Man and Wife (1829), Portrait of Pastor Klefeker, do. of Aldenrath, do. of himself, his adopted daughter, and Aldenrath (conjointly with the latter), Kunsthalle, Hamburg; others in Lübeck, Kiel, Copenhagen Galleries.--Allgem. d. Biogr., ix. 708; Weilbach, 213.

GRÖNLAND, THEUDE, born at Altona, Aug. 31, 1817, died in Berlin, April 16, 1876. Landscape and still-life painter, pupil of Copenhagen Academy; lived then for three years in Italy, as long in England, and twenty-five years in Paris. Settled in 1868 in Berlin, where he had many pupils. Member of Copenhagen Academy. Medals: Paris, 1st class, 1848; 2d class, 1855. Work, Fruit-piece, National Gallery, Berlin. His son, René, born in Paris, Oct. 3, 1849, painted similar subjects.--Weilbach, 213; Jordan, 108; Rosenberg, Berl. Malersch., 352.

GRÖNVOLD, MARCUS, born at Bergen, Norway, July 5, 1845. Portrait and genre painter, pupil of Copenhagen and of Munich Academies, and studied from 1870 to 1878 under Wilhelm Diez, Otto Seitz, and Piloty; won several medals, visited Italy in 1874, Berlin and Düsseldorf in 1876, and Paris in 1878; member of jury at Düsseldorf Exhibition in 1880. Works: The Burgomaster; Consolation; Uninvited Guests; Poachers; Sunday Morning; Scene from Saga of Wieland the Smith, Cologne Museum; Portrait of Knut Baade.--Illustr. Zeitg. (1881), i. 41; Müller, 218; Leixner, D. mod. K., ii. 79.

GROS, ANTOINE JEAN, Baron, born in Paris, March 16, 1771, died there, June 27, 1835. History and portrait painter, son of Jean Antoine, miniature painter, and pupil of David; competed unsuccessfully for the prix de Rome in 1792, supported himself by painting portraits, and in 1793 went to Italy. In 1796 he was presented to General Bonaparte at Milan, and obtained his favour by painting him on the bridge at Arcole. The General had the picture engraved by Longhi, gave the plate to Gros, appointed him review inspector, and put him on the commission charged to select works of art to be sent to France. In 1799 he escaped from Genoa on an English ship, arrived half dead at Antibes, and in 1801 gained at Paris a competition prize for a sketch of Battle of Nazareth, an historical picture never executed. Up to 1812, he painted battles of the Empire and portraits, then was commissioned to paint the cupola of St. Geneviève, which he finished in 1824, when he was ennobled. In 1815 directed the school of David during that painter’s exile; in 1816 named member of the Institute, counsellor of Royal Museum, professor of École des Beaux Arts; 1819, Order of San Michel; 1828, L. of Honour. His portrait of Charles X. (1827), some ceilings at the Louvre, and a Hercules exhibited in 1835, were so severely criticised that Gros fell into a state of melancholy and drowned himself. Between 1816 and 1835 he had formed more than four hundred pupils. Works: Girl Bathing (1791), Female Portrait, Besançon Museum; Female Portrait (1798), Marseilles Museum; Battle of Nazareth (1801, sketch), Nantes Museum; Plague of Jaffa (1804), Battlefield of Eylau (1808), Francis I. and Charles V. visiting the Tombs in St. Denis (1812), Louvre, Paris; Battle of Aboukir (1806), Capitulation of Madrid, Battle of the Pyramids (1810), Interview between Napoleon and Emperor of Austria (1812), Louis XVIII. quitting the Tuileries in 1815 (1817), Charles X. at the Camp of Reims (1827), portraits of Masséna and Duc de Bellune, Eugène Beauharnais, King Jerome (1808), Marshal Duroc, Count Daru, General Count Fournier-Sarlovèse (1812), of himself, Versailles Museum; Embarcation of Duchesse d’Angoulême (1819), Bordeaux Museum; Venus and Cupid (1832), Hercules and Diomedes (1835), Portraits of himself and Madame Gros, Toulouse Museum; eleven miniatures, Montpellier Museum; Portrait of Marshal Duroc, Nancy Museum; Portraits of Napoleon, King of Westphalia, King of Naples, Louis XVIII., Charles X., and many contemporary persons of note.--Delestre, Gros, Vie et Œuvres; Bellier de la Chavignerie, i. 702; Ch. Blanc, École française; Villot, Cat. Louvre; Clusman; Chesneau, Chefs d’École (Paris, 1883); Meyer, Gesch., 109; Kunstblatt (1835), No. 71–73.

GROS, LUCIEN ALPHONSE, born at Wesserling (Alsace); contemporary. Genre painter, pupil of Meissonier; his pictures are well-drawn and characteristic. Medals: 1867; 2d class, 1876. Works: The Miseries of War (1873); The Arquebusier, Fishing with a Line, Cloister of St. Barthelemy at Nice (1874); Conspirators against Cardinal Mazarin, A Smoker, House of a Peasant near Nice (1875); Sitting for a Portrait (1876); Lying-in-Wait, The Critic (1878); The Blow with the Spur (1879); Pergolese in Vernet’s Studio (1880); Two Philosophers, A Gentleman (1881); Maurice of Nassau (1884).

GROSCLAUDE, LOUIS, born at Locle, Switzerland, Sept. 26, 1788, died in Paris, Dec. 11, 1869. Genre painter, pupil of Regnault; widely known through his agreeably-composed and well-coloured pictures. Associate member of the Berlin Academy, 1827. Medals: 3d class, 1835; 2d class, 1838; 1st class, 1845; 1st class at Geneva and Brussels. Works: The Drinkers (1827); Soap Bubbles (1833); Toast to the Vintage of 1834 (1835); Military Salute (1837); The Little Breakfast (1838); Fortune-Teller (1839); Three Gossips (1841); Marino Faliero (1842), Drinker (1846), Neuchâtel Museum; Magdalen (1845), Collection of Duke of Treviso; Norma (1845); Saint Cecilia (1848); Reading the News of the Capture of the Malakoff, Two Little Friends (1859); Interior of a Stable near Geneva (1864); Departure of the Enrolled (1869), Musée Rath, Geneva.--Bellier de la Chavignerie, i. 703.

GROSS, RICHARD, born in Munich in 1848. Portrait and figure painter; taken to America in childhood; pupil of the National Academy schools, New York, and studied in Munich. Bronze medal, Royal Academy, Bavaria. Studio in Munich (1882). Works: Savant; Old Nuremberg; Lady of Shalott; Portrait of William Chambers, Lady of the 17th century (1879); Initial Painter (1882).

GROSSE, FRANZ THEODOR, born in Dresden, April 23, 1829. History and portrait painter, pupil of Dresden Academy under Bendemann, whom he assisted in the decoration of the Royal Palace, and then executed paintings in the Dresden Museum; went in 1858 to Florence, and in 1859 to Rome, where he studied Raphael. After his return he decorated (1864–71) the Loggia of the Leipsic Museum; became professor at the Dresden Academy in 1867. Works: Leda with the Swan (1852), Sketch for Curtain to Royal Theatre, Dante and Virgil (1879), Allegories in Cupola and Venetian Room (fresco, 1854), Dresden Museum; Scenes from History of House of Solms (1856–58), Castle Wildenfels; Abraham and the Angels (1862); Reign of Creative Power (1865–71, fresco), Leipsic Museum; Myth of Bacchus, cycle in fresco (1877), Foyer, New Theatre, Dresden; Science, Plato and Aristotle with their Disciples, Cicero (1885). Frescos: Aula, St. Afra’s School, Meissen; Apollo and Marsyas (1885).--Brockhaus, viii. 535; Illustr. Zeitg. (1872), i. 387; (1873), i. 124; Kunst-Chronik, xx. 700; xxi. 81.

GROTTGER, ARTHUR, born at Ottynowice, Galicia, Nov. 11, 1837, died at Amélie-les-Bains, Pyrenees, Dec. 13, 1867. History, genre, and portrait painter, pupil in Vienna of Karl Blaas; painted many excellent portraits, and, taking up political genre, attained renown through his able and original treatment of patriotic subjects. Works: Meeting of John Sobieski with Leopold I. (1859); Warsaw in seven scenes (1861); Poland in nine, and Lithuania in six pictures (1863); In the Valley of Tears--thirteen scenes (1865).--Allgem. d. Biogr., ix. 784; F. M. Aren, Arth. Grottger; Brockhaus, viii. 546; Illustr. Zeitg. (1866)--(1867)--; Wurzbach, xi. 420.

GROUX, CHARLES CORNEILLE AUGUSTE DE, born at Comines, West Flanders, in 1825, died March 30, 1870. History and genre painter, pupil of Brussels Academy under Navez. Medal, 1857; Order of Leopold, 1860. Works: The Idler; Ash Wednesday; Tavern-Brawl; Last Farewell; Sick Child; The Walk (1855); Saying Grace, Brussels Museum; Protestant Sermon; Death of Charles V.; Citizens of Calais before Edward III.; Pilgrimage; Alms; Doctor’s Visit; Decorations in Market Hall at Ypres.

GRUBER, FRANZ XAVER, born in Vienna, Sept. 28, 1801, died there, April 12, 1862. Flower painter, pupil of Vienna Academy, where he obtained four prizes, and of which he became professor in 1835. In 1839 he was made member of the Milan Academy. Works in the Museum, the Academy, and Imperial Library, Vienna. His brother, Karl Franz (1803–45), and his sister, Katharina (1807–59), were also able flower painters.--Allgem. d. Biogr., ix. 791; Wurzbach, v. 379.

GRUND, JOHANN, born in Vienna in 1808. History and genre painter, pupil of Vienna Academy, where he obtained two first prizes; went then to Munich, Düsseldorf, and Paris, lived for some time in Rome, settled in Carlsruhe, and afterwards in Baden-Baden. Works: Child and Guardian Angel (1835); Hungarian Tinker (1838); Bathing Girl (1840); Flight into Egypt, Italian Robber Asleep, Italian Woman and Child, Deborah, Carlsruhe Gallery; Roman Peasant Woman playing with her Child (1843), Vienna Museum; Invalid; Playing Sisters; Girl going to Nunnery; Country Parson’s Birthday; Group of three Young Girls (1853), Medea (1855), Last Rose (1865), Fürstenberg Gallery, Donaueschingen; Young Smokers; Margaret in Prison; Deborah; Judith; Hagar and Ishmael; Diana; Esther; Magdalen; Rebekah at the Well (1879); Ganymede (1885).--Müller, 220; Wurzbach, v. 398.

GRUND, NORBERT, born in Prague in 1714, died there in 1767. Genre painter, pupil in Vienna of Ferg; travelled in Germany and Upper Italy, and returned in 1741 to Prague, where he soon became the favourite and the most prolific painter of his time. His numerous excellent pictures, consisting of battle scenes, kirmesses, pastorals, and children’s play scenes, landscapes, and marines, are in private collections in Prague and in the castles of the Bohemian nobility. A Rural Dance, and A Banquet in a Garden, attributed to him, in the Dresden Gallery.--Allgem. d. Biogr., x. 34; Wurzbach, v. 397.

GRUNDMANN, OTTO, born in Dresden in 1848. Portrait and genre painter, studied under Professor Hübner and Van Lerius, and in Dresden, Antwerp, Düsseldorf, and Paris. In 1876 became one of the directors of the Boston Art Museum drawing and painting schools. Medal at Dresden. Paints chiefly interiors with figures, especially fishermen. Works: The Lorelei; Scene from Schiller’s Kabale und Liebe; Portrait of Rev. Dr. Waterston and of Franklin.

GRÜNENWALD, ALEXANDER, born in the Rosenau, near Coburg, March 22, 1849. Genre painter, pupil of Munich Academy under Strähuber, Anschütz, and Diez; studied especially the Dutch masters of genre; visited England in 1875. Works: Meeting after Boar-Hunt (1875); End of Card Game (1876); Lansquenets at Dice (1877); Retainer (1878).--Müller, 221.

GRÜNENWALD, JAKOB, born at Bünzwangen, Würtemberg, Sept. 30, 1821. History and genre painter, pupil of Stuttgart Art School under Dietrich and Neher; continued his studies in Munich, and became professor at the art-school of Stuttgart in 1875. Works: Christ healing the Sick; Bridal Couple at Grandmother’s; Shepherd’s Return; Hail-Storm (1865), Stuttgart Gallery; Interrupted Wedding Procession (1868); Return Home; German Family of 16th Century (1879); Surprised Gypsies; Battle of Sendling (fresco, 1863), National Museum, Munich.--Brockhaus, viii. 572; Kunst-Chronik, xiv. 78; Müller, 221.

GRÜNEWALD, MATTHIAS, born at Aschaffenburg, died there after 1520. German school; history painter, one of the great masters, styled by Sandrart the German Correggio, with whose works his show a striking affinity; lived in his native town and in Mentz the greater part of his life, but called by contemporaries Matthes von Aschaffenburg. Works: Altar of Isenheim, Colmar Museum; St. Lawrence, St. Cyriac, Frankfort Museum; Conversion of St. Maurice, Old Pinakothek, Munich; Resurrection, Basle Museum (lately contested); St. Anthony, Cologne Museum; Crucifixion, Schleissheim Gallery; Last Judgment, Germanic Museum, Nuremberg; several (recently verified), Vienna Museum.--Allgem. d. Biogr., x. 52; Ch. Blanc, École allemande; Dohme, 1i.; Förster, Denkmale, VIII. iii. 11; Kunstblatt (1841), 104; (1846), 32, 48; Kunst-Chronik, xv. 633; xvi. 721; Repertorium f. K., i. 411; vii. 133, 245; Woltmann, D. Kunst i. Elsass, 247; W. & W., ii. 436; Zeitschr. f. b. K., i. 257; vi. 138; viii. 321.

GRUSS, ANTON, born at Schaab, Bohemia, in 1804, died in Vienna in 1872. History painter, pupil of Prague Academy under Kadlik; became director of the Harrach Gallery in Vienna. Works: St. Aloysius (1839); St. Peter and St. Paul; Madonna; St. Wenceslaus; Last Judgment; Faith, Hope, and Love.--Allgem. d. Biogr., x. 66.

GRUSS, JOHANN, born at Schaab, Bohemia, Nov. 22, 1790, died in Leitmeritz, Aug. 8, 1855. History painter, pupil of Prague Academy; perfected himself by copying in the Prague and Dresden Galleries. Works: Great Altarpiece, Stadtkirche, Reichstadt; St. Philomena; St. Cecilia.--Allgem. d. Biogr., x. 67.

GRÜTZNER, EDUARD, born at Gross Carlowitz, Silesia, May 26, 1846. Genre painter, pupil of Munich Academy and of Piloty; devoted himself to humourous genre, and at once attained great success with his scenes from Shakespeare. Afterwards the amusing sides of monastic and hunting life became his principal themes. Professor at the Munich Academy. Gold medal, Berlin, 1872. Honorary Member of Munich Academy, 1885. Works: The Seven Arts; In the Convent Cellar; Tasting Wine; Sleepless Night; Falstaff at the Inn (1869); Tippling Scene from Ivanhoe; Falstaff reviewing his Recruits; Falstaff and Companions in Woods (1870); Scene from As You Like It; Scene in the Wardrobe, Scene from Merry Wives, Mephistopheles behind the Scene, Unmistakable Defeat (1873); Capuchin mending his Cowl; Difficult Choice; Ekkehard and the Cellarer; Hunter’s Cant (1874); Convent Brewery; Once and Now (1877); Humourous Reading in Convent Library (1879); Art Amateur in Curiosity Shop, Sunday Hunter (1880); Siesta in the Monastery, Bright as Gold (1881); Peasant Theatre (1882); Tavern Scene (1883); Monastic Hospitality, Silesian Tippler and the Devil (1884); The Convent Pike, In the Liquor Shop, Game of Tarock, Faust in Auerbach’s Cellar (1885); Abbe’s Weakness, Testing Wines, John D. Lankenau, Philadelphia.--Brockhaus, viii. 578; Illustr. Zeitg. (1874), i. 371; ii. 190; (1878), i. 7, 13; ii. 285; (1881), ii. 368; (1882), ii. 9, 608; (1884), i. 479; Deutsche illustr. Zeitg. (1885), i. 98; Die Kunst für Alle, i. 75; Kunst-Chronik, v. 122; ix. 240; x. 475; xix. 486; xx. 744; Müller, 222; Zeitschr. f. b. K., viii. 121; x. 31.

GRYEFF (Grief, Grijff), ADRIAAN DE, born at Antwerp (?) in 1670 (?), died at Brussels (?) in 1715. Flemish school; landscape, animal, and still-life painter in the manner of Jan Fyt. There is no evidence of his birth at Antwerp, where he appears first in 1689, when married; seems to have lived at Brussels until 1692, then settled at Antwerp, where he entered the guild in 1699. Said to have afterwards returned to Brussels. Works: Landscape with Dead Game, Huntsman and Dogs, Louvre, Paris; Dead Birds, Fruits and Vegetables, Lille Museum; Poultry, Dead Game, Cherbourg Museum; Dead Game (2), Rouen Museum; Hares and Partridges, Dijon Museum; Dogs and Dead Game (3), Basle Museum; Landscapes with Dead Game and Dogs (2), Poultry Yards (2), Hermitage, St. Petersburg; Allegory on War and Peace, New York Museum; Dogs and Game, Historical Society, New York; Rabbits and Fowl, Mrs. Joseph Harrison, Philadelphia.--Van den Branden, 1106.

GSELLHOFER, KARL, born in Vienna, Oct. 28, 1779, died there, May 17, 1858. History, portrait, landscape, and miniature painter, pupil of Vienna Academy under Füger; became professor there in 1819. Many of his landscapes are in the collections of the Imperial family.--Wurzbach, v. 403.

GUARDI, FRANCESCO, born in Venice in 1712, died in 1793. Venetian school; architecture and landscape painter, pupil and imitator of Canaletto; painted many views of Venice, which, though less precise in perspective and architectural detail than those of his master, are charming in style and execution. Works: View of Venice, S. M. de la Salute, Fête of Corpus Domini, Fête of Jeudi Gras, Procession of Doge to S. Zaccaria, Grand Hall in Palazzo Ducale, Louvre, Paris; Isle of S. Giorgio, Museo Civico, Venice; Views (2) in Venice, Verona Museum; Views in Venice (3), Bergamo Gallery; Grand Canal, Fondaco dei Tedeschi, Modena Museum; Interior of S. Marco, Brussels Museum; Views (2) in Venice, Nantes Museum; do. (4), Berlin Museum; View in Venice, Church and Piazza of S. Marco, National Gallery, London; View on the Grand Canal, Seven Views of Venice, Bridgewater Gallery, ib.; Church on Grand Canal, South Kensington Museum, ib.; Views in Venice, Fitzwilliam Museum, Cambridge; Church of San Giorgio, Piazetta of San Marco, Glasgow Gallery; The Doge’s State Barge, National Gallery, Dublin; The Rialto, Santa Maria della Salute--Venice, New York Museum.--Seguier; Wurzbach, vi. 7.

GUARIENTO DA PADUA, 14th century (1316–75). Venetian school. He painted frescos in the Eremitani, Padua, which, though much repainted, show that he inherited the Byzantine manner of the predecessors of Cimabue and Giotto. He was the first to adorn the Sala del Gran Consiglio, Venice, in 1365, with a Paradise, afterward replaced by Tintoretto. A Crucifixion by him is in the Pinacoteca, Bassano, and frescos in the choir of the Eremitani, Padua.--C. & C., Italy, ii. 252; Vasari, ed. Le Mon., vi. 86; xi. 333, N. 3; Ridolfi, Le Maraviglie dell’Arte (Venice, 1648), 27; Burckhardt, 521.

GUASTA, BENVENUTO DI GIOVANNI DI MEO DEL, died in 1517 (?). Sienese school. Described in a record of 1455 as employed in the baptistery of S. Giovanni, Siena, but his first extant picture (1466) is the Annunciation in S. Girolamo, Volterra. Its counterpart is in the sacristy of SS. Piero e Paulo at Buonconvento. Other of his pictures are in the Siena Academy, and in churches there. His hard and precise style somewhat resembles that of Il Vecchietta.--C. &. C., Italy, iii. 70; Vasari, ed. Le Mon., iv. 163; xi. 173; xii. 85; Lübke, Gesch. ital. Mal., i. 385.

GUASTO, MARQUIS DEL. See Avalos.

GUAY, GABRIEL, born in Paris; contemporary. Genre painter, pupil of Gérôme and of Lequien. Medal, 3d class, 1878. Works: Ulysses suspended over Charybdis (1873); Slumber, After the Ball (1874); In Carnival, Incorruptible (1876); In the absence of the Master, Latona and the Peasants (1877); The Levite of Ephraim (1878); The Tallianum during the Persecution (1880); Mater Amabilis, Souvenir de Veules (1881); La Source, Cosette (1882); Father Rabu, Mother Race (1884); The Wounded Dove (1885); Birth of Spring, Mrs. D. D. Colton, San Francisco.

GUDE, HANS FREDRIK, born in Christiania, March 13, 1825. Landscape and marine painter, pupil of Andreas Achenbach, and of Düsseldorf Academy under Schirmer; visited Norway in 1843–46, lived in Christiania in 1848–50, became professor at the Düsseldorf Academy in 1854; went to England in 1862, and to Carlsruhe in 1864 as professor at the art-school. Since 1880, professor at Berlin Academy. Member of Amsterdam, Rotterdam, Stockholm, Berlin, and Vienna Academies. Great gold medal in Berlin (1852 and 1860) and Weimar (1861). Medal, Paris, 2d class, 1855, 1861, 1867. Numerous Orders. Works: High Plain with Reindeer (1847); Bridal Procession on Hardanger Fjord (1848); Birch Wood (1848), Christiania Gallery; Four landscapes from Sogne (1849–50), Oscarshall, near Christiania; Night-Fishing in Norway (1851); Mountainous Landscape with Pine Wood (1852); Funeral in Sogne Fjord, Lledr Valley in Wales, Stockholm Museum; Norwegian Mountains; Mountain Shepherdesses with Herd; Fishermen in Evening Landscape; Summer Evening on Norwegian Lake (1851, figures by Tidemand), Norwegian Coast (1870), National Gallery, Berlin; Christiania Fjord (1857), Kunsthalle, Hamburg; Norwegian Harbour of Refuge (1873), Bremen Gallery; do., Carlsruhe Gallery; Calm-Sea, Cologne Museum; do., Stuttgart Gallery; Chiem Lake, Vienna Academy; Harbour of Christiania; Pilot-House on Norwegian Coast; View on Nether Rhine; Scotch Landscape (1878).--Illustr. Zeitg. (1882), i. 387; Kunst-Chronik, v. 124; W. Müller, Düsseldf. K., 311, 343; Wiegmann, 388; Zeitschr., vi. 176; xvi. 151; xxi. 40.

GUDIN, (JEAN ANTOINE) THÉODORE, born in Paris, Aug. 15, 1802, died at Boulogne-sur-Seine, April 11, 1880. Marine painter, pupil of Girodet-Trioson, but soon abandoned his style. His early and best pictures, landscapes, and marines, are fine in colour and bold in execution, but the later are tame and conventional in style. He was marine painter to the court under Louis Philippe and Napoleon III. Medals: 2d class, 1824; 1st class, 1848, 1855; L. of Honour, 1828; Officer, 1841; Commander, 1855. Works: Return of the Fishermen, Burning of the Kent (1827); Rescue of the Passengers of the Colomb, Frigate Siren in a Gale, Explosion of the Emperor’s Fort at Algiers, View of Constantinople looking toward Pera, View of Salenelles at the Mouth of the Orne, Schooner Hazard captured by Boarding (1830 to 1840); On the Shore of the Channel, Evening on the Shore of the North Sea (1879), Sunrise on the Ile de Bourbon, Sun rising over Vesuvius (1880); Sixty Marines (1838–55), Versailles Museum; View of Havre, Avignon Museum; Devotion of Captain Desse, Bordeaux Museum; Others in Nantes, Perpignan, and Rodez Museums; Coast Scene, Brussels Museum; Fishermen on the Beach, Kunsthalle, Hamburg; View on French Coast (1826), Schwerin Gallery; Coast of Brittany (1844), Smugglers on Coast of Biscay (1845), National Gallery, Berlin; Coast Scene (1839), Storm at Sea (1843), Ravené Gallery, ib.; Shipwreck on Coast of Genoa (1837), Agitated Sea (1839), Leipsic Museum; Naval Battle in Time of Louis XIV. (1852), Dresden Gallery; Agitated Sea with Vessels, Basle Museum.--Art Journal (1880), 300; Bellier de la Chavignerie, i. 706; Kunst-Chronik, xv. 450; Illustr. Zeitg. (1880), i. 37.

GUELDRY, JOSEPH FERDINAND, Genre and portrait painter, pupil of Gérôme; member of Inst. Medal, 3d class, 1885. Works: Regatta at Joinville (1881); Arrival from Cruise (1882); Ferry-man at Bry-sur-Marne (1883); On the Bluff (1884); Foundry (1885).

GUERCINO, IL, born at Cento, Feb. 8, 1591, died in Bologna, Dec. 22, 1666. Bolognese school. Real name Giovanni Francesco Barbieri, but called Guercino because he squinted. Son of a peasant and mostly self-taught, but studied the works of the Carracci; afterward studied under Benedetto Gennari and later in Venice and Bologna. Went to Rome in 1621, returned to Cento in 1623, and in 1642 established himself in Bologna. His house in Cento, Casa di Guercino, contains many of his works; others are in the Church del Rosario. His statue by Galletti is in the Piazza. Guercino painted at first in the manner of the Carracci, but afterward inclined to imitate Caravaggio, and a few of his latest works approach the manner of Guido; but he is very unequal, and some of his pictures are crude and marked by an insipid mannerism. His masterpiece is St. Petronilla raised from the Tomb, Capitoline Gallery, Rome. Works: Investiture of St. Guglielmo (1620), St. John Evangelist, Death of St. Peter Martyr, Vision of St. Bruno in the Desert, Bologna Gallery; St. Sebastian (2), Madonna della Rondinella, Apollo and Marsyas, St. Peter raising Tabitha, Moses, St. Peter, Susanna at the Bath, Palazzo Pitti, Florence; Samian Sibyl (1651), Endymion, Uffizi, ib.; Dying Cleopatra, Death of Cato, Holy Family, Palazzo Brignoli-Sale, Genoa; Mutius Scævola, Palazzo Palavicini, ib.; Andromeda, Death of Cleopatra, Palazzo Balbi, ib.; Dismissal of Hagar, Brera, Milan; Magdalen, Marriage of St. Catherine, Deposition, Naples Museum; Mater Dolorosa, Return of the Prodigal, Palazzo Borghese, Rome; Persian Sibyl, St. Petronilla, Cleopatra and Octavius, John Baptist, Capitol Gallery, ib.; Aurora, Fame with Force and Virtue, Palazzo Ludovisi, ib.; Christ at the Well, Ecce Homo, St. Jerome, Palazzo Corsini, ib.; Death of Dido, Palazzo Spada, ib.; Incredulity of St. Thomas, St. Margaret of Cortona, Magdalen, Vatican, ib.; Martyrdom of St. Peter, Mars, Venus and Cupid, Modena Gallery; Ecce Homo, St. Francis of Assisi, St. Jerome, St. Elizabeth Queen of Hungary, St. James, St. Frances, Return of Prodigal, and others, Turin Gallery; Madonna and Saints, Brussels Museum; Venus and Adonis (2), Birth of Adonis, Cephalus and Procris, Diana, Semiramis, Dorinda Wounded, Lot and his Daughters, Holy Family, and others, Dresden Museum; Christ crowned with Thorns, Madonna, Old Pinakothek, Munich; Prodigal Son, Return of Prodigal, St. John in the Desert, Soldier counting Money, Museum, Vienna; Saint and Angel, Liechtenstein Gallery, ib.; Lot and his Daughters, Madonna, Raising of Lazarus, Salome receiving Head of John Baptist, Vision of St. Jerome, SS. Benedict and Francis of Assisi, Madonna with Patron Saints of Modena, Hersilia separating Romulus and Tatius, Circe, St. Cecilia, John Baptist, Portrait of Guercino, Louvre, Paris; St. Peter in Prison, Susanna at the Bath, St. Augustin, Magdalen, Allegory on Painting, Diana, Disinterested Love, Madrid Museum; Angels weeping over Dead Christ, National Gallery, London; Beatrice Cenci, Bridgewater House, ib.; St. Cecilia, Dulwich Gallery; Assumption, Martyrdom of St. Catherine, St. Jerome, Hermitage, St. Petersburg.--Calvi, Life (Bologna, 1808); Malvasia, ii. 255; Lanzi, iii. 108; Ch. Blanc, École bolonaise; Dohme, 2iii.; Meyer, Künst. Lex., iii. 1.

GUÉRIN, (JEAN BAPTISTE) PAULIN, born in Toulon, March 25, 1783, died in Paris, Jan. 19, 1855. French school; history and portrait painter, pupil of Vincent. His pictures are heavy in style, though good in colour. Medal in 1817; L. of Honour, 1822; professor, same year. Works: Cain after Murder of Abel (1812); Christ Dead (1817), Catholic Church in Baltimore; Christ on the Virgin’s Knees (1819); Anchises and Venus (1822); Ulysses resisting the Attacks of Poseidon (1824), Rennes Museum; Adam and Eve expelled from Paradise (1827); Holy Family (1829), Toulon Cathedral; Death of Christ, Church of Noailles; Chevalier Rose during the Plague at Marseilles (1834); St. Catherine (1838), St. Roch, Paris; Revery, Conversion of St. Augustine (1844); Ann of Austria, Regent, Portraits of Marshals Rochefort, Roquelaure, and Duke de Châtillon, Versailles Museum.--Bellier de la Chavignerie, i. 714.

GUÉRIN, JEAN MICHEL PROSPER, born in Paris, March 23, 1838. History and portrait painter, pupil of H. Flandrin, Dumas, and Cornu. Medal, 1867. Works: Before the Feast of Bacchus (1865); Hagar, The Refuge (1867); Pietà (1868); St. Cecilia dying hears a Celestial Concert (1869); The Danaides (1876); The Golden Age (1877); St. Mary of Egypt (1878); Souvenir of Carnival (1879); Love of Thetis and Peleus (1880); Ugolino and his Children (1882); St. Agnes (1885).

GUÉRIN, PIERRE NARCISSE, Baron, born in Paris, May 13, 1774, died in Rome, July 16, 1833. French school; genre painter, pupil of Regnault; became one of the most successful painters of his day, and had among his pupils Géricault, Sigalon, Delacroix, and Ary Scheffer. His pictures, though masterly in technique, and correct in drawing, are treated in a somewhat cold and stiff style. Guérin won the grand prix de Rome in 1797. L. of Honour, 1803; Order of St. Michael, 1819; was made Member of Institute same year; appointed director of the French Academy in Rome, 1822; Baron, 1829; Officer of the L. of Honour, 1832. Works: Offering to Æsculapius (1795), Louvre, Paris; Murder of Geta, Coriolanus and the Body of Brutus (1796); Death of Cato (1797); Return of Marcus Sextus (1799), Louvre; Orpheus weeping over the Grave of Eurydice (1801); Phædra and Hippolytus (1802), Louvre; Replica in Bordeaux Museum; Napoleon pardoning the Rebels in Cairo (1806), Versailles Museum; Andromache and Pyrrhus (1810), Louvre, Replica in Bordeaux Museum; Cephalus and Aurora (1810); Dido listening to Story of Æneas (1817), Louvre; Clytemnestra urged by Egisthus to murder Agamemnon (1817), Louvre; Murder of Priam, St. Louis rendering Justice, Angers Museum; Death of Marshal Lannes in Battle of Essling, Valenciennes Museum; Portrait of Henri de la Rochejacquelin (1817).--Bellier de la Chavignerie, i. 714; Ch. Blanc, École française; Larousse; Lenormant, B. Arts et Voyages, i. 142; Meyer, Gesch., 125.

GUESNET, LOUIS FÉLIX, born at Fitz-James (Oise), April 27, 1843. Genre painter, pupil of Lamothe. Medals: 2d class, 1872; 1st class, 1873. Works: Mazeppa (1872); Roland at Roncevalles (1873); Barbarians in a Roman Villa (1875); Hunting (1882).

GUET, CHARLEMAGNE OSCAR, born in Meaux (Seine-et-Marne), Jan. 24, 1801, died in Paris, Nov. 29, 1871. Genre painter, pupil of Hersent and of Horace Vernet. He gathered his subjects from many countries, and exhibited regularly from 1819 to 1850. Medals: 2d class, 1822 and 1831; 1st class, 1839; L. of Honour, 1846. Works: Cuirassiers of the Guard (1822); Little Organ-Player; Soldier’s Return; Military Stable; Oyster-Bed at Grandville; Fishermen of Grandville and Cancale; A Barbarism; Trout-Fishing; Pluck the Rose in the Morning of Life; The Panniers, Marino Faliero and Helena; Norman and Breton Sailors; Sick Child; Phœbus and Mme. Gondelaurier; Phœbus and Esmeralda with Falourdel; Return from the Fields; Return from Market; The Fountain; Mother’s Caresses; Preparing for the Ball; Magnolia; Woman Bathing; Revery, Coming from the Bath.--Bellier de la Chavignerie, i. 717.

GUEVARA, JUAN NIÑO DE, born at Madrid in 1632, died at Malaga in 1698. History painter, pupil of Miguel Manrique and of Alonso Cano. His works in Malaga, Granada, and Cordova have been compared to those of Van Dyck.

GUFFENS, GODFROID, born at Hasselt, Limburg, July 23, 1823. History painter, pupil of Antwerp Academy under Nicaise de Keyser, then with his fellow-student Jan Swerts visited Paris in 1847, the art centres of Germany in 1850, and Italy in 1850–52. After their return they worked conjointly until 1874, when Swerts became director of the Prague Academy. In 1858 they were sent by the government to Munich, to report on the first great German Art exhibition, which caused the exhibition in Brussels in 1859 of cartoons by Cornelius, Kaulbach, Schwind, etc., greatly influencing Belgian art. Honorary member of Munich, Dresden (1859), and Amsterdam (1861) Academies, of German Art Union (1859); corresponding member of Institut de France (1873); member of Brussels (1876) and Antwerp (1880) Academies. Gold medals, Brussels, 1848, 1851; Order of Leopold, 1855; Officer, 1869; Baden Order of Zähringer Lion, 1860; Order of Oaken Crown, 1861; Weimar Order of White Falcon, 1865; Papal Order of Gregory, 1871; Order of Francis Joseph, 1875. Removed from Antwerp to Brussels in 1871. Works: Galileo in Prison; Coronation of Virgin; Count van Looz granting Community of Hasselt the Privilege of City; Scene from Destruction of Pompeii; Prayer of the Three Sisters; Imprisoned Blanca von Felsenstein in Prayer; Christ allaying the Storm; Hymnus Mysticus; Lucretia and her Women; Pausias and Glycera; Rouget de Lisle singing the Marseillaise for the First Time, Pennsylvania Academy, Philadelphia; Julia and her Mother; Return from Holy Sepulchre, Altarpiece with Madonna and Saints; Portraits. Frescos: Seven Sorrows of the Virgin (1855–70), Notre Dame at St. Nicolas, near Antwerp; Scenes from Life of Christ (1859–71), St. George’s, Antwerp; Episodes in History of Flanders (1861–69), Town Hall, Ypern; Christ and Two Angels (1870), Ince Blundell Hall, near Liverpool; Scenes from Local History (1873–75), Town Hall, Courtray; Fall of Man, Redemption, Baptism of Christ (1879), St. Quentin’s, Hasselt; Sacrifice of Melchisedek, Last Supper, Entry with the Ark of the Covenant into Jerusalem, Procession of Corpus Christi (1881), St. Joseph’s, Louvain.--Müller, 223; Riegel, Wandmalerei in Belgien, 19, 39, 42, 46–62, 86, 105, 247; Gaz. des B. Arts (1864), xvii. 465; (1868), xxv. 74; Förster, Denkmale, VIII. iii. 23; Illustr. Zeitg. (1872), i. 227.

GUGEL, KARL, born at Bergzabern, Rhenish Palatinate, April 12, 1820, died in Munich, June 26, 1885. Genre and portrait painter; painted at first in imitation of Murillo’s style, which he abandoned for the representation of ideal female heads and figures in the manner of Giorgione. Has lived in Munich since 1852. Works: Lute-Player; Gypsy Girl; After the Bath; Girl Writing; Girl Reading; Gardener-Maid; Mother and Child; Reading Aloud; Witches’ Ride to the Blocksberg; Lady of 17th Century, New Pinakothek, Munich.--Müller, 224; Kunst-Chronik, xx. 669.

GUIAUD, JACQUES, born at Chambéry (Savoy), May 15, 1811, died in 1876. Landscape and architecture painter, pupil of Watelet and of Cogniet. Medals: 3d class, 1843; 2d class, 1846. Works: Landscapes and City views in Italy, Tyrol, and Germany (1831–42); do. in Italy, Spain, and France (1847–76); Castles Gieberg and St. Ulrich at Ribeauville--Haut-Rhin, View of Procida (1843); Castle of Henry IV. at Pau, View of Steinach-Tyrol (1846); View of Antwerp Cathedral, Amiens Museum; Château de Madrid and Bois de Boulogne, Château and Park at Monceaux (1866), Galerie des Cerfs, Fontainebleau.--Bellier de la Chavignerie, i. 719.

GUIBAL, NICOLAS, born at Luneville, Nov. 29, 1725, died in Stuttgart, Nov. 3, 1784. French school; history painter, son of the sculptor Barthélemi G., pupil of Claude Charles in Nancy, and of Natoire in Paris. Called in 1749 to Stuttgart by Duke Charles Eugene of Würtemberg, who sent him in 1752 to Rome, where he studied under Mengs. On his return in 1755 he was appointed first painter to the Duke, as well as professor and director of the gallery of paintings. Works: Ceiling of Bath House, Schwetzingen; Ceilings in Library, ib.; also at Hohenheim, Monrepos, and chapel at Ludwigsburg; Paintings in churches at Zwiefalten, Gmünd, and Solothurn.--Allgem. deutsche Biogr., x. 102; Dussieux, Les artistes français à l’étranger, 239; Haakh, Beiträge, 5; Zeitschr. f.b. K., xii. 151.

GUIDI, TOMMASO DI GIOVANNI. See Masaccio.

GUIDO (Guido Reni), born in Bologna, Nov. 4, 1575, died there, Aug. 18, 1642. Bolognese school. Son of Daniele Reni, a musician; pupil of Denis Calvart, afterward of the Carracci. For a time he was the favourite pupil of Lodovico, but he soon aroused so much jealousy that he was dismissed from the academy. After painting several years in Bologna, where his pictures excited much admiration, he went to Rome about 1608, with his fellow-pupil Francesco Albani, and notwithstanding the opposition of Caravaggio and of Annibale Carracci, then at work in the Palazzo Farnese, he soon won an honourable position. Caravaggio was then the fashion in Rome, and when Cardinal Borghese gave Guido an order for the Crucifixion of St. Peter, he coupled it with the command that it should be in the manner of that painter. Guido obeyed, but he gave his composition a grandeur and dignity beyond the powers of Caravaggio. Paul V. employed him to decorate the private chapel in the Palace of Monte Cavallo, a work which gained him great reputation and made him many enemies, even his friend Albani becoming inimical when he found that Guido’s fame was likely to exceed his own. After an absence in Rome of twenty years, Guido returned to Bologna, where he painted the Massacre of the Innocents for S. Domenico, now in the Bologna Gallery, and St. Paul reproving St. Peter, for the Palazzo Zampieri, now in the Brera, Milan. Paul V. soon induced him to return to Rome, where he executed works in S. M. Maggiore and other public buildings, his most famous one being the fresco Aurora, in the pavilion of the Palazzo Rospigliosi. Guido’s productions vary much in manner according to the time of their execution, and may be assigned to three different periods: The first, marked by strong contrasts of light and shade; the second or transition period, stronger and more natural; the third, pale-gray tones and insipid sentiment. Works: Massacre of Innocents, Madonna della Pietà, Christ on the Cross, Samson Victorious, St. Sebastian, Madonna of the Rosary, Coronation of Virgin, Ecce Homo, Bologna Gallery; Bacchus and Ariadne, Fortune, Cupid, Accademia di S. Luca, Rome; portrait of Beatrice Cenci (?), Palazzo Barberini, ib.; Concert of Angels, Cappella di S. Silvia, near S. Gregorio, ib.; St. Andrew adoring Cross, S. Andrea, ib.; Head of Joseph, Palazzo Borghese, ib.; St. Sebastian, Capitol Gallery, ib.; Salome, study for Crucifixion of St. Peter, Ecce Homo, Mater Dolorosa, St. John, Contemplation, Palazzo Corsini, ib.; Madonna, Palazzo Doria, ib.; Aurora, Palazzo Rospigliosi, ib.; Rape of Helen, portrait of Cardinal Spada, Palazzo Spada, ib.; Madonna in Glory and Saints, Crucifixion of St. Peter, Vatican, ib.; Bacchus, St. Peter, Rebecca at the Well, Death of Cleopatra, Charity, St. Elizabeth, Palazzo Pitti, Florence; Cumean Sibyl, Bradamante and Fiordaspina, portrait of Guido, Madonna with St. John, Virgin, Uffizi, ib.; Christ on the Cross and Saints, Lucca Gallery; SS. Peter and Paul, Apostle Reading, Brera, Milan; Christ on the Cross, Modena Gallery; Atalanta’s Race, Four Seasons, Infant Christ, Nausicaä, Vanity and Modesty, Museum, Naples; Nativity, S. Martino, ib.; John Baptist, Madonna, Fame, St. Francis of Assisi, St. Catherine, Apollo and Marsyas, Group of Cherubs, Lucretia, Turin Gallery; David and Goliath, Annunciation, Purification of Virgin, Madonna, Madonna and St. John, Christ and Samaritan Woman, Christ giving Keys to Peter, Christ in the Garden, Ecce Homo, Magdalen (?), St. Sebastian, Union of Design and Colour, Hercules and the Hydra, Hercules and Achelous, Rape of Dejanira, Death of Hercules, Rape of Helen, Sleep of Jesus (attributed), Louvre, Paris; Lucretia, Cleopatra, Madonna de la Silla, St. Sebastian, St. James, Assumption, St. Jerome in the Desert, Martyrdom of St. Apollonia, Magdalen, and others, Madrid Museum; St. Jerome, Magdalen, Youthful Christ and St. John, Lot and his Daughters, Susannah and the Elders, Coronation of the Virgin, Ecce Homo, National Gallery, London; St. John in the Wilderness, St. Sebastian, Dulwich Gallery; Venus and Graces, Ecce Homo, National Gallery, Edinburgh; Venus and Cupid, Ninus and Semiramis, Ecce Homo (2), Christ crowned with Thorns (2), Christ appearing to Virgin, Madonna in Adoration, Madonna with Saints, Bacchus, Dresden Gallery; Madonna and Saints, Berlin Museum; Cleopatra, Cassel Gallery; St. Jerome, Apollo and Marsyas, Assumption, Munich Gallery; Magdalen, Presentation in Temple, Baptism of Christ, Vienna Museum; Adoration of Shepherds, Jupiter and Antiope, Descent from Cross, Liechtenstein Gallery, Vienna; David and Goliath, Adoration of Magi, St. Joseph and Infant Christ, Madonna and St. Francis, St. Peter, Dispute of the Fathers, Youthful Virgin with Maidens, Hermitage, St. Petersburg.--Ch. Blanc, École bolonaise; Descamps, iv. 258; Kugler (Eastlake), ii. 579; Burckhardt, 764, 770, 773; Lanzi (Roscoe), iii. 93; Malvasia, ii. 5; Rosini, vi. 55.

GUIDO, portrait, by himself, Uffizi, Florence. Upper part of head broad and fine, chin wants character. Eyes lively and intelligent. Engraved by L. F. Mariage.--Wicar, ii. Part 22; Lavice, 46.

GUIDO DI PIETRO. See Angelico, Fra.

GUIDO RENI DI NAPOLI. See Stanzioni, Massimo.

GUIDO DA SIENA, Sienese school, latter half of 13th century. The Madonna in S. Domenico, Siena, falsely dated 1221, was painted probably in 1281; and Guido is probably identical with Guido Graziani, who appears in documents of 1278. The inscription has been often retouched, and the heads of the Virgin and Child have evidently been entirely repainted. This is important, as upon it rests the question whether Florence or Siena was the cradle of the revival of painting in the 13th century. By the rectification of the date, the priority of the Florentine Cimabue to the Sienese Guido is established, and the honour remains to Florence. The Madonna in the Academy at Siena, also ascribed to Guido, is much inferior to the one at S. Domenico. A Madonna with Saints, attributed to him, is in the Gallery of the Historical Society of New York.--C. & C., Italy, i. 180; Vasari, ed. Le Mon., i. 233 and N. 1; Milanesi, Della vera età di Guido Pittore Sienese (Florence, 1859).

GUIDOLINO DI PIETRO. See Angelico.

GUIGNARD, GASTON, born at Bordeaux; contemporary. Landscape painter, pupil of Ferry. Medal, 3d class, 1884. Works: Foraging, After the Storm (1874); Scouts in Flight (1875); Behind the Tavern (1876); Halt of Nomads (1877); Farm Yard (1878); Winter (1879); Marsh of Montferrand (1880); Morning Dawn in Autumn (1881); Requisitions in Beauce in 1870–71, Return to the Park (1882); Lagunes of Guyan-Mestras--Gironde, Convoy in Marshes of Quiberon (1883); In the Orchard (1884); Open Pasture (1885).

GUIGNET, ADRIEN, born at Annecy, Savoy, Jan. 21, 1816, died in Paris, May 19, 1854. History painter, brother and pupil of Jean Baptiste G., and pupil of Blondel; took Salvator Rosa and Decamps for his models. Medals: 3d class, 1844; 2d class, 1848. Works: Moses exposed on Nile, Lost Travellers attacked by Bear, Joseph relating his Dream, Hagar in the Desert (1840); Salvator Rosa among the Robbers (1844); Defeat of Attila by Ætius; Feast of Belshazzar; Gardens of Armida.--Nouvelle Biogr. générale.

GUILLAUMET, GUSTAVE, born in Paris, March 26, 1840. Genre and landscape painter, pupil of Picot, Barrias, and of the École des Beaux Arts. Won the 2d prix de Rome in 1863, and then made the first of many visits to Algeria. In 1865 he painted the portrait of the late Sultan Abdul Aziz. Medals: 1865 and 1867; 2d class, 1872; 3d class, 1878; L. of Honour, 1878. Works: Evening Prayer in the Sahara (1863), Luxembourg Museum; Arab Market in Plain of Tocria (1865), Lille Museum; Flute-Players at the Bivouac (1866); Aïn Kerma or Source of the Figuier, The Douar (1867); Douar Women at the River (1872), Dijon Museum; Algerian Interior (1874); Bivouac of Camel-Drivers (1875); Arab Market (1877); Peace in the Evening (1878); Laghouat or Souvenir of the Sahara (1879), Luxembourg Museum; The Palanquins (1880); Dwelling on the Sahara (1882); La Seguice--Algiers, Wool Spinners at Bou-Sâada (1885).--Bellier de la Chavignerie, i. 725.

GUILLEMET, JEAN BAPTISTE ANTOINE, born at Chantilly (Oise); contemporary. Studio in Paris. Landscape painter, pupil of Corot and of Oudinot. Medals: 2d class, 1874 and 1876; L. of Honour, 1880. Works: Low Tide at Villerville (1872), Grenoble Museum; Bercy in December (1874), Luxembourg Museum; Beach at Villiers (1878); Chaos at Villiers (1879); Old Quay at Bercy (1880); Old Villerville, Beach at St. Vaast-la-Hougue (1881); Morsalines (1882); Saint-Suliac (1883); Villerville, Meudon (1884); View of Paris (1885).

GUILLEMIN, ALEXANDRE MARIE, born in Paris, Oct. 15, 1817, died at Bois le Roi (Seine-et-Marne), Oct., 1880. Genre painter, pupil of Gros, painted scenes from daily life of the middle classes, then subjects from Brittany and the Pyrenees; also hunting pieces. Medals: 3d class, 1841; 2d class, 1845, 1859; L. of Honour, 1861. Works: First Artistic Attempt (1840); Victim of Interesting News, Happy Family, Souvenir of Glory (1841); Holy Family, After Emigration, Picture Seller, Love in the City (1845); Collector of Treasures (1855); The Gallant Béarnese, The Blue Boys passing Brittany in 1793 (1859); Women winnowing in the Pyrenees, Distribution of Consecrated Bread in Church of Fontainebleau (1861); Joy at the Hearth, Orden del Senor Alcalde (1865); La Trilla, Sculptor’s Studio (1869); Los Pordioseros, La Mariposa (1877); Notre Dame d’Aragon (1879); Pictures in Toulon Museum.--Bellier de la Chavignerie, i. 728; Meyer, Gesch., 694.

GUILLON, ADOLPHE IRÉNÉE, born in Paris, March 29, 1829. Landscape painter, pupil of Noël and Gleyre. Travelled much in Southern France, and then settled at Vézelay (Yonne). Medal in 1867; 2d class, 1880. Works: Winter Morning at Cannes, Moonlight at Cannes (1867); River Cure in Burgundy, Beggar, Summer’s Day (1874); Vézelay (1880); August (1882); Walnut Trees of Cordelle (1883); Vézelay (1885).

GUILLOU, ALFRED, born at Concarneau (Finistère); contemporary. Landscape painter, pupil of Cabanel and Bouguereau. Medals: 3d class, 1877; 2d class, 1881. Works: Low Tide at Concarneau (1874); Shrimp Fishing (1875); The Pilot of Concarneau (1879); Lobster Fishing at Benodet (1880); The Last Seaman of the Vengeur, Fishing with a Line (1881); Departure of the Fishermen, Return of Shrimp-Catchers (1882); The Fishing Lesson, Return of the Tide (1883); Chasse en Mer (1884); Grandfather’s Canoe, Marianne (1885).

GUISE, DUC DE, ASSASSINATION OF, Paul Delaroche, Duc d’Aumale, Château de Chantilly; canvas. The body of Henri de Guise lies near the foot of a bed, at right, in a richly-furnished apartment; at left, the murderers, eight in number, with naked swords; one of them speaks to the king, Henri III., who enters at a door and casts a timid and curious glance at his enemy. M. Geffroy, of the Comédie-française, is said to have posed for the king. Salon, 1835; painted for Duc d’Orleans, 10,000 francs; engraved by T. V. Desclaux (1852).--Larousse, i. 768; Ch. Blanc, École française iii.

GULLIVER AND THE LILLIPUTIANS, Georges Jean Vibert, W. T. Walters, Baltimore; canvas, H. 2 ft. × 4 ft.; dated 1870. Gulliver fastened to the ground and surrounded by the Lilliputians.

GUNKEL, FRIEDRICH, born in Cassel in 1820, died by suicide in Rome, Feb. 24, 1876. History painter, pupil of Cassel and Berlin Academies and of Cornelius; went to Rome in 1847. Works: Resurrection; Battle of Arminius, Maximilianeum, Munich; Drusus induced to Return; Battle on the Granicus.

GÜNTHER, OTTO, born at Halle, Sept. 30, 1838, died at Weimar, April 20, 1884. Genre painter, pupil in 1858–61 of Düsseldorf Academy, and in 1863–66 of Weimar Art School under Preller and Ramberg. Professor at Königsberg Academy in 1877–80, then returned to Weimar. Gold medal, Berlin, 1876. Works: Wedding Procession in Thuringia; The Widower (1874), In Prison (1878), National Gallery, Berlin; Last Farewell of Emigrant Woman; Disputing Theologians (1876), Cologne Museum; Friendly Neighbours, Home Again; The Criminal (1877); Virgin, Lucifer, and Death (1878); Last Visit (1879); Village Revolt (1880); Allegorical Figures in Central Hall, Leipsic.--Illustr. Zeitg. (1875), i. 293; Kunst-Chronik, xix. 484; xx. 184; Leixner, D. mod. K., i. 93; ii. 102; D. Rundschau, xvii. 301.

GURK, EDUARD, born in Vienna in 1802, died in Jerusalem, March 31, 1841. Architecture painter, pupil of the Vienna Academy. Early favoured with orders by the Emperor, and made court-painter, he went with the Archduke Frederic on the expedition to Syria, to paint the most interesting monuments of Palestine for the court. Works: St. Thomas’s Church in Brünn; Interior of Mariazell; Cathedral of Königgrätz; Imperial Burg in Prague; Coronation of Emperor Ferdinand in Prague.--Allgem. d. Biogr., x. 182; Wurzbach, vi. 37.

GURLITT, LUDWIG, born at Altona, Holstein, March 8, 1812. Landscape painter, pupil in Hamburg of Bendixen; then studied in Munich in 1832–35, and at Copenhagen Academy in 1835–38; visited Norway, Sweden, and in 1839 Upper Italy, Tyrol, and Munich; after his return became member of the Copenhagen Academy. In 1843 he went to Düsseldorf, and soon after to Rome, Naples, and Sicily; lived in 1846–48 in Berlin, then at Castle Nischwitz in Saxony, and in 1851–59 in Vienna, whence he visited Dalmatia (1855), Italy (1856), and Greece (1858). From 1859 he lived partly at Gotha, partly at Castle Siebleben, which Duke Ernest had placed at his disposal, visited Spain and Portugal in 1867–68, settled in Dresden in 1873, and lives now in a villa at Plauen. Member of Copenhagen and Madrid Academies; professor. Works: North Shore of Lake Garda (1839), Castell Gandolfo (1845), View in Sicily, Leipsic Museum; Crissean Plain in Greece; Plain near Thebes; Roman Campagna (1846); Landscape in Albanian Mountains (1850), National Gallery, Berlin; Valley near Sorrento (1854), Kunsthalle, Hamburg; Lake of Nemi; Landscape from Sabine Mountains; Keller Lake in Holstein (1865); Gibraltar (1877); Evening in Busaco Monastery (1878), Dresden Gallery; Beech Wood on Plön Lake; View in Jutland; The Acropolis at Athens, Gotha Museum; View near Berchtesgaden, New Pinakothek, Munich.--Brockhaus, vii. 633; Illustr. Zeitg. (1878), ii. 143; Müller, 226; Zeitschr. f. b. K., x. (Mittheilungen, iii. 26); Weilbach, 216; Wurzbach, vi. 38.

GUSSOW, KARL, born at Havelberg, Brandenburg, in 1843. Genre and portrait painter, pupil of Weimar Art School under Ramberg and Pauwels; went in 1867 to Munich, and after a visit to Italy returned to Weimar. In 1871 he became professor at the Art School, in 1874 at the Carlsruhe Art School, and in 1875 at the Berlin Academy. Gold medal, 1875. Member of Berlin Academy in 1883. Works: Diana Hunting (1870); Faun and Nymph; Woman going to Church; Blind Man’s Buff; Sweetheart’s Portrait (1872); Sewing Girl, Morning Hour (1873); Little Cat, Lover of Flowers, Lost Happiness, Peasant’s Family (1876); Washing Statue of Venus; Welcome (1878); Still Life, Studio, Fruit-Seller, Portrait of Old Lady (1878); Two Old People (1880); Artilleryman’s Story of the Battle, Ghent Museum.--Illustr. Zeitg. (1873), ii. 473; Müller, 227; Rosenberg, Berliner Malerschule, 308; Leixner, D. mod. K., i. 42; D. Rundschau, ix. 319; xiii. 328; Zeitschr., xv. 45; xvi. 145.

GÜTERBOCK, LEOPOLD, born in Berlin, died March 21, 1881. Genre painter, chiefly of historical and Oriental scenes, which he executed with humour and fine colouring. Works: Scene from Götz von Berlichingen; Severe Lecture; Drug-Store in 11th Century; Old Toper; Recruiting in Thirty Years’ War; Columbus at La Rabida; At City Hall of a German Town at the End of Thirty Years’ War; Forbidden Reading, Stettin Museum.--Müller, 227.

GUTHERS, KARL, born in Switzerland in 1844. Portrait and genre painter, went to America with his parents in 1851, and painted portraits at Memphis, Tenn.; went in 1868 to Paris, where he studied under Cabasson, Pils, and at the École des Beaux Arts; studied in Brussels and Antwerp in 1870, and in 1871 went to Rome; returned to Memphis in 1873, and moved to St. Louis in 1874. Works: Awakening of Spring (1871); Ecce Homo; Evening on the Nile; Sappho; American Women. Many excellent portraits.--Müller, 227.

GUY, SEYMOUR JOSEPH, born in Greenwich, England, Jan. 16, 1824. Genre painter, pupil of Buttersworth and of Ambrose Jerome, English painters. Settled in New York in 1854; elected an A.N.A. in 1861, and N.A. in 1865. Studio in New York. Works: The Spring (1865); Sorrows of Little Red Riding Hood; Orange Girl; Fair Venice; Supplication; Knot in the Skein; The Gamut; Children catching the Bird; Little Sweeper, C. P. Huntington, New York; Bedtime Story, T. B. Clarke, ib.; Cash in Hand, First Up, T. M. Scott, San Francisco; Making a Train, G. Whitney, Philadelphia; Spirit of ’76 (1880); Waiting (1882); See-Saw Margery Daw (1884).--Sheldon, 65.

GYÁRFÁS, EUGEN, born in Hungary; contemporary. Genre painter. Works: The First Tooth; Judgment at the Bier (1883); Joys of Winter (1884).--La Illustracion (1884), i. 395; Kunst-Chronik, xix. 351; Zeitschr. f. b. K., xix. 230.

GYNECEUM (Le Gynécée), Gustave Boulanger, Paris. The female apartments in a Pompeiian house. In a Corinthian atrium the mistress of the house, seated under an awning, watches her children at play, while her husband comes in at the background and is greeted by the dog, which runs to meet him; around their mistress, maid-servants drive away flies and water flowers. Salon, 1875.

GYSELS (Geysels, Gijzens, Gysen), PEETER, born in Antwerp, baptized Dec. 3, 1621, died there in 1690 or 1691. Flemish school; pupil of Jan Boots, perhaps also of Jan Brueghel the younger, but formed himself after Jan the elder; painted flowers, fruit, and still life, also small landscapes. Master of the guild at Antwerp in 1650. His works are distinguished for good composition and graceful treatment. Works: Dead and Living Animals, Mr. Hope, London; Dead Game, Marquis of Bute, ib.; do., Brussels Museum; Still Life (last work), Antwerp Museum; Game with Hunting Implements, Hague Museum; do., Darmstadt Museum; A Town, Amsterdam Museum; ten pictures (landscapes and still life), Dresden Gallery; Dutch Village, Landscape, Berlin Museum; Windmill in level Country, Old Pinakothek, Munich; do., Schleissheim Gallery; Breakfast Table, Schwerin Gallery; Fruit-piece, Hermitage, St. Petersburg.--Immerzeel, i. 300; Kramm, ii. 615; Michiels, v. 378; Rooses (Reber), 416; Van den Branden, 416.

GYSIS, NIKOLAUS, born in Isle of Tinos, Greek Archipelago, March 1, 1842. History and genre painter, pupil of Munich Academy and of Piloty. In 1872 he went to Athens and travelled through Asia Minor. Since 1874 has resided in Munich, where he has painted several Oriental subjects and recently some large allegorical pictures. Medal, Paris, 3d class, 1878. Works: Joseph interpreting the Dream; Dog-Visitation (1870); The Orphans; News of Sedan (1871); The Chicken Thief (1873); Betrothal of Children in Greece; Pilgrimage of Painters in the East; Child’s Confession (1878), Darmstadt Museum; Art and its Genii (1879); Charity, New York Museum.--Brockhaus, viii. 670; Kunst-Chronik, vi. 6; Müller, 228.

HAACH, LUDWIG, born in Dresden in 1813, died in Rome, March 24, 1842. History painter, pupil of the Drawing School at Meissen, and in 1830 of Dresden Academy, then, in 1837, under Hildebrandt, of Düsseldorf Academy; in 1841 went to Rome, where he undermined his health by overwork. In 1836 he decorated a hall in the house of the bookseller Barth at Leipsic with convivial scenes. Works: Christ in the Storm (1838); Isaac and Rebekah (1840); The Three Kings before Herod (1842, unfinished).--Andresen, i. 44; W. Müller, Düsseldf. K., 42.

HAAG, KARL, born at Erlangen, Würtemberg, April 20, 1820. Genre painter, pupil of Nuremberg Art School, continued his studies in Munich and Rome; went in 1847 to England, where he took up painting in water-colours exclusively; visited Italy, and, in 1858, the Libyan Desert, dwelt for months among the Bedouins, and has since made repeated visits to Egypt and other parts of the East. Since 1867 has lived at Hampstead, London. His pictures are distinguished by ethnographic interest as well as characteristic conception and masterly chiaroscuro. Court-painter to Duke of Coburg-Gotha; member of Royal Society of Painters in Water Colours since 1850; honorary member of Société Belge des Aquarellistes; L. of Honour, 1878. Works: Ancient Vestibule beneath Temple Area in Jerusalem; Golden Gateway; Holy Rock in Mosque of Omar; Aghile Agha receiving Prince of Wales; Tribe of Anazeh Bedouins leaving Palmyra; Bivouac in the Desert; Arrival at Well in Desert; Preparing Evening Meal; Desert Hospitality; On the Alert; Ready for Defence; Terror of the Desert; Danger in the Desert; Sabine Woman; Bedouin’s Devotion; Ruins of Baalbek; Panorama of Palmyra; Sphinx of Ghizeh; Pyramid of Cheops (1880); View in Bavarian Alps; High-Priest at Nablus; A Dragoman; Acropolis at Athens; Young Nubian Woman; Nargileh; Evening at Balmoral; Royal Family ascending Loch-na-Garaidh; Stags brought Home; Queen and Prince Consort fording Pool Tarff.--Art Journal (1883), 71; Brockhaus, viii. 672; Müller, 228; Men of the Time (1884), 508; Portfolio (1878), 81.

HAANEN, GEORG GILLIS VAN, born at Utrecht, Aug. 23, 1807. Genre and landscape painter, son and pupil of Casparis van Haanen (1778–1849); studied from nature on his travels (about 1842) through Germany to Vienna, whence he made study-trips to Hungary, visited Antwerp, and since 1854 seems to have settled at Cologne. His pictures are distinguished for exquisite light effects and fine execution. Member of Amsterdam Academy in 1835. Works: Evening School; Peasant Inn; Quiet Evening, Vienna Museum; Dutch Vestibule (1841), Leipsic Museum; Oak Wood in Hungary, Meadow in the Woods after Rain, Lady with Artist’s Sketch-book (1847); Dutch School by Candlelight (1851); Market at Night, View in Bakony Forest--Hungary (1852); Paternal Instruction, Halt before Dutch Inn, Old Dutch Church in Evening Light (1853); Dutch Interior in Sunlight (1857). His sister and pupil, Elisabeth Alida (born in 1809, died in 1845), married to the genre painter, Petrus Kiers, was an artist whose able work was cut short by an untimely death; honorary member of Amsterdam Academy in 1838.--Immerzeel, ii. 2; Kramm, ii. 619; Wurzbach, vi. 100.

HAANEN, REMY (Remigius Adrianus), VAN, born at Oosterhoudt, North Brabant, Jan. 5, 1812. Landscape painter, brother of Georges Gillis, pupil in Hilversum of Ravenszwaay; since 1834 has visited the greater part of Europe, with long sojourns in Frankfort, London, and St. Petersburg, and in 1842 settled in Vienna. Member of Amsterdam, Milan, Venice, and St. Petersburg Academies. Has etched many of his own works. Works: Landscape on Theiss River; Winter Landscape (1835), National Gallery, Berlin; do. (1846), Ravené Gallery, ib.; Oak Wood in Winter (1864); View in Gelderland; Wood-Interior; Storm after Sunset; Wood Landscape in manner of Hobbema (1877); Wood Landscape (1884); do. (3, 1885). His son Cecil is also an able landscape painter.--Brockhaus, viii. 673; Immerzeel, ii. 3; Kramm, ii. 619; Dioskuren, 1865–67; Müller, 229; Wurzbach, vi. 101.

HAARLEM, CORNELIS VAN. See Corneliszen.

HAARLEM, GERRIT VAN. See Geertgen van Sint-Jans.

HAAS, JOHANNES HUBERTUS LEONARDUS DE, born at Hedel, North Brabant, March 25, 1832, died in Brussels, Aug. 16, 1880. Animal painter, pupil in Haarlem of Van Oos, went in 1857 to Brussels, and within a few years achieved a brilliant success. Gold medal, Munich, 1869. Works: After the Flood (1861); Horses in Rainy Weather; Young Bull at the Ferry; Landscape with Cattle; Bull with Cow; Donkey in the Downs (1869); Trio of Donkeys, Lisbon Gallery; Cattle on the Rhine; Three Comrades; Cows at Pasture, National Gallery, Berlin; Pasture on Banks of the Yssel, Brussels Museum; Cattle-piece, Kunsthalle, Hamburg; Milking Woman; Common Pasture; Labourer’s Cow; Approach of Storm; Noonday Rest on North Sea; Cattle on River-bank in Holland.--Meyer, Conv. Lex., xvii. 427.

HAAS, MAURITZ FREDERICK HENDRICK DE, born in Rotterdam, Dec. 12, 1832. Marine painter, pupil of Spoel and Bosboom, and later of Louis Meyer at The Hague. Sketched along the coasts of Holland and England; in 1851 studied water-colour in London; settled in 1858 in New York, where he still resides. Elected an A.N.A. in 1863, and N.A. in 1867. Works: Admiral Farragut’s Fleet passing New Orleans (1867); Coast of France (1868); Sunset at Sea (1871); Beach at West Hampton (1875); Beach at Granville--Coast of France, Fishing Smacks in the English Channel (1878); Sunset at Pigeon Cove, H. P. Kidder, Boston; Moonlight at Sea, H. B. Hurlbut Collection, Cleveland; Gros-Nez Castle--Isle of Jersey, Leland Stanford, San Francisco; Sunrise in a Fog near Newport, E. D. Morgan Collection, New York; Wreck on the Isle of Jersey, Tropical Sunset at Sea, R. L. Stuart, ib.; Shipwreck, August Belmont, ib.; Sunset on Connecticut Coast, C. S. Smith, ib.; Sunset at Sea, Mrs. Joseph Harrison, Philadelphia; Sea View, C. H. Clarke, ib.; After the Collision--Moonrise (1879); Menhaden Boats off Long Island Beach (1880); Herring Boats off Scheveningen (1881); Breezy Day--Mouth of the Tyne (1882); At Sea, Moonlight--New England Coast (1883); Off Marblehead--Mass., Waiting for the Mackerel, Fresh Breeze (1884).

HAAS, WILLIAM FREDERICK DE, born in Rotterdam, June 15, 1830, died in Fayal, July 16, 1880. Marine painter, brother of preceding; pupil of the Rotterdam Royal Academy and of Jan Bosboom at The Hague. In 1854 went to New York, where he passed his professional life. Works: Sunrise on the Susquehanna (1867); Fishing-Boats off Mt. Desert, Boon Island--Coast of Maine (1874); Midsummer Noon, Biddeford Beach--Maine (1875); Lower Harbour of Halifax, Evening at Halifax (1876); Narragansett Pier (1877); Near St. John’s--Newfoundland (1878); Near South-West Harbour--Mt. Desert, Morning on the Coast, Near Grace Harbour--Newfoundland (1879).--Am. Art Rev. (1880), 551.

HABENSCHADEN, SEBASTIAN, born in Munich, March 29, 1813, died there, May 7, 1868. Landscape and animal painter, pupil of Adler, and in 1829 of the Munich Academy; studied nature in the environs of Munich and in the Bavarian and Tyrolese Alps; visited Italy in 1840. Modelled animals in clay and wax with much skill, and was an engraver of merit. Works: Cows at Pasture (1838); Alp with Herds-women before a Cottage (1844); Alpine Cow-keeper crossing Foot-bridge (1847); Hay Harvest (1850); Peasants in the Field, Morning in the Country, Herd of Cattle (1851); Forester and Shepherd, Morning in the Mountains (1854); Starting for the Alp (1854); Snipe Hunting, Ravine at Sunset, Railroad through the Woods (1864).--Allgem. d. Biogr., x. 266; Andresen, iii. 193.

HÄBERLIN, KARL, born at Oberesslingen, Würtemberg, Dec. 16, 1832. History painter, pupil of Stuttgart Art School, from 1852 of Düsseldorf Academy under Schadow, and from 1858 in Munich, of Piloty; visited France and England, and in 1864 Italy, and settled in 1866 in Stuttgart, where he became professor at the Art School in 1868. Resigned the latter position in 1883. Works: Death of Sickingen (1854); Storming of Convent (1856); Jew Süss; Dissolution of Alpirsbach Monastery (1862), Stuttgart Museum; Battle of Belgrade, Royal Gallery, ib.; Women of Schorndorf in 1688; Tetzel’s Journey through Saxony; Scene in Court Room; Capture of Robber-Gang; Savonarola; Siege of Stralsund; Jacobea of Bavaria (fresco, 1864), National Museum, Munich.--Brockhaus, viii. 683; Müller, 229.

HABRON, painter, country and date unknown. Pliny mentions (xxxv. 40 [141]) among his works a Friendship and Peace and several images of the gods.

HACKAERT (Hakkert), JAN, born in Amsterdam about 1636, died there in 1699 or 1708. Dutch school; landscape painter, pupil of Jan Wynants. In 1660–75 studied from nature on a journey through Germany and Switzerland; to judge from his pictures must have visited Italy. Lingelbach, Adriaan van de Velde, Wouwerman, and Berchem frequently supplied the figures in his pictures. Works: Stag-Hunt, National Gallery, London; Landscape, Stafford House, ib.; Avenue of Ash Trees, Landscape, Amsterdam Museum; Mountainous Landscape, Rotterdam Museum; do., and Landscape with Cattle, Copenhagen Gallery; Hunting Scene, Old Pinakothek, Munich; Italian Landscape with Herds, Berlin Museum; High-Road with Figures, Dresden Gallery; Grove with Stag-Hunt, Hermitage, St. Petersburg; Italian Landscape, Historical Society, New York; others in Städel Gallery, Frankfort, and Liechtenstein Gallery, Vienna.--Immerzeel, ii. 5; Kugler (Crowe), ii. 483; Kramm, ii. 622.

HACKER, HORST, born in Leipsic in 1842. Landscape painter, pupil in Munich of Richard Zimmermann, visited Italy, Switzerland, and the Austrian Alps. Works: The Wetterhorn; Obersee near Berchtesgaden;. New Axen Road near Flüelen; Smithy in Winter; Moonlight Night; Lake of Vierwaldstädt; View in Rosenlaui Valley.--Müller, 230.

HACKERT, JACOB PHILIPP, born at Prenzlau, Brandenburg, Sept. 15, 1737, died at Careggi, near Florence, April 28, 1807. German school; landscape painter, pupil of his father, Philipp, and in Berlin Academy of Le Sueur. After visiting Stralsund (1762), the Isle of Rügen, and Stockholm, he went to Paris in 1765, painted in Normandy, and rapidly acquired a name and wealth; with his brother, Johann Gottlieb, he went to Rome in 1768, and there established his fame by six pictures representing the Naval Battle at Tschesme and the Burning of the Turkish Fleet, painted by order of Catharine II. In 1772 he visited London, returned to Italy, and in 1786 became court-painter to the King of Naples, and enjoyed much distinction, until the revolution caused him to leave for Florence in 1799. He bought a villa at Careggi in 1803. Although one of the most noteworthy landscape painters of the 18th century, he was a clever mannerist, who by his many pictures attained to greater reputation than he deserved. Works: Italian Landscape, Cassel Gallery; He-Goat at a Brook (1776), Weimar Museum; Ideal Landscapes (2, 1782), Gotha Museum; Coast View with Kunsthalle, Hamburg; Italian Landscape (1794), Oldenburg Gallery. He had four brothers, all painters: Karl Ludwig (1740–1800), Johann Gottlieb (1744–73), Wilhelm (1748–80), and Georg Abraham (1755–1805). They followed their brother to Italy, where they often worked conjointly, and for many Englishmen, the Pope, the Emperor Joseph II., Catherine II., and the court of Naples.--Allgem. d. Biogr., x. 295; Brockhaus, viii. 688; Goethe, Phil. Hackert.

HADAMARD, AUGUSTE, born at Metz, Dec. 1, 1823, died in 1886. Genre painter, pupil of Delaroche. Works: Jewish Passover Feast (1847); Interior of Studio; Baking-Room; Forbidden Fruit (1869); Temptation; Reprimand (1870); Between Cat and Dog, The Absent (1872); Franc-Tireur Watching; The Women and the Secret (1874); Fée-aux-Mouettes, Fantasia (1883); Good Little Corner, A Bad Character (1884); Road to Switzerland, Evening Song (1885). He illustrated Ch. Blanc’s “Histoire des peintres de toutes les écoles.”

HADES, DESCENT INTO, Tintoretto, S. Cassiano, Venice. “A somewhat haggard Adam, a graceful Eve, two or three Venetians in court dress, and a Satan represented as a handsome youth, recognizable only by the claws on his feet. Much injured and little to be regretted.” Painted in 1568. Probably mostly scholars’ work.--Ruskin, Stones of Venice, iii. 290; Zanotto, 383.

HADRIAN, Roman Emperor (117–138 A.D.), amateur painter and sculptor. The fulsome panegyrics of his admirers are no evidence of his artistic ability.--Aurel. Vict., Epit. de Cæs., 14, 2; Dion Cas., lxix. 4.

HAECHT, TOBIAS VAN. See Verhaegt.

HAEFTEN, NICOLAAS VAN, sometimes called Walraven, born at Gorcum (?), flourished in 1677–1709. Dutch school; genre and portrait painter, chiefly of scenes in low life. Works: Scissors-Grinders at Cards, Company in Tavern amused by Smoking Monkey, Basle Museum; Fishseller (1704), Suermondt Museum, Aix-la-Chapelle.

HAENSBERGEN (Haansberge), JOHANNES VAN, born in Utrecht in 1642, died at The Hague in 1705. Dutch school; landscape and portrait painter, pupil of Poelenburg, whom he imitated successfully. Works: Diana and Callisto, Stuttgart Gallery; The Man with the Skull, Augsburg Gallery; Portrait, Berlin Museum; Annunciation to the Shepherds, Adoration of the Shepherds, Adoration of Magi, Assumption, Landscape, Dresden Museum; Italian Landscapes (6), St. John Preaching, Portrait of a Lady (1686), Schwerin Gallery.--Immerzeel, ii. 4; Kramm, ii. 620.

HAERT, HENRICUS VAN DER, born at Louvain about 1796, died in Ghent, Oct. 5, 1846. History and genre painter, pupil of Ghent Academy, then of Jacquin and David; in 1841 became professor and director of Ghent Academy, which he thoroughly reorganized. Works: Three Children mourning their Mother’s Death; Expulsion of Hagar, Ghent Museum.--Immerzeel, ii. 7; Kramm, ii. 628.

HAFFTEN, KARL VON, born at Wismar, Mecklenburg, Jan. 29, 1834. Landscape painter, pupil of Munich Academy after having visited, from 1849 to 1856, England and Scotland, North America, Brazil, and Australia. After three years in Munich he spent one year in Italy, attracted especially by the ruins at Pola, Istria; took part in the campaigns of 1866 and 1870, exhibited his works in Dresden for the benefit of the Albert Union in 1873, and settled in Berlin in 1874. Works: Moonlight on the Coast (1858), Schwerin Gallery; several in Collection of Emperor of Germany.--Schlie, 28.

HAGAR, DISMISSAL OF, Guercino, Brera, Milan; canvas, H. 3 ft. 8 in. × 5 ft. Abraham sending away Hagar. This picture was much admired by Lord Byron. Hagar, her face red with weeping, holds her son by the hand and turns her eyes to the patriarch. Sarah, in purple, is seen further back. Half-figures. Acquired in 1811 from Galleria Sampieri, Bologna. Engraved by R. Strange.

HAGBORG, AUGUST, born at Gothenburg, Sweden; contemporary. Genre and landscape painter, pupil of Stockholm Academy and in Paris of Palmaroli. Medal, Paris, 3d class, 1879. Works: Spring Tide in La Manche (1879), Luxembourg Museum; In the Cemetery of Tourville (1883); An Alarm (1884); Preparation for Fishing, Fisherman’s Daughter (1885); Fisherwoman, Charles Crocker, San Francisco; First Quarrel, J. A. Scudder, St. Louis.

HAGEMANS, MAURICE; contemporary. Landscape painter in Brussels. Works: March Sun near Chimay; Pond of Forge-Gérard; Meadow with Birch Trees.

HAGEN, BLANCA VON, born in Breslau, Nov. 4, 1842. Portrait and genre painter, studied in Berlin and Dresden, then pupil in Munich of Benczur, and in Berlin of Gussow; visited Italy and Paris, and settled in Berlin. Works: Wallachian Girl; After Mass; On an Art Tour; Hagar and Ishmael; At the Sick-bed.--Müller, 230.

HAGEN, JORIS VAN DER (Verhagen), died at The Hague, buried May 23, 1669. Dutch school; landscape painter, strongly influenced by Ruysdael. Settled at The Hague in 1642, and was one of the founders there, of the new painters’ guild, Pictura, in 1656. His pictures are truthful in details, but the colouring is dark and heavy. Works: Two Landscapes, Louvre; View near Arnheim (1649), View in Gueldres, Hague Museum; View over Canals, Museum, Amsterdam; Hilly Landscape with Felled Tree, Town Hall, ib.; Dutch Landscape with Cattle, Berlin Museum; Evening Landscape, River Shore, Carlsruhe Gallery; Landscape with Stag-hunt (figures by Lingelbach), Kunsthalle, Hamburg; Landscapes (2) with Figures (by J. le Duc), two others, Copenhagen Gallery.--Allgem. d. Biogr., x. 339; Burger, i. 151, 267; De Stuers, 40.

HAGEN, THEODOR, born at Düsseldorf, May 24, 1842. Landscape painter, pupil of Düsseldorf Academy under Andreas and Karl Müller, then of Oswald Achenbach; travelled in Switzerland and the Tyrol, became, in 1871, professor at, and in 1877 director of, the Weimar Art School; resigned his professorship in 1881. Works: Westphalian Landscape; Approaching Storm; Guffern Alp; St. Gothard Road; Kanderthal in Switzerland; View at Scheveningen; Rhenish City in Evening Light (1879), Dresden Gallery; Storm Landscape, Breslau Museum.--Müller, 230.

HAGHE, LOUIS, born at Tournay, March 17, 1806, died at Stockwell, England, March 9, 1885. History and genre painter, pupil of Chevalier de la Barrière, a French emigrant, whom he afterwards assisted in the publication of views in Belgium; went to London in 1823, where he participated in the publication of several lithographic works, and afterwards took up painting in water-colours; in 1835 became member of the Institute of Painters in Water Colours, and afterwards its president. Member of Antwerp Academy; Order of Leopold; Medals: 1834, 1855. Painted with his left hand. Works: War Council at Courtray (1839), National Gallery, London; Scene at Convent Gate of S. Geronimo (1840); Oath of Vargas (1841); Cromwell with the Letter of Charles I., The Town Hall of Courtray (1843); Last Moments of Zurbaran (1844); Ferdinand with Rubens (1845); Rubens painting the Chapeau de Paille, Interior of Brewers’ Corporation Room at Antwerp, Staircase in the House of that Corporation (1846); Meeting Room (1847); Capuchin Monks at Matins, Chaffoir in Town Hall of Mons, Michelangelo attending his Sick Servant Urbino (1848); Vespers in Church of St. Anne, Bruges (1849); Miseries of War, Guard-Room (1850); Interior of St. Gomer, Sierre (1851); Audience Chamber of Magistrates of Bruges--Visit of Marguerite of Parma (1852); Happy Trio, Salle d’Armes in Castle of Salzburg (1853); Corps de Garde (1854); Holy Water Vase in St. Peter’s, Rome, Post-Office at Albano, Convivial Meeting of Brewers’ Corporation at Antwerp, Fair Reckoner, Comfortable Quarters, The Report, Work first and Play afterwards (1855); Choir of Santa Maria Novella, Florence (1856, first picture in oil); Antechamber in Tribunal of Inquisition, Venice, View of Ducal Palace, ib., Town Hall of Oudenarde (1856); Sunny Hours (1857, in oil); Incident in Life of Cornelis Vroom, Public Letter-Writer in Rome, Remains of Portico of Octavia, Rome (1857); The Spy, Peter Boel arranging his Model, Drinking Song, Transept of St. Mark’s, Venice (1858).--Art Journal (1854), 256; (1859), 13; Athen. (1885), i. 352; Kramm, ii. 630; Müller, 231.

HAGN, LUDWIG (KARL HEINRICH) VON, born in Munich, Nov. 23, 1820. Genre painter, pupil in Berlin of Krause, then of Munich and Antwerp Academies, at the latter under Wappers, and in 1847–50 at Brussels of Eugène de Block; lived then successively in Brussels, Berlin (1850–53), where by the pictures of Menzel and those in the palaces at Potsdam and Sans Souci he was led to the cultivation of rococo subjects, and Paris (1853–55), and settled in Munich, whence he visited Rome and Florence (1863–65). Member of Munich Academy since 1867. Works: Unwelcome Wooing (1851), Schwerin Gallery; The Sweet Tooth, Musical Entertainment (1861); Alchemist (1862); Promissory Note; Walk in Versailles; Conversation in the Park (1860), New Pinakothek, Munich; Italian Garden Scenes (2), Schack Gallery, ib.; Sunday Walk (1863); Fish Market in Rome (1865); Goldoni (1866); Bowling Alley (1867); Roman Library (1868); Munich Beer Cellar (1869); Duel in 17th Century; Hall in Versailles; Faring Minstrels; Garden Scene in 18th Century; Walk in the Woods; Contrasts; Audience with Pope Leo XIII. (1880); Tintoretto in the Scuola di San Rocco (1881); Procession of Corpus Christi in Munich in last Century (1884), City Hall, Munich.--Brockhaus, viii. 706; Müller, 231; Graph. K., v. 43; Kunst-Chronik, xix. 352; Leixner, D. mod. K., ii. 93.

HAILER, MAX, born in Munich in 1818. History painter, pupil of Munich Academy under Schlotthauer, painted for four years under Cornelius in the Ludwigskirche. Works: Baptism of Duke Theodore and his Son, Ratisbon Cathedral; Emperor Charles VII., Kaisersaal, Frankfort.

HAL, JACOB VAN, born at Antwerp, Aug. 27, 1672, died there, April 20, 1750. Flemish school; history painter, pupil of one Marcus Lommelin; dean of the guild in 1705. Works: Fall of Manna, Adoration of the Holy Sacrament, St. James’s, Antwerp; Nativity, Jesuit College, ib.--Van den Branden, 1168.

HALAUSKA, LUDWIG, born at Waidhofen, Nether Austria, in 1827, died in Vienna, April 29, 1882. Landscape painter, pupil of Steinfeld, but studied mostly from nature, travelling through the mountainous districts of Tyrol, Styria, and Bavaria, and on the Rhine. Member of Vienna Academy since 1870. Works: Calm Lake (1864); Morning in the Mountains (1865); Church Ruin in Evening Light (1866); Old Earthwork near Landeck (1867), Austrian Art Union; Mountain-Brook in Storm (1868), Vienna Academy; Summer Landscape from Main Country; Burgau on Atter Lake; Village on the Main, Vienna Museum; View near St. Andrä; View near Salzburg; Ferry on the Main.--Müller, 232; Wurzbach, vii. 230; Zeitsch., x. (Mittheilungen, iii. 74).

HALBREITER, ULRICH, born at Freising, July 11, 1812, died in Munich, Nov. 26, 1877. History painter, pupil of the Munich Academy under Schlotthauer, whom he accompanied to Upper Italy (1834). After he had assisted Heinrich Hess in the Basilica, and Cornelius in the fresco of the St. Louis Church in Munich, he spent three years in Athens, painting historical scenes in the Royal Palace, and at the end of 1843 went to Constantinople, Egypt, and through the desert via Jaffa to Jerusalem, of which city he painted a panorama (18 ft. × 100 ft., Lateran, Rome). Works: Battle at Karbonissi, Devastation of the Morea under Ibrahim Pasha; Defence of Missolonghi, Royal Palace, Athens; Adoration of the Shepherds (1846); Assumption (1851).--Allgem. d. Biogr., x. 403; Allgem. Zeitg., Dec. 19, 1877, Beilage, 353.

HALE, E. MATTHEW, born in England; contemporary. Genre painter. Exhibits chiefly in Grosvenor Gallery. Works: Psyche’s Toil in Venus’ Garden (1879); Three Princesses (1881); Psyche before Venus, Irish Flower Garden (1883); Going to the Play, Criticism (1884); In the Days of Phidias (1885).

HALE, WILLIAM MATTHEW, born in England; contemporary. Landscape and marine painter; associate of Society of Painters in Water Colours since 1871. Works: Glen Logan, Loch Maree (1873); On the Coast of Somerset, Great Rock of Coigach (1878); Twilight in a Coombe (1881).

HALEN, ARNOUD (Arend) VAN, died in Amsterdam in 1732. Dutch school; portrait painter, signed his name often Aquila; started, under the title Pan Poëticon Batavum, a collection of portraits of Dutch poets, of which he painted two hundred. Other works: Portraits of Jan van Huysum, Isaak Moucheron, Gerard de Lairesse; Woman with Book.--Immerzeel, ii. 9; Kramm, i. 25; ii. 631.

HALEN, PEETER VAN, born at Antwerp, baptised Jan. 12, 1612, died there, buried May 22, 1687. Flemish school; landscape painter; master of the guild in 1641, dean in 1650. Supplied his landscapes with many highly finished small figures. Work, The Deluge, Cassel Gallery. Van den Branden, 915.

HALL, GEORGE HENRY, born in Boston in 1825. Subject and figure painter; studied in Düsseldorf in 1849, and painted in Paris in 1850–52; sketched in Spain in 1860 and 1866; elected N.A. in 1868. Visited Italy in 1872, Egypt and Cairo in 1875. Professional life passed chiefly in New York. Studio in Rome (1884). Works: Group of Spanish Children (1868); Young Lady of Seville and her Duenna (1870); Seasons, 4 pictures (1871), Richard Butler, New York; Pomegranates (1874); April Showers (1876), Graziella, Governor Fairbanks; Spice Bazaar--Cairo (1879); Studies of Grapes, J. J. Astor, New York; Turner’s Shop--Catskill (1880); Bric-à-Brac of Damascus, Rome, and Seville (1881); Catskill Mountain Laurels, Peaches (1882); Window in Venice, Strawberries (1883).--Tuckerman, 483.

HALL, SYDNEY P., born at Newmarket in 1842. Genre and portrait painter, pupil of Royal Academy and of Arthur Hughes; special artist of London Graphic. Accompanied Prince of Wales to India in 1876 as staff artist. Works: Review in Windsor Park--July 10, 1877, Queen visiting Camp at Ascot Heath--1877 (1878); Chapter of Order of Star of India--Calcutta, January 1, 1876 (1880), painted for Lord Northbrook; Their First Voyage (1882); Duke and Duchess of Teck receiving Officers of Indian Contingent (1883); Descent on Italy, portraits of Princesses Louise, Victoria, and Maud of Wales (1884); A Lord Chamberlain, Portrait of Major-General Earle (1885).

HALLATZ, EMIL, born in Frankfort-on-the-Oder in 1837. Animal painter, pupil of Berlin Academy and of Steffeck; went in 1862 to Paris to study the works of Troyon and Rosa Bonheur, and visited Italy in 1863. Works: Percheron Horses; Crossing Jutland Frontier; Importation of Grain into Normandy (1868); Herd in Approaching Storm; Stag Hunt (1872); Village Scene; Coast Scene near Dieppe; Journey of the three Magi; Life-boat; Festive Riding at Harvest (1875); Snow-storm in the Puszta; The Old Hypochondriacs in the Stable (1876); Horses on Towing-Path (1877).

HALLÉ, C. E.; contemporary. Figure and portrait painter. Son of the eminent musician Charles Hallé. Exhibits chiefly in the Grosvenor Gallery. Works: Little Blue-Stocking, Friends, the Gareloch, Arrochar, Nuremberg (1877); Rain Cloud (1878); To God and My Love’s Right Arm (1879); Cup of Tea, St. George and Dragon, Premi! (1880); Dance of Shepherdesses, Wild Boar Hunt (1881); Nora Creena, Judith, Preparations (1882); Youth and Age, Hebe, Phyllis (1883); Feeding the Pigeons, An Unfrequented Path, portrait of Mary Anderson (1884); The Mirror, Pets, Fortune-Teller, two portraits (1885).

HALLÉ, CLAUDE GUY, born in Paris, Jan. 17, 1652, died there, Nov. 5, 1736. French school; history painter, son and pupil of Daniel H. (history painter, 1631–75); won first prize of the Academy in 1675. Painted many well-composed, but not always well-drawn, pictures for French churches and palaces. Member of Academy, 1682; professor, 1702; rector, 1736. Works: St. Paul preventing his Jailer from killing Himself, Louvre; Christ driving out Money-Changers (1686); Annunciation, Notre Dame; Submission of the Doge of Genoa to Louis XIV., Versailles Museum; St. Nicholas giving Alms, Grenoble Museum; Io changed into a Cow; Jesus at Emmaus; Holy Family; Sacrifice to Cupid.--Bellier de la Chavignerie, i. 737; Jal, 670; Lejeune, Guide, iii. 121.

HALLÉ, NOEL, born in Paris, Sept. 2, 1711, died there, June 5, 1781. French school; history painter, son and pupil of Claude Guy Hallé; won 2d grand prix in 1734, and grand prix de Rome in 1736. Though a good draughtsman, he was weak in composition and colour. He became Member of Academy, 1748; professor in 1755, assistant rector and treasurer in 1777, and rector in 1781; superintendent of Gobelins in 1771; director of the School of Art in Rome in 1775–77; Member of Order of St. Michael, 1777. Works: Delilah cutting Samson’s Hair (1734); Passage of the Red Sea (1736); Dispute between Minerva and Neptune (1748), Fontainebleau; Flight into Egypt (1759), Archbishop Flavian interceding for Inhabitants of Antioch (1762), Orléans Museum; St. Vincent de Paul Preaching (1761), Church of St. Louis, Versailles; Ceiling of Baptistery, St. Sulpice, Paris; Autumn, Geniuses of Poetry, History, Physics, and Astronomy (1761), Simon the Athenian (1777); Cornelia, Mother of the Gracchi (1779).--Bellier de la Chavignerie, i. 737; Jal, 670; Larousse; Lejeune, Guide, i. 238.

HALLEZ, G. J., born at Frameries, near Mons, July 18, 1769, died in Brussels, May 18, 1840. Genre and portrait painter, pupil of Mons Academy, where he won all the prizes; in 1787 travelled through France, and after his return was called to Brussels to paint portraits of the Emperor of Austria and other high personages; in 1796 was made professor at the central school of the Department Jemappes, and afterwards director of Mons Academy; settled in Brussels in 1839. Member of Antwerp Academy in 1817. Works: Marshal Beaulieu and Count van Zoon (1811); Young Mother and Child in Grotto; Jupiter’s Awakening; Return (1813); Inundation Scene (1833); many portraits.--Immerzeel, ii. 10.

HALLMANN, ANTON, born at Hanover in 1812, died at Leghorn, Aug. 29, 1845. Architecture painter, and renowned architect, pupil in Hanover of Hellner, then of Munich Academy; in 1833 walked to Rome, and in 1834 to Naples; returned to Munich in 1839, then went to St. Petersburg, and thence to London and Paris; in 1841 returned to Rome, and in 1842 visited Dresden. Works: Convent Garden near Fossa Nova (1841); Five pictures illustrating Song of Mignon (1842); Day in Cyprus (1843); Decayed Villa in Evening Light (1845).--Brockhaus, viii. 738; Cotta’s Kunstbl., 1846; Faber, vi. 356.

HALS, DIRK, born in Haarlem before 1600, died there, buried May 17, 1656. Dutch school; genre painter, brother and pupil of Frans the elder. His works, usually representing soldiers, cavaliers, and women, eating, drinking, dancing, or listening to music, were painted between 1620 and 1653. His style has some analogy with that of Peter de Hooch; the predominant tone is a cool gray, lending great harmony to the light colours; only in his later works a warmer brownish tone is apparent. He painted figures in Dirk van Deelen’s pictures. Works: Merry Party, National Gallery, London; Assembly in a Park (about 1616), Louvre, Paris; Lady at the Piano, Museum, Amsterdam; Five Senses (1624), D. Franken, ib.; Ball-Scene (1628, interior by Van Deelen), N. J. W. Smallenburg, The Hague; The Topers (1627), Berlin Museum; Conversation-pieces (two 1636, one 1653), Figure of Rommelpotspeeler, Amalienstift, Dessau; Merry Party, Stuttgart Museum; Two Cavaliers and a Lady, Kunsthalle, Hamburg; Assembly (1622), Gallery, Copenhagen; Game at Draughts (1635), Count Moltke, ib.; Assembly of Ladies and Gentlemen, Musical Party (attributed to A. Palamedesz), Gotha Museum; Loving Couple, Flute Lesson (1646), Hausmann Collection, Hanover; Conversation-piece (1626), Peter von Semenoff, St. Petersburg; do. (1628), Violoncello Player (attributed to J. le Ducq), Academy, Vienna; Loving Couple on a Walk (1624), Game of Tric-trac, Assembly, Liechtenstein Gallery, ib.; Assembly in a Park (about 1620), Josef von Lippmann, ib.; Lute Player (1626), formerly Gsell Collection, ib.; Reading a Letter, Bergamo Gallery; Festival, Metropolitan Museum, New York.--Bode, Studien, 121, 613; Burger, Musées, ii. 121; Gaz. des. B. Arts (1868), xxv. 390; Zahn, Jahrbücher, 1871.

HALS, FRANS, the elder, born in Antwerp in 1584, died in Haarlem, Aug. 26, 1666. Dutch school; portrait and genre painter of great renown; pupil of Karel Van Mander. A most influential teacher and founder of a national style, and a portrait painter to be ranked with the greatest masters. Addicted to drunkenness, according to Houbraken, he was never prosperous, despite his long and active life and his unusual talent, which excited Van Dyck’s admiration. In 1664, reduced to sheer want, he was supported by the municipality and pensioned. Flesh-colouring unequalled; handling broad, masterly, and vigourous. Pictures unequal in merit; his immense facility sometimes led him to be careless and sketchy. Works: Joh. Bogardus (1614); Banquet of Officers (1616), do. (1627), do. (1627), Assembly of Officers (1633), Officers of St. George’s Guild (1639), Regents of St. Elizabeth’s Hospital (1641), Regents of Old Men’s Hospital (1664), do. (1664), Haarlem Museum; portrait of himself and his second wife (1624), The Fool (1625), Jolly Toper (1630), Old Lady (1639), Museum, Amsterdam; Archery-piece (1637), City Hall, ib.; Portrait of John Barclay (before 1610), Athenæum, ib.; Male Portrait (1655), Six Collection, ib.; do., Rotterdam Museum; Portraits of Dutch Nobleman and Wife (1625), Hague Museum; Male Portrait, do. (1645), Museum, Brussels; Singing Boys, Merry Tippler, Arenberg Gallery, ib.; De Strandlooper van Haarlem (1640), Male Portrait (1635), do. (1640), Antwerp Museum; Laughing Girl (1630), Portrait of a Lady, Portraits (3) of Beresteyn Family (1629, 1630), Louvre, Paris; Topers, Male and Female Portrait, Rothan Gallery, ib.; Male Portrait (1626), Old Lady, Young Lady (1634), Buffoon, Laughing Girl (1635), Rommelpotspeeler, Man and Wife (1638), do. (1643), Count Mniszech, ib.; Laughing Girl (1645), Lille Museum; Male Portrait (1632), Bordeaux Museum; Singing Boy (1625), Male Portraits (1625, 1627, 1656, 1660), Man and Wife (1627), Child with Nurse, Toper (1630), Hille Bobbe van Haarlem (about 1650), Berlin Museum; Nobleman and Wife (1620), Two Boys making Music (1625), Toper (1640), Male Portraits (3, 1655, 1660), Laughing Girl, Cassel Gallery; Male Portraits (2, 1630), Dresden Gallery; do. (1635, 1655), Gotha Museum; Young Man (1624), Man and Wife (1638), Städel Gallery, Frankfort; Boy playing the Flute (1625), Königsberg Museum; do., and Boy Drinking, Male Portrait (1630), Schwerin Gallery; Man and Wife (1643), Stettin Museum; Male Portrait (1650), Museum, Vienna; do. (2, 1630, 1644), Liechtenstein Gallery, ib.; do. (1655), Old Lady (1638), Baron Rothschild, ib.; Male Portrait (1650), National Gallery, Pesth; do. (4, 1635, 1650, 1660), Hermitage, St. Petersburg; Old Woman’s Head (1645), National Gallery, London; do. (1640), Bridgewater Gallery, ib.; Male Portrait (1630), Buckingham Palace, ib.; do. (1624), Manchester House, ib.; do. (1635), Marquis of Bute, ib.; Artist’s Portrait (1622), Devonshire House, ib.; Herring Seller (1616), Lord Northbrook, ib.; Male Portrait (1628), Hampton Court Palace; Hille Bobbe (?, probably by Frans, the younger), Meeting of Trained Bands to celebrate Peace of Münster (with Dirk Hals), Metropolitan Museum, New York; Portrait (?), Historical Society, ib.; other pictures attributed to him in the galleries of Munich, Stuttgart, Brunswick, Weimar, Oldenburg, etc., are not by him. Of his seven sons five were painters: Herman (1611–69), painted conversation pieces; Johannes (died in 1650), figures and genre scenes; Frans (see following article); Regnier (1627–89), genre scenes; Nicolaas (born in 1628), genre and landscape.--Allgem. d. Biogr., x. 451; Ch. Blanc, École flamande; Bode, Fr. Hals und seine Schule (Leipsic, 1871); do., Studien, 35, 612; Gaz. des B. Arts (1864), xvi. 299; (1865), xviii. 103; (1868), xxiv. 219, 431; (1869), i. 162; (1885), xxxi. 349; Van der Willigen, 139, 348; Zeitschr. f. b. K., viii. 193; xviii. 347.

HALS, FRANS, the younger, born in Haarlem between 1617 and 1623, died there after 1669. Dutch school; genre and still-life painter, son and pupil of Frans, the elder, many of whose pictures he copied. Works: Two Children Singing, Arenberg Gallery, Brussels; Heads of Laughing Boys (2), Royal Palace, ib.; Piper and Violin-Player, Schwerin Gallery; Still Life (1638), Königsberg Museum; do. (1640), Berlin Museum; Hille Bobbe as Fish-wife, Dresden Gallery; Interior of Peasant Cottage (2, 1637, 1638), Carlsruhe Gallery.--Bode, Studien, 103, 219, 616; Gaz. des B. Arts (1868), xxv. 398; (1869), i. 165; Van der Willigen, 150; Zeitschr. f. b. K., v. 79; ix. 299.

HALSWELLE, KEELEY, born at Richmond, Surrey, in 1832. Landscape, marine, and figure painter; studied drawing and engraving, and drew much on wood for Illustrated London News; went about 1855 to Edinburgh, and studied in schools of Royal Scottish Academy, exhibiting his first picture, In Vino Veritas, in 1857, and his Bridge of Sighs in 1858. In 1866 he became an A.R.S.A. In 1868 he went to Rome, and painted there his Roba di Roma (1869). Other works: Street Scene in Rome (1870); Contadini in St. Peter’s (1871, sold in 1883, £1,732); Elevation of the Host (1872); Il Madonajo (1873); Roman Fruit Girl (1874); Marriage Procession (1875); Rome from the Sistine, Non Angli sed Angeli (1877); Play Scene in Hamlet (1878); Tug and Timber Barge (1880); Wittenham Clumps (1881); Shooter’s Hill--Pangbourne (1882), Royal Windsor--Morning, Evening Mists (1883); Gleam of the Setting Sun, Rokeby, Bed of Water-Lilies (1884); Kilchurn Castle, Flying Scuds (1885).--Art Journal (1879), 49.

HAMAN, PUNISHMENT OF, Michelangelo, Sistine Chapel, Rome; fresco on ceiling.

HAMEL, JULIUS, born at Dillenburg, Nassau, in 1834. History and portrait painter, pupil of Städel Institute, Frankfort, under Jacob Becker, Steinle, and Passavant; visited Dresden (1860), Munich (1861), Belgium and Holland (1866), and Italy (1869–70), and settled in Frankfort. Works: Christ washing Peter’s Feet (1857); Entombment (1858), Frankfort Art Union; Loreley (1859); Tetzel’s Indulgence Traffic (1864); Eginhard and Emma (1867); William of Orange taking Farewell of Egmont (1871); Seasons and Harvest-Joys (1874); Taking of Egmont (1876); Countess Helpenstein begging for her Husband’s Life (1879); Portraits of Professor Becker, Justinus Kerner, Arthur Schopenhauer.--Müller, 234.

HAMILTON, CHARLES WILLIAM DE, born at Brussels in 1668 or 1670, died at Augsburg in 1754. Animal and still-life painter, son and pupil of James Hamilton (1640–1720, an able still-life painter, who under Cromwell left Scotland and settled at Brussels); also pupil of his brothers, John George and Philip Ferdinand; entered the service of Bishop Alexander Sigismund of Augsburg, for whom he painted a great number of pictures, several of which are now in the royal galleries of Bavaria. Works: Plants and Fruits, etc., Lyons Museum; Weeds and Reptiles in the Woods, Carlsruhe Gallery; Still Life with Plants and Insects (2), Darmstadt Museum; do. (3), Stuttgart Museum; do. (1), Schleissheim Gallery; Reed-Birds, Quail, Saint Gall Museum; Dead Fox and Game-Birds (1739), Schwerin Gallery; two do. and two others, Mannheim Gallery.--Wurzbach, vii. 264.

HAMILTON (Hammilton), FRANS DE, flourished second half of 17th century. Animal and still-life painter, either brother or eldest son of James; entered the service of the Elector of Brandenburg at Cleves in 1661, but seems to have immediately removed to Potsdam, whence, having resigned his position, he went to Vienna in 1670, then entered the Bavarian service in 1683. Works: Dead Game, Animal Life in the Woods (2), Schwerin Gallery; similar subjects (4), Aschaffenburg Gallery; do. (4), Schleissheim Gallery.--Schlie, 235.

HAMILTON, GAVIN, born at Lanark, Scotland, in 1730, died in Rome in 1797. History painter, master unknown; went early to Italy, and resided in Rome most of his days. More noted for promotion of the fine arts than as a painter, but left some good pictures, especially illustrations of the Iliad. Works: Achilles with the Dead Body of Patroclus; Achilles parting with Briseis; Achilles dragging the body of Hector behind his Chariot; Andromache weeping over Hector; Apollo. About 1794 he decorated an apartment in the Villa Borghese, Rome, with the story of Paris.--Redgrave.

HAMILTON, HAMILTON, born in Middlesex Co., England, April 1, 1847. Genre painter, self-taught. His family removed to America when he was an infant, and settled at Cowlesville, Wyoming County, N. Y. In 1872 he opened a studio in Buffalo and painted portraits; in 1875 visited the Rocky Mountains and painted the Laramie Peaks (Centennial Exhibition, 1876), now in the Buffalo Fine Arts Academy; spent 1878–79 in Europe, chiefly at Pont Aven, Brittany; returned thence to Buffalo, and removed to New York in 1881. Member of American Water-Colour Society, and New York Etching Club; elected A.N.A. in 1886. Works: The Peddler’s Visit, The Sisters (1882); The Silver Line, Jump--Sir! Little Sunbeam, The Dreamer (1884); Interior at New Windsor--N. Y., Farewell, Veiled Head (1885); Solitude, The Messenger (1886).--Hitchcock, American Etchings (New York, 1885).

HAMILTON. JAMES, born in Ireland in 1819, died in 1878. Marine painter, taken to America as a child, studied first in Philadelphia; spent 1854–55 in London, and after his return to Philadelphia furnished illustrations for Dr. Kane’s Arctic Explorations and other works. Professional life passed in Philadelphia. Works: Egyptian Sunset; Morning off Atlantic City, Mrs. C. S. Longstreet, New York; Moonlight Scene near Venice; Wrecked Hopes; Old Ironsides; Escape of Smugglers, Capture of the Serapis, Mrs. D. D. Colton, San Francisco; Death of Steerforth, W. H. Fosdick, Louisville; Wreck off the Coast, C. H. Wolff, Philadelphia; Off Delaware Capes, J. W. Drexel, New York; Vision of Columbus, Mrs. Joseph Harrison, Philadelphia.

HAMILTON, JEAN GEORGE DE, born at Brussels in 1666 or 1672, died in Vienna in 1740 (?). Animal and still-life painter, son and pupil of James (Scotch painter of fruit and still life); painted many years in Brussels, then joined his brother Philip in Vienna; later lived at the court of Berlin, but returned to Vienna after the death of Friedrich I. of Prussia, and became court-painter. He painted flowers, fruits, and insects, but especially horses with great skill. Works: Horses and Foals in Pasture (2), Imperial Stud at Lipicza (1727, with 72 horses painted from nature), Stag and two Roes in a Landscape, Boar-Head and Hunting Implements (1718), Vienna Museum; several in Summer Palace at Schönbrunn, and in Gallery of Stift Kremsmünster; Dead Hare and Birds, Old Pinakothek, Munich; Dead Birds Suspended (2), Schleissheim Gallery; White Horse Jumping (1703), Thoroughbred (1704), White Horse led by Negro, Sorrel led by Groom (1709), Dresden Gallery; Dogs by Dead Game (3), Dead Bird and Insects (2), Bear-Hunt, Stuttgart Museum; White Grouse in the Mountains, Zürich Gallery. His son and pupil, Anton Ignatz (born in Vienna in 1696, died at Hubertsburg, Saxony, in 1770), who painted the same subjects, entered the service of the Duke of Saxe-Weimar, and then became court-painter to Augustus III., King of Poland and Elector of Saxony.--Kramm, ii. 635.

HAMILTON, JOHN McLURE, born in Philadelphia in 1853. Genre painter; studied at the Royal Academy, Antwerp, under Van Lerius, and at the École des Beaux Arts, Paris, under Gérôme. Exhibited at National Academy in 1877, Le Rire, and at Pennsylvania Academy in 1885, The Old Pioneer and Swiftwater. Studio in Philadelphia.

HAMILTON, PHILIP FERDINAND DE, born at Brussels in 1664, died in Vienna in 1750. Animal and still-life painter, son and pupil of James; was called to the court of Vienna by Charles VI., who employed him extensively. His pictures are frequently to be met with at the country-seats and in the castles of the Austrian nobility, and in the public galleries of Vienna, Prague, Pesth, Munich, Weimar, Dessau, Carlsruhe, Frankfort, and Oldenburg.--Kramm, ii. 636; Wurzbach, vii. 263.

HAMLET, PLAY SCENE IN, Daniel Maclise, National Gallery, London; canvas, H. 5 ft. × 9 ft. The play scene in centre, background; in foreground, right, the king and queen and Polonius, with attendants and soldiers; left, Ophelia with Horatio leaning on her chair, and behind, attendants and soldiers; centre, Hamlet lying at feet of Ophelia, gazing on the king’s face. Royal Academy, 1842. Engraved by C. Rolls.--Art Journal (1854), 214.

HAMLET WITH YORICK’S SKULL, Sir Thomas Lawrence, National Portrait Gallery, London; canvas, H. 10 ft. × 6 ft. 6 in. Portrait of John Philip Kemble, as Hamlet, apostrophizing the skull of Yorick, the king’s jester, which he holds in his hand. Painted in 1801; presented in 1836 by King William IV. Transferred from National Gallery in 1884. Engraved by S. W. Reynolds and others. Sketch sold at Sir T. Baring sale, 1848, for 50 guineas.--Gower, 48; Waagen, Treasures, i. 380.

HAMMAN, (ÉDOUARD JEAN) CONRAD, born at Ostend, Sept. 24, 1819. Historical genre painter, pupil of Antwerp Academy and of De Keyser; settled in 1846 in Paris. Gold medal in Brussels, 1848; medals in Paris: 3d class, 1853; 2d class, 1859, 1863, 1864; Order of Leopold, 1854; L. of Honour, 1864. Works: Preparations for Serenade, Rabelais at the Court of France, Hamlet, Charles IX. and his Surgeon Ambroise Paré, Louis XIII. and Maria de’ Medici surprised by Richelieu, Doge Mocenigo and Titian visiting Paul Veronese, Daughter of the Criminal (1847–53); Christopher Columbus; Adrian Willaert playing Organ in Monastery at Bruges, Brussels Museum; Workshop of Stradivarius (1869); The Anatomist Vesalius in Padua; Dante at Ravenna (1859); Entry of Duke Albrecht VII. and Isabella into Ostend; The Heptaméron of Margaret of Angoulême; Childhood of Francis I.; Charles V. instructed by Erasmus (1863), Luxembourg Museum; Women of Siena during the Siege (1864); Festival of Bucentaur in Venice (1867); Masaniello and the Viceroy of Naples; Murillo in his Studio; Huguenot Family in Flight (1870); The Secrets of Madame and of the Soubrette (1873); Father’s Memories (1878); Grassy Corner in Normandy (1881); Meadows of Surdif (1882); Farm Yard in Normandy (1883); The Breakers (1884).--Jour. des B. Arts (1860), 138; Kramm, ii. 636; Müller, 167.

HAMMER, (EDMUND) GUIDO, born in Dresden, Feb. 4, 1821. Animal painter and illustrator, pupil of Dresden Academy and of Julius Hübner. In 1847 visited Trieste and North Italy on foot, and returned home by Munich and Nuremberg; has made frequent excursions into the forests of Saxony, Bohemia, and Silesia, and the Tyrol; went to Constantinople in 1866. Works: Mort, Saxon Art Union; Two Stags Fighting; Greyhound (1852), Sow with Grice stopped by Dog (1860), Dresden Gallery.--Müller, 235.

HAMMER, HANS JÖRGEN, born in Copenhagen, Dec. 29, 1815. Genre and landscape painter, pupil of Copenhagen Academy under Eckersberg; entered the army in 1848, took part in the campaign of that year, and took his leave as captain in 1860; visited Italy in 1856–58. Order of Dannebrog, 1861; Member of Copenhagen Academy in 1874. Works: Last Load of Hay (1845); Peasants’ Amusement on Sunday (1847); View of Rome (1863); Market-Place at Ariccia (1863); Market-Day at Fredericia (1871); Long-Expected Letter (1877), Copenhagen Gallery.

HAMMER, JOHN J., born in Westhofen, Germany, Jan. 1, 1842. Genre and portrait painter, pupil in Munich from 1876 of Professors Loefftz and Alexander Wagner. Removed to New York in 1884. Works: In the Shade (1881), In the Sun (1882), Kunstverein, Munich; Gleaners (1883), William Baumgarten, New York; Scenes from Pompeii--water-colours (1883); Goose Girl (1883), Munich Exhibition; Little Barefoot (1884); Dreams of Childhood--water-colours (1885); Portrait of Mrs. Margaret Carnegie (1886), Andrew Carnegie, New York.

HAMON, JEAN LOUIS, born at St. Loup, near Plouha (Côtes-du-Nord), May 8, 1821, died at St. Raphaël (Var), May 29, 1874. Genre painter, pupil of Delaroche and of Gleyre; exhibited in 1848 with little success. Gleyre then obtained him employment at Sèvres, where he designed and painted a number of vases, among them one for Queen Victoria (1851), and another for the Empress. Lived in Capri after 1865. Many of his highly poetical and delicately painted pictures have been engraved. Despite great professional success, his life was embittered and shortened by sickness and pecuniary embarrassment. Medals: 3d class, 1853; 2d class, 1855; L. of Honour, 1855. Works: Tomb of Christ, Frieze of a Door (1848); Equality in the Seraglio, Parrot playing with two Girls, a Roman Notice (1849); Human Comedy (1852), Luxembourg Museum; My Sister isn’t There (1853); Cupid and his Followers, The Orphans, Nurse with Children, It is not I (1855); Tomb of Christ (1865), Marseilles Museum; Chained Butterfly, Enslaved Fly, The Cheap Shop, The Tamer, Love, Women Winding (1857); Cupid Visiting (1859); Aviary, Smuggler, Guardianship, Virgins of Lesbos (1861); Elder Sister, Mountebank (1861), Nantes Museum; Imitator, Day of Betrothal, Aurora (1864); Muses at Pompeii (1866); Promenade (1867); Ophelia on the Bank of the Dark River (1873); Among the Flowers, Museum, New York; Spring Flowers, W. H. Vanderbilt, ib.--Gaz. des B. Arts (1875), xi. 119; Athenæum (1874), i. 835; Hamerton, French Painters; Larousse; Meyer, Gesch., 628; Illustr. Zeitg. (1879), i. 315, 321; Claretie, Peintres (1882), i. 49.

HAMPE, KARL FRIEDRICH, born in Berlin, July 13, 1772, died there, Dec. 29, 1848. Genre and architecture painter, pupil of Berlin Academy under Niedlich and Frisch. Member of the Berlin Academy in 1816, professor in 1823, and inspector and librarian from 1829. Works: Castle in Moonlight (1817), Fountain in Gothic Hall (1819), Luther’s Room in Wittenberg (1821), National Gallery, Berlin.

HÄNDLER, PAUL, born at Altenweddingen, near Magdeburg, March 16, 1833. History painter, pupil of Berlin and Düsseldorf Academies, then in Dresden of Julius Schnorr; visited Italy in 1859, and afterwards Paris; lived in Dresden in 1861–67, and then settled in Berlin, where he is professor at the Royal Art School. Works: Crucifixion (1861); Disciples at Emmaus (1862); Battle at Möckern (1864); Christ bearing the Cross (1865); Wall Paintings for Church in Hillersleben (1867); Doubting Thomas (1868); Crucifixion (1871); Ecce Homo (1872); Resurrection (1872); do. (1873); Christ Crucified (1873); Disciples at Emmaus (1875); Christ and Peter on the Sea (1876). In fresco: St. Paul at Athens, Burning of Papal Bull at Wittenberg (1881–83), Gymnasium, Magdeburg; Cartoons for Stained Glass Windows in Prince Albert Mausoleum at Windsor Castle (1866).--Brockhaus, viii. 808; Müller, 235; Rosenberg, Berl. Malersh., 248.

HANNIBAL CROSSING THE ALPS, Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 9 in. × 7 ft. 9 in. A lurid sun seen through a storm of snow, which threatens to overwhelm the Carthaginians, toiling through the passes, who are also attacked by the savage mountaineers. Royal Academy, 1812. Engraved by J. Cousen in Turner Gallery.--Cat. Nat. Gal.

HANNEMAN, ADRIAEN, born at The Hague in 1601, died there in 1668 or 1669. Portrait painter, pupil of Ravesteyn; went to England early in Charles I.’s reign, painted for 16 years under Daniel Mytens, the elder, and adopted much of Van Dyck’s manner. He returned afterwards to The Hague (probably before 1640), became master of the guild in 1640, court-painter to Princess Mary of Orange, and in 1656 was one of the founders of the new painters’ guild, Pictura, and its first dean. His portraits are well drawn, full of expression, and of fine colouring. Works: Portrait of Constantyn Huygens and Children (1640), Hague Museum; Portrait of Jan de Wit (1652), Rotterdam Museum; Family Group engaged in Music, Female Portrait, do. (1661), Brunswick Museum; Portrait of Prince William Frederick of Orange (1661), Weimar Museum; do. of Great Elector (1659), Wörlitz Gallery; do. of Charles I., and of Van Dyck, Vienna Museum.--Allgem. d. Biogr., x. 522; Burger, Musées, ii. 227; Immerzeel, ii. 13; Kramm, ii. 637; Riegel, Beiträge, ii. 219.

HANNL, MAX, born in Prague in 1696, died in Vienna in 1758. German school; portrait painter, said to have been a pupil of Kupeczky. His portraits show broad treatment, powerful colouring, and fine impasto. Works in Vienna Museum.

HANOTEAU, HECTOR, born in Decize (Nièvre), May 25, 1823. Landscape painter, pupil of Gigoux. A painstaking and skilful realist. Medals: 1864, 1868, and 1869; L. of Honour, 1870. Works: Arab Encampment (1855); Meadows of Charency, Pond in Nivernais (1857); Morning on the Cauna (1859); Morning’s Fishing (1860); Springs at Charency (1861); Horses at Liberty (1863); Paradise of Geese, Marseilles Museum; Abandoned Hut (1864); Corner of a Park (1865); Evening on the Farm, After Fishing (1866); Larder of the Fox-Cubs (1868); Reeds (1869); Passage of Great Game (1869); The Summons (1870); Village Pond (1870), Luxembourg Museum; Cottage (1872); Honeysuckle (1873); The Aumance, View on the Allier, Benevolent Public (1874); Frogs (1875), Luxembourg Museum; Laughing Water, Kids (1876); Mill, Chief Place by the Fire (1877); Miller’s Excursion (1878); Victim of the Supper (1879); Sleeping Water (1880); Wooded Pond, My Garden (1881); Autumn, Hoeing (1882); The Middle Row (1883); September, April (1884); Peaks of the Grove, Useful Man (1885).--Gaz. des B. Arts, xvii. 16, 162, 368; Larousse.

HANS VAN KALKAR. See Kalkar.

HANSCH, ANTON, born in Vienna, March 24, 1813, died in Salzburg, Dec. 8, 1876. Landscape painter, pupil of Vienna Academy under Moessmer. Studied the old masters, and made frequent journeys to the Austrian Alps, to Switzerland, Upper Italy, and Belgium. Gold medal, 1839. Prizes, 1839, 1859, 1860. In 1848 he was made member, and in 1871 senator, of the Vienna Academy. Settled at Salzburg in 1873. He was one of the leading landscape painters of the Vienna school. Works: View near Hiefflau, Styria (1836); Neuwald near the Schneeberg (1836); Lake of Constance, Fir Wood in the Salzkammergut; View at Gollinger Falls; After the Storm; From the Wilderness of Styria; At Bernina Pass; View on the Königsee (1849), Glacier of the Jungfrau (1853), Under the Lindens (1858), Museum, Vienna; View in the Salzkammergut, Academy, ib.; Alpine Forest (1866); Gossau Lake (1869), Oetzthal Glacier, View on Chiem Lake, The Wetterhorn.--Allgem. d. Biogr., x. 525; Kunst-Chronik, xii. 239; Meyer, Conv. Lex., xvii. 435; Wurzbach, vii. 325.

HANSELAERE, PIETER VAN, born in Ghent, July 13, 1786, died there, March 10, 1862. History and portrait painter, pupil of Ghent Academy under Van Huffel, obtained the first prize, and in 1809 went to Paris, where he studied under David, won the grand prize at Ghent in 1814, and went to Italy in 1816; became court-painter to King of Naples and member of Rome and Naples Academies, and, after his return in 1829, professor at Ghent Academy. Works: Sacrifice of Abel (1814); Martyrdom of St. Stephen, Ghent Museum; Philip van Artevelde inciting Rebellion in Ghent; Susanna at the Bath, Artist’s Portrait, National Museum, Amsterdam; Roman Woman Praying, Weimar Museum.--Immerzeel, ii. 14; Kramm, ii. 619.

HANSEN, HANS NIKOLAI, born in Copenhagen, May 5, 1853. Genre painter, pupil of Copenhagen Academy, where he took several prizes. Works: Outside the Gate (1868); From a Churchyard (1880); After Breakfast, Children on the Heath, (1881); Troubadours (1882).--Sigurd Müller, 138.

HANSEN, HEINRICH, born at Hadersleben, Nov. 23, 1821. Architecture painter, pupil of Copenhagen Academy. In 1847 travelled through Germany, and in 1850–52 visited Western Europe and Spain. Member of, and professor at, Copenhagen Academy. Works: Interior of St. Sablon’s in Brussels (1853), Chamber of Christian IV. at Rosenborg Castle (1855), Room in Town Hall of Bruges (1858), Copenhagen Gallery; San Marco; Oratory of Christian IV.; Council Chamber in Palazzo Ducale, Venice; Interior of 16th Century in Lübeck (1878).--Sigurd Müller, 143; Weilbach, 242.

HANSEN, KONSTANTIN, born in Rome, Nov. 3, 1804, died March 27, 1880. Genre and history painter, son of the portrait painter Hans H. (1769–1828), pupil of Christopher V. Eckersberg; was in Italy in 1835–41, and painted many scenes from popular life; after his return executed mythological scenes in fresco in the University of Copenhagen. Member of Copenhagen Academy in 1864, professor, and since 1873 vice-director. Works: Ægir’s Banquet, Copenhagen Gallery; Reading from Ariosto (1839); The Housewife (1859); Interior of Mill near Hellebek; Assembly of the States at Christiansborg.--Sigurd Müller, 127; Weilbach, 229.

HANSEN BALLING, OLE PETER, born in Christiania, April 23, 1823. Genre and portrait painter, pupil of Berlin and Copenhagen Academies, entered the army in 1848, went to America in 1856, took part in the Civil War as commander of a regiment of volunteers, and afterwards returned to Christiania, where he portrayed especially officers of the Norwegian navy. Works: Cavalry Skirmish near Rendsburg; Portraits of General Grant and several other American generals.--Weilbach, 246.

HANSONN, CHRISTIAN HEINRICH, born at Altona in 1791, died there, May 1, 1863. History and portrait painter, first instructed in Hamburg; tried portrait painting successfully, went to Stralsund, and afterwards to Vienna, whence, with the Danish painter Bravo, went to Rome, where he improved through intercourse with Reinhardt, Koch, and Cornelius; after a short visit home, he passed six years in Italy, and then resided in Munich in 1830–45. In 1845 he painted four large altarpieces in Austria, before going again to Italy, whence he returned to his native town in 1850. Works: Youth at Nain; Magdalen; The Fisherman--after Goethe (1833); Madonna; Christ on Mount of Olives; Bathing Girls; Portraits of Baron von Aretin, of the painter Morgenstern, and many others; Scenes from Mediæval Life in German Castles; four great Altarpieces (1845); St. Geneviève in Prison; Genius with a Child; Mother and Child; Group of Italian Women.--Allgem. d. Biogr., x. 543; Cotta’s Kunstbl. (1835), 58; Hamb. K. Lex.; Söltl.

HANTZSCH, JOHANN GOTTLIEB, born at Neudorf, near Dresden, March 19, 1794, died in Dresden, April 3, 1848. Genre painter, pupil of Dresden Academy and of Rössler. He satirized the philistinism of small towns and set forth the humourous aspects of the school-room in his pictures. Works: Saxon Peasant’s Room; Village School; Youth hath no Virtue; Sunday Morning (1830), Leipsic Museum; At the Dentist’s (1839), National Gallery, Berlin.--Jordan (1885), ii. 84.

HAPPEL, FRIEDRICH, born at Arnsberg, Westphalia, May 23, 1825, died in Düsseldorf, July 5, 1854. Animal painter, brother of Peter Friedrich, pupil of the Düsseldorf Academy in 1838–41. Works: Foxes fighting about Dying Buck (1844); Hounds, Foxes hunting Hares, Fighting Stags (1851–52); Fox Family, Young Foxes Playing, Young Foxes waiting for their Parents (1853); Stag Calling (1854); Foxes attacking Wounded Buck (1855).--Allgem. d. Biogr., x. 552; Andresen, v. 197.

HAPPEL, PETER FRIEDRICH, born at Arnsberg, Westphalia, March 26, 1813, died in Düsseldorf, May 23, 1854. Landscape painter, pupil from 1829 of the Düsseldorf Academy under Schirmer. Opened a studio in 1842 at Düsseldorf, which he left only at intervals for study at Munich and in the country. He has been called the painter of German summer. Was secretary of the Düsseldorf Artists’ Association. Works: View in Sauerland (1837); Mountain Landscape in Rain (1839); View in Isar Valley (1840); Maleiche (1842); Way to Village (1847); Moorland (1848); Harvest Scene, Mill (1850); View in the Eifel, Harvest, with Procession, View in the Odenwald.--Allgem. d. Biogr., x. 552.

HAPPY AS A KING, William Collins, J. Clough, Liverpool; canvas, H. 2 ft. 3 in. × 2 ft. 11 in. Children swinging on a gate in a wood. Painted in 1836; sold to Messrs. Finden, 275 guineas. Repetition (1836) in National Gallery, from Vernon Collection, 1847. Engraved by E. Finden, C. Cousen.--Wilkie Collins, Memoirs, ii. 66, 349.

HAQUETTE, GEORGES, born in Paris; contemporary. Genre and portrait painter, pupil of Adolphe Millet and of Cabanel. Medal, 3d class, 1880. Works: Wandering Musicians (1876); At the Guardian’s (1877); Scene at Pollet near Dieppe (1878); Francine’s Muff, Interior at Pollet (1879); Wandering Musicians in Norman Tavern; Fish-seller at Dieppe (1880); Interior at Mother Panotte’s, Father Mazure (1881); Departure for Newfoundland, At the Pier (1882); Right of Passage, Expectation (1883); Salute at Calvary, A Baptism (1884); The Signal (1884), Mrs. M. J. Morgan, New York; Landing of Fishermen, Blast of Wind (1885).--Bellier, i. 741.

HARBURGER, EDMUND, born at Eichstädt, Bavaria, April 4, 1846. Genre painter, pupil of Munich Academy under Lindenschmitt; subjects mostly humourous. Works: Beer-Drinker, Village Barber (1872); Contrasts (1873); Senator (1874), Art Union, Munich; Old and Young (1875); Education of Bacchus (1876); Young Venetian Woman; At the Silent Hearth (1883); Seamstress (1884); Head Study, Saint Gall Museum.--Illustr. Zeitg. (1873), ii. 246; Kunst-Chronik, xx. 743.

HARDING, CHESTER, born at Conway, Mass., Sept. 1, 1792, died in Boston, April 1, 1866. Portrait painter, self-taught. Originally a turner, then a soldier in the war of 1812, and a house-painter in Pittsburgh, he developed a talent for portrait painting, and going to London in 1832 met with much success. After his return he exercised his profession in St. Louis, Philadelphia, and Boston. Works: Portraits of Dukes of Norfolk, Hamilton, and Sussex; Sir Archibald Alison; Samuel Rogers; Lord Aberdeen; Daniel Webster, Bar Association, New York; Washington Allston, S. Batchelder; John Randolph, Corcoran Gallery, Washington; Daniel Boone; General Sherman; Henry Clay; John C. Calhoun; Chief Justice Marshall; Charles Carroll; William Wirt; Presidents Madison, Monroe, and J. Q. Adams.

HARDING, JAMES DUFFIELD, born at Deptford, England, in 1798, died at Barnes, Dec. 4, 1863. Landscape painter, awarded in 1818 a medal by the Society of Arts, elected in 1821 an associate, and in 1822 a member of the Water-Colour Society, which he left in 1847 to become a candidate for the R. A., but failing returned to it in 1857. Visited Italy in 1830; promoted lithography, and wrote several works on art. For his lithographic drawings, exhibited at the Louvre, he received two gold medals from the Academie des Beaux Arts. Works: The Alps from Secco to Como; The Jungfrau; Angers on the Loire; View of Freiburg; Falls of Schaffhausen; On the Moselle, Sir Richard Wallace, London; Pollards in Windsor Meadows, Tintern Abbey, Landscape with Hovels, South Kensington Museum.--Art Journal (1850), 181; (1856), 270; (1864), 39, 89.

HARDORFF, GERDT, born in Hamburg Territory (Altenland), May 11, 1769, died in Hamburg in 1864. History painter, pupil in Hamburg of Anton Tischbein, and from 1788 in Dresden of Casanova; returned in 1796 to Hamburg, where he became professor at the Johanneum. Works: Cain after the Fratricide (1794); Last Supper, Crucifixion (1796), Magdalen; Director Gurlitt at the Desk, Kunsthalle, Hamburg.--Allgem. d. Biogr., x. 595; Nagler, Mon., ii. 1064.

HARDORFF, RUDOLF, born in Hamburg, March 8, 1816. Marine painter, son and pupil of Gerdt; has visited Holland, England, and Scotland, and paints marines effectively with interesting accessories. Works: Sunrise on Coast (1848), Explosion of Danish Man-of-War Christian VIII. near Eckernförde (1850), Mouth of the Thames near Ramsgate (1853), Moonlight on Coast, Shipwreck, Kunsthalle, Hamburg; Naval Victory of Germans over the Danes (1858); Roadstead at Isle of Wight; The Log-House in Hamburg Harbour; Cladda Rock by Moonlight; Scotch Coast; Men-of-War in North Sea.--Müller, 237.

HARDY, FREDERICK DANIEL, born at Windsor, February, 1826. Genre painter, relinquished music for painting; began to exhibit in Royal Academy in 1851 views of domestic interiors, which have made him popular. Exhibits chiefly at Royal Academy. Works: The Sweep (1862); Playing at Doctor (1863); The Pedlar (1864); Leaky Roof (1865); Threatened Deluge (1866); Broken Window (1869); Reading the Will (1870); Housekeepers Alarmed (1871); Looking for Father (1873); Stirring News (1875); A Misdeal (1877); Prayer for Those at Sea, Music Party (1879); Evening with Mozart (1881); Reading the Spectator in 1711 (1882); In Memoriam (1883); Vespers (1884).

HARDY, HEYWOOD, born in England; contemporary. Genre painter. Exhibits at Royal Academy and Grosvenor Gallery. Works: Christmas Eve (1877); Meg Merrilies and the Laird of Ellangowan (1879); Sidi Ahmed ben Avuda and the Holy Lion, Life’s Chequered Ways, Lovers’ Meeting, Sleeping Beauty, Little Sisters (1881); King’s Daughter, Slain Enemy (1882); Lion in Love, New Arrival, General Assembly (1883); Rear Guard, Sale of Cavalry Horses, Wanderers (1884); Roused, Trespassers (1885).

HAREUX, ERNEST VICTOR, born in Paris, Feb. 18, 1847. Landscape painter, pupil of Charles Busson, Bin, Trottin, Pelouse, and Levasseur. Medals: 3d class, 1880; 2d class, 1885. Works: End of September Day (1868); Before the Rain (1870); Banks of the Seine (1875); Day after Fête (1878); Return from Market, Summer in Normandy (1879); Vegetable Garden, Trench of Digue-Blanche (1880); Moonrise after Rain (1881); Banks of the Creuze (1882); Storm, Moonrise in November (1883); Twilight in July, November Morning (1884); Banks of the Creuze, Autumn Night (1885).--Bellier, i. 742.

HARLAMOFF, ALEXIS, born at Saratoff, Russia, in 1849. Genre and portrait painter, pupil of St. Petersburg Academy under Markoff; won in 1870 first prix de Rome, continued his studies in Paris under Bonnat, and spent two years in Holland and Germany, and one year in Belgium. Member of St. Petersburg Academy. Medal, 2d class, Paris, 1878. Works: Music Lesson; Children and Flowers; Maiden of Mordva; Portraits of Turgeneff, M. and Madame Viardot, Emperor Alexander II., Prince Kotschubei, Madame Tretiakoff.

HARLOW, GEORGE HENRY, born in London, June 10, 1787, died there, Feb. 4, 1819. Portrait painter, pupil of De Cort, Drummond, and Sir Thomas Lawrence; first exhibited at Royal Academy in 1805. In 1818 he visited Rome; was introduced to the Pope by Canova, and through him made a member of the Academy of St. Luke. Best known work, Trial of Queen Catherine, with Kemble portraits.--Redgrave; F. de Conches, 411.

HARMS, JOHANN OSWALD, born in Hamburg in 1642, died at Brunswick in 1708. German school; landscape and architecture painter, pupil of Ellerbrock in Hamburg; studied in Rome under Salvator Rosa, whom he imitated successfully. After his return he lived long in Dresden, where he painted decorations for the theatre. Works: Winter Landscape (1675), Schwerin Gallery; others in Brunswick Museum. His son, August Friedrich (died at Cassel in 1745), also painted landscape and architecture, but with especial skill dead game, of which excellent specimens are in the galleries of Brunswick (2) and Copenhagen. In the cathedral at Brunswick is an Ascension by him, dated 1728. He also wrote on art.--Allgem. d. Biogr., x. 611.

HARNETT, WILLIAM M., born in Philadelphia, Pa., in 1851. Still-life painter, pupil of the National Academy, New York. Studied in Frankfort and Munich, 1880–84. Studio in Munich. Works: Social Club (1879); Still Life (1882), T. B. Clarke, New York; Fruit, Still Life (1883).

HARPER, ADOLF FRIEDRICH, born in Berlin, Oct. 17, 1725, died there, June 23, 1806. Landscape painter, son and pupil of Johann H. (born in Stockholm in 1688, died, court-painter in Berlin, in 1746), travelled then for eight years in France and Italy, and studied especially in Rome under Richard Wilson. In 1756 he entered the Duke of Würtemberg’s service, became court-painter in 1759, professor at the newlyfounded Academy in 1761, and afterwards at the Karlschule. He was rector of the former in 1771–72, and of the latter in 1785–94, and from 1784 director of the galleries. Work: The Garden Theatre at the Villa Madama, Rome (1760); many others in the Castles of Würtemberg.--Allgem. d. Biogr., x. 617; Goethe, Schweizer Reise, i. J. 1797; Haakh, Beiträge, 4.

HARPIGNIES, HENRI, born at Valenciennes, July 28, 1819. Landscape painter, pupil of Achard. Both in oil and water-colour this artist stands in the first rank of living French painters. His water-colours have the strength and breadth of the English school. Has exhibited regularly since 1852. Medals: 1866, 1868, and 1869; 2d class, 1878; L. of Honour, 1875; Officer, 1883. Works: A Deep Road (1852); View of Capri (1855); The Hedge School, A Panic, Hunting Craw-Fish (1857); The Return, A Storm (1859); Edge of the Woods, Evening on the Loire, The Loire (1861); The Rooks (1863); The Promenade (1864); Rome from the Palatine Hill (1865); View at Sorrento (1865), Douai Museum; Vesuvius (1866); Evening on the Campagna (1866), Luxembourg Museum; Solitude (1867); Souvenir of the River Meurthe (1868), Lille Museum; Rocky Road (1869); View of Montréal (1870); Valley of Egeria (1870), Opera House; Ruins of the Castle of Hérisson (1872); The Wolf’s Jump (1873), Orléans Museum; do., Luxembourg; River Aumance, A Benevolent Public (1874); Oaks of Château-Rénard, Valley of Aumance (1875), Luxembourg; Meadow in Bourbonnais (1876); Village of Chasteloy (1877); Old Walnut Tree (1878); Pavilion of Flora from the Pont Neuf, Turkeys (1879); Return from Hunting in the Evening (1880); Victim of Winter, the Loing at St. Privé (1881); The Loing, The Loire (1882); Woods of Trémellerie, An Afternoon at St. Privé (1883); Loing at Trémellerie, Moonrise (1884); The Loire at Briare, Farm of Cour-Chaillot (1885).--L’Art (1879), xvi. 269, 281; Larousse; Meyer, Conv. Lex., xxi. 406.

HARRACH, FERDINAND VON, Count, born at Rosnochau, Silesia, in 1832. Landscape and historical genre painter, pupil of Weimar Art School under Kalckreuth, Ramberg, and Pauwels; took part in the campaigns of 1866 and 1870, and spent one year in Italy. Lives in Berlin; member of Berlin Academy since 1873. Works: Chamois Hunters; Henry the Fowler; Emperor Max on the Martin Wall; Scotch Fisherman’s Family; Chamois Hunt; Seizure of Luther on his Return from Worms (1870), Breslau Museum; Arran Island; Spring’s Beginning; Nocturnal Attack; Opened Garden Door; In the Vineyards of Wörth, Outpost on Mont Valérien, Napoleon’s Letter to King William (1872); Skating in Thiergarten, Moltke before Paris (1876); Death of the Sea-King; Abraham’s Sacrifice (1877); Annunciation to the Shepherds (1878); Peter’s Denial, Breslau Museum; Alpine Landscape, Female Portraits (2, 1884).--Müller, 238; Rosenberg, Berl. Malersch., 231.

HARRER, HUGO, born at Hirschberg, Silesia, in 1836, died in Rome, Dec. 8, 1876. Genre and architecture painter, self-taught. Painted his first pictures in Nuremberg, then went to Munich, where he was much influenced by Piloty, and in 1862 to Rome, where he allied himself closely with Passini. Returned there after a two years’ sojourn in Düsseldorf. In sunlight effects took Oswald Achenbach for his model; was strong in perspective. View in Olevano (1876), Berne Museum.--Allgem. d. Biogr., x. 640; Kunst-Chronik, xii. 287, 478.

HARRIET, FULGIRON JEAN, born in Paris(?), died in Rome in 1805. History painter, pupil of David; won the grand prix de Rome in 1793, and first prize in 1800 and 1802. In 1803 he went to Rome, and died there, leaving his Horatius Codes unfinished. Works: Battle of the Horatii and Curiatii (1800); Androclus and the Lion (1802); Brutus dying on the Battle-Field (1803); Horatius Cocles on the Sublician Bridge (1805).--Seubert, ii. 175.

HARRISON, LOWELL BIRGE, born in Philadelphia, Nov. 28, 1854. Genre painter, pupil in Paris of Carolus Duran, and of the École des Beaux Arts under Cabanel. Exhibited first in Salon of 1881. Returned to America in 1882, painted in New Mexico in 1883. Studio in Paris. Works: Waif from the Sea (1881); Return from First Communion (1882); November (purchased by French Government); Little Goose-Herd, Motherless, Summer Idyl, Calling Home the Cows, Milkmaid, Modern Pompeiian, Friends or Foes (1884).

HARRISON, THOMAS ALEXANDER, born in Philadelphia, Jan. 17, 1853. Genre and landscape painter, brother of Lowell Birge; pupil of École des Beaux Arts under Gérôme. Exhibited first in Salon of 1881; Honourable Mention, 1885. Gold medal, S. Francisco, 1878. Studio in Paris. Works: Au Bords de la Mer, Shipwrecked, Coast of Brittany (1881); Châteaux en Espagne (1882); The Amateurs, Little Slave (1883); Harbour of Concarneau, Pebbly Beach, Breton Garden, Twilight, The Shipwrecked of Glenans (1884); Sea-shore, The Wave (1885). Butler Harrison, a younger brother, has studied in Paris since 1881, with Boulanger and Lefebvre. Work, Little Grandmother (1884), Philadelphia Academy Exhibition.

HART, JAMES McDOUGAL, born in Kilmarnock, Scotland, May 10, 1828. Landscape painter; taken to America in 1831; pupil of his brother, William Hart, and in 1851 of Schirmer in Düsseldorf. Elected an A.N.A. in 1857, and N.A. in 1859. Studio in New York. Works: On the Croton, Launt Thompson; Landscape and Cattle, J. H. Sherwood, New York; Morning in the Adirondacks, M. O. Roberts Collection, ib.; Summer on the Boquet River, Stewart Gallery, ib.; Summer Memory of Berkshire, E. D. Morgan Collection, ib.; Autumn Woods, Rush C. Hawkins, ib.; Glimpse of Cayuga Lake, J. W. Pinchot, ib.; Adirondacks (1859), W. T. Walters, Baltimore; Drove at the Ford (1874), Corcoran Gallery, Washington; Threatening Weather, In the Pasture (1877); Midsummer’s Day (1878); Through Dust-Clouds (1879); Farmington River, At the Brookside (1880); Loitering at Noonday, In our Village (1881); Princess Lily (1882); In the Old Orchard, Oaks in Autumn (1883); So Near and Yet so Far, Boughs for Christmas (1884); At the Watering Trough (1885).--Art Journal (1877), 314.

HART, SOLOMON ALEXANDER, born in Plymouth, April, 1806, died in London, June 11, 1881. History and portrait painter, apprenticed in London to Samuel Warren, engraver; became student in Royal Academy in 1823, A.R.A. in 1835, and R.A. in 1840; was professor of painting there in 1854–63, and librarian in 1865–81. First won notice by his Isaac of York in the Castle of Front de Bœuf. Other works: Interior of a Jewish Synagogue, National Gallery; Henry I. receiving News of the Shipwreck and Death of his Son (1840); Execution of Lady Jane Grey, Plymouth Gallery; Columbus and the Child; Wolsey and Buckingham; Dante; The Hoarder (1881).--Cat. Nat. Gal.; Art Journal (1881), 223; Sandby, ii. 166; Meyer, Conv. Lex., xix. 457.

HART, WILLIAM, born in Paisley, Scotland, March 31, 1823. Landscape and animal painter, self-taught; brother of James McDougal; taken to America in early youth. In 1849 visited Scotland, where he studied and painted three years. Elected an A.N.A. in 1857, and N.A. in 1858. Studio in New York. Works: Near Keene, Mt. Desert, S. V. Wright; After the Shower, S. J. Harriot; Peace and Plenty (1855); Close of Day--Mt. Desert (1856); Lake in the Hills (1858); White Mountain, E. B. Warren, Philadelphia; Joy of Autumn (1865); Golden Hour (1872); Morning in the Mountains (1874); Keene Valley (1875); Jersey Cattle (1879); Hillside Pasture (1880); Last Gleam, Cattle in the Lane, Family Group (1881); Landscape and Cattle (1882); Path by the River (1883); Passing Shower, Napanock Meadows, Group of Cattle (1884).

HARTMANN, CHRISTIAN FERDINAND, born in Stuttgart, July 14, 1774, died in Dresden, Jan. 6, 1842. History painter, pupil at the Karlschule under Hetsch; went in 1794 to Rome, which he visited again in 1820–23 and 1828; worked in Stuttgart and Dessau, and lived from 1803 in Dresden, where he became professor of the Academy in 1810, and director in 1823. Works: Hector’s Farewell (1812); Theseus and Œdipus (1816); The Erl-King, Death snatching from a Mother her Children, Stuttgart Gallery; Rape of Hylas, Leipsic Museum; Hector and the Trojan Women; Portraits of Matthison, Quandt (1820), and of himself, the last in the Dresden Gallery.--Allgem. d. Biogr., x. 682; Haakh, Beiträge, 15; Kügelgen, Jugend-Erinnerungen, 114, etc.; Riegel, 98.

HARTMANN, JOHANN JACOB, born at Kuttenberg, Bohemia, in 1680, died in Prague about 1730 (?). Landscape painter, a very clever imitator of Jan Brueghel, Ant. Myron, a follower of Brueghel, being his immediate model; seems to have settled in Prague in 1702. Work, The Four Elements, Vienna Museum. His son and pupil, Franz (died in 1730), painted in the same style, and found ready purchasers for his pictures abroad.--Dlabacz, i. 568.

HARTMANN, LUDWIG, born in Munich, Oct. 15, 1835. Landscape and animal painter, pupil of Munich Academy (1857), and of Wagner-Deines. Works: Shipping Expedition on the Inn, Horse-Dealer coming from Market (1863); Peasants working in Field (1866); Potato Harvest (1867); Span (1870); Rest in the Field (1872); Camp of Cartmen; Relay-Horses by a Hill (1873); Halt before Tavern (1874); In the Shade.--Müller, 240.

HARVENG, KARL FRIEDRICH, born in Frankfort in 1832. Genre and landscape painter, pupil of Städel Institute under Steinle and Jakob Becker, and from 1854 in Carlsruhe of Schirmer; went regularly to the Black Forest for ten years to make studies, and afterwards visited Tyrol, Switzerland, and Southern France. In 1862–66 spent his winters in Düsseldorf; lives now in Frankfort. Works: Heather in Black Forest; School Children in Approaching Storm; St. Peter near Meran, Tyrol; Pictures in Art Unions of Hamburg, Carlsruhe, Berlin, and Dresden.--Müller, 240.

HARVEST WAGON, Thomas Gainsborough, Lord Tweedmouth; canvas, H. 4 ft. × 4 ft. 9 in. Scene in neighbourhood of Bath; a harvest wagon passing along a sequestered spot at evening, the driver stopping his team for a girl to mount; another girl seated in wagon; portraits of two of Gainsborough’s daughters. Painted about 1768 for Mr. Wiltshire; sold at sale of collection of his grandson, J. Wiltshire (1867), to Mr. Davis of Bond Street for £3,097 10s. Sketch, Sir George Beaumont, Bart.--Fulcher, 70, 198.

HARVEY, Sir GEORGE, born at St. Ninians, near Stirling, Feb., 1806, died in Edinburgh, Jan. 22, 1876. Subject and landscape painter; entered Trustees’ Academy, Edinburgh, in 1823, was one of original associates of the Royal Scottish Academy in 1826, a member in 1829, and its president in 1867, when he was knighted. His subjects were largely drawn from the wild scenery and stirring history of Scotland, where he was very popular. In his later years he devoted much time to landscape painting. Many of his works have been engraved. Works: Covenanters Preaching (1830); Covenanter’s Baptism (1831); Battle of Drumclog (1836); Shakespeare before Sir T. Lucy (1837); Covenanter’s Communion (1840); Highland Funeral (1844); Incident in Life of Napoleon (1843); Bunyan in Bedford Gaol (1838); Mountain Pool (1867); Glen Falloch (1869); Dismissing School (1871); Morning on Loch Awe, The Curlers (1873).--Redgrave; Wilmot-Buxton, 158; Art Journal (1850), 341; (1858), 73.

HASELTINE, WILLIAM STANLEY, born in Philadelphia; contemporary. Landscape painter, pupil of Weber in Philadelphia; also studied in Düsseldorf. Lived and painted for many years in Venice and Rome. Elected N.A. in New York in 1861, but rarely exhibits. Works: Castle Rock--Nahant, Calm Sea, Indian Rock--Nahant, John Taylor Johnston Collection, New York; Ostia, J. P. Morgan, ib.; Coast of Capri, M. K. Jesup, ib.; Sicily, Natural Arch at Capri, Ruins of Roman Theatre (1876); Coast near Amalfi, Fairman Rogers, Philadelphia.

HASENCLEVER, JOHANN PETER, born at Remscheid, near Solingen, May 18, 1810, died in Düsseldorf, Dec. 16, 1853. Genre and portrait painter, pupil of the Düsseldorf Academy under Schadow; went in 1838 to Munich, and thence, with Preyer, in 1840, to Italy; returned to Düsseldorf in 1842, and became famous through his humourous genre scenes from German burgher life. He was a member of the Berlin (1843), Düsseldorf, and Amsterdam Academies, and received a gold medal at Brussels. Works: Hieronymus Jobs returning as Student (1837); do. at the Examination (1842), A Family Quarrel, New Pinakothek, Munich; Tasting Wine, Reading Room (1843), National Gallery, Berlin; Jobs as Schoolmaster, Portrait of Painter Preyer (1846), Tasting Wine (1847), Portrait of Painter Hilgers (1850), do. of himself, Jobs at the Examination (1851), do. as Night Watchman (1852), Ravené Gallery, ib.; Gaming Table (1844); Labourer and Alderman (1849); Division of the Prize (1850); First Visit to School (1852); Tasting Wine (1853), Düsseldorf Gallery.--Allgem. d. Biogr., x. 732; Kunstblatt (1854), 2; Faber, vi. 483; Illust. Zeitg. (1883), i. 330; W. Müller, Düsseldorf K., 276.

HASENPFLUG, KARL GEORG ADOLF, born in Berlin, Sept. 23, 1802, died at Halberstadt, April 13, 1858. Architecture painter, pupil of Karl Gropius and of Berlin Academy. His first large painting, exhibited in Berlin and Dresden in 1823, excited much admiration. He returned to Halberstadt in 1826, and after 1837 painted chiefly views of ruined convents and castles half buried in snow. Works: Cathedral in 15th Century (1823); St. Severin’s Church in Erfurt; Convent Church in 12th Century, Gothic Cathedral, Mediæval Castle (1826–30); Interior of Cologne Cathedral (1832); Exterior of Same (1833); Erfurt Cathedral (1827), Halberstadt Cathedral, Views in do. (1828, 1836), National Gallery, Berlin; Kloster Halle at Sunset (1840), Fürstenberg Gallery, Donaueschingen; Cloister in Winter (1840), Kunsthalle, Hamburg; Old Castle Yard (1852), Schwerin Gallery; Ruined Chapel, Stettin Museum; Convents of Wallenried and Heisterbach.--Allgem. d. Biogr., x. 740; Kunstblatt (1856), 20; Raczynski, iii. 221.

HASSELHORST, HEINRICH, born in Frankfort, April 4, 1825. Genre and portrait painter, pupil of Städel Institute; in 1851 and in 1852–57 visited Italy, where he painted many copies after old masters, and scenes from Roman life. In 1860 he became professor at the Städel Institute, and later joined an expedition to the North Pole, which gave him subjects for many original paintings from Arctic life. Works: The First Child, Portia after Scene in Court (1851); Roman Barber in Theatre of Marcellus, Roman Wine-Cellar.--Kaulen, 112; Müller, 241.

HASSLWANDER, JOSEF, born in Vienna, Aug. 7, 1812, died at Scheibbs, Nether Austria, Aug. 3, 1878. History painter, pupil of the Vienna Academy and one of the most eminent of modern Austrian artists. Works: Genealogical Picture of House of Austria; Maria Theresa and the Hungarians in the Reichstag in 1741; The 2d of September, 1686; Allegorical Ship with Francis Joseph I. at the Helm surrounded by all the Nationalities of the Empire; The Lord’s Prayer in seven water-colours.--Allgem. d. Biogr., xi. 22; Kunst-Chronik, xvi. 686; Nagler, Mon., iii. 166.

HAUBER, JOSEF, born at Geratsried, Bavaria, in 1766, died in Munich in 1834. History and portrait painter, pupil of Vienna Academy, then studied in Munich where he had great success with copies after Don, Mieris, Rubens and Van Dyck, and became professor at the Academy in 1800. There are by him more than fifty altar-pieces in Munich and Upper Bavaria. Works: Joseph’s Dream, Christ as Gardener, Church of the Holy Ghost, Munich; Christ on the Cross, Vision of Ezechiel; Portrait of Abbot Vagler (1808), Darmstadt Museum.--Nagler, vi. 3.

HAUDEBOURT-LESCOT, Mme. HORTENSE VICTOIRE, born in Paris, Dec. 14, 1784, died there, Jan. 2, 1845. Genre painter and lithographer, pupil of Lethière. Her pictures for the most part represent popular life and manners in Italy. Works: Preaching in Church of St. Laurent in Rome (1810); Game of Warm Hand, Beggar at a Convent (1812); Kissing the Foot of the Statue of St. Peter (1812); do. (1814), Montpellier Museum; Incident of the Fair at Grotta Ferrata, Pifferari before a Madonna, Confirmation in Church of St. Agnes (1814); Fortune Teller (1817), Montpellier Museum; A Smuggler, Vow to the Madonna during a Storm, A Scribe in Rome (1817); Shipwreck of Virginia, Nuns at Prayer (ordered by State), Interior of the Cloisters of St. Étienne du Mont, Dealer in Herbs (1819), Miller with Donkey (1819), Neapolitan Woman kneeling before Cross, Italian Family Scene, Montpellier Museum; Temple of Vesta at Tivoli, Francis I. and Diana of Poitiers (1819); Old Man and his Children (1819), Dijon Museum; Puppet-Shows in Rome, Dealer in Relics, Sick Mother, Woman selling Cloth, Prayer at the Stations, The Account with the Host, The Scolded Maid-Servant (1822); Scene from Gil Blas, Jew reading the Bible, Old Clothes Dealer, Village Concert, Artists sketching Cascades, Blessing the Halls, Il Saltarello, The Egg Market (1824); Portrait of Herself (1825), Louvre; Inundation, Little Grape-Stealer, Country Doctor, Little Smoker (1826); Inundation Scene, Two Scenes from Gil Blas (1827); Rural Fête near Rome (1831); Poet and his Librarian (1835); Duchess of Angoulême and Marguerite of Valois receiving News of Battle of Pavia, Death of Marie de Clèves, wife of Henri I. of Condé (1839); Pope Eugene III. receiving Ambassadors of King of Jerusalem in 1145 (1840); Pictures in Museums at Versailles, Besançon, Cherbourg, and Aix.--Ch. Blanc, École française; Lejeune, Guide, i. 438; iii. 151; Meyer, Gesch., 160; Bellier, i. 743.

HAUSCHILD, MAX, born in Dresden, Aug. 23, 1809. Architecture painter, has lived for many years in Rome. Works: Reception of Expelled Monks at a Monastery (1848), Dresden Gallery; Interior of St. Mark’s, Venice, St. Gall Museum; Nocturnal Hours; Interior of Orvieto Cathedral, Erfurt Cathedral, Grandduke of Oldenburg; Interior of Siena Cathedral; Church Interior, Assisi.--Müller, 242.

HAUSCHILD, WILHELM, born at Schlegel, Silesia, Nov. 16, 1827. History painter, pupil of Munich Academy under Phil. Foltz; visited Dresden, Berlin, and Paris, and settled in Munich. Works: Crucifixion, Maximilianeum, Munich; Pictures in Greek Chapel at Baden-Baden. In fresco: Charles XII. of Sweden, Elector Max Emanuel of Bavaria before Belgrade; Battle of Pultusk, National Museum, Munich.--Müller, 242.

HAUSHOFER, MAX, born at Nymphenburg, near Munich, Sept. 20, 1811, died at Starnberg, Aug. 24, 1866. Landscape painter, studied from nature; in 1835 lived for some time in Rome and Naples, and visited Sicily; in 1844 became professor at the Prague Academy. He was the first artist to introduce Bohemian forest-views, though he preferred to paint the Bavarian and Tyrolese Alps, and especially the Chiem Lake. Works: Lake of Agnano (1835), Cassel Gallery; The Königsee near Berchtesgaden, Provinzial Museum, Hanover; Sunday Morning on Chiem Lake (1839); Nun at the Lake, Sunday Stillness (1842); Blöckenstein Lake (1845); Outlook from the Arbor, View of Walhalla (1850); Eibsee (1855); Walchensee (1856), New Pinakothek, Munich; Klönthal Lake (1858); Lake Luzerne (1859), Vienna Museum.--Allgem. d. Biogr., xi. 92; Illustr. Zeitg., July 18, 1863; Kunst-Chronik, i. 125; Raczynski, ii. 336; Regnet, i. 174; Wurzbach, viii. 87.

HAUSMANN, FRIEDRICH KARL, born in Hanau in 1825, died at Hanau, March 10, 1886. Genre painter, pupil of Hanau Academy under Pelissier; studied in 1848–51 in Antwerp, and copied old masters there and in the museums of Holland; went in 1851 to Paris to study under Delaroche, and afterwards visited Rome. Since 1864 director of Hanau Academy. Works: Gypsy Girl Resting; Gypsy Boys; Priest absconding with Gretchen’s Jewels (1849), Paris Gamins (1852), Galileo before the Inquisition (1861), Kunsthalle, Hamburg; Praying Canons; Pilgrimage in the Campagna; Cinderella’s Sufferings.

HAUSSY, ARSÈNE DÉSIRÉ D’, born in Paris, Oct. 17, 1830. Animal painter of remarkable merit, pupil of Lazerges. Works: Lost Sheep (1864); Black Cows (1866); Normandy Steer (1867); Dog Watching (1868); Pasture near Trouville, Bull-Terrier (1869); White-Frost in Valley of Tourcques, Breton Cows (1870).

HAVRANEK, FRIEDRICH, born in Prague, Jan. 4, 1821. Landscape painter, pupil of Prague Academy under Anton Manes, and Christian Ruben; travelled in Poland, Saxony, Tyrol, Styria, Bavaria, and France. His works, mostly on a small scale, are remarkable for elaborate detail, which has obtained for him the surname of the landscape Denner. Works: Peasant’s Farm in Moravia; Forest Path; Forest Spring; Village Street in Bohemia.

HAY HARVEST (Les foins), Bastien-Lepage, Luxembourg Museum; canvas, H. 5 ft. 11 in. × 6 ft. 4 in. Illustration of a poem by André Theuriet. Mid-day in a hay-field; in foreground, a woman seated on the hay, her hands in her lap, looking with dreamy eyes into the future; behind her, a man lying full length on his back, with his hat over his eyes. Salon, 1878.--Gaz. des B. Arts (1878), xviii. 69.

HAYDON, BENJAMIN ROBERT, born at Plymouth, Jan. 26, 1786, died in London, June 22, 1846. History painter, pupil of Royal Academy in 1805; exhibited in 1809 his Dentatus murdered by his own Soldiers, but dissatisfied with the position assigned it refused to contribute any more. After painting portraits in Plymouth, he won a considerable reputation in 1814 by his Judgment of Solomon, which sold for 700 guineas. In 1820 he produced Christ’s Entry into Jerusalem, the exhibition of which in London brought him 3,000 guineas; but it procured him no commissions, and was finally sold for £240 and sent to America. It is now in Philadelphia. Though in great pecuniary difficulties and several times the inmate of a debtor’s prison, he still clung to the belief that he was the great historical painter of the age, and that his efforts would in time be appreciated. His Raising of Lazarus (14 x 20 ft.), now in the National Gallery, was exhibited with some success in 1823, and a few years afterwards his Venus appearing to Anchises, Alexander taming Bucephalus, and Euclus. By teaching and lecturing he maintained his family for a time, but falling into new troubles and overwhelmed by disappointment at the cold reception given in 1846 to his Banishment of Aristides, and Nero watching the Burning of Rome, he committed suicide. Haydon’s Lectures on Painting were published in 1844–46, and his Life from his autobiography and journals, edited and compiled by Tom Taylor, in 1853. Works: Portrait of Himself, Leigh Hunt, Anti-Slavery Convention, National Portrait Gallery; Punch or May-Day, Raising of Lazarus, National Gallery; Cassandra, Stafford House.-Correspondence, etc., by his son (London, 1876); Stoddard, Life, Letters, etc. (New York, 1876); Redgrave; F. de Conches, 419; Ch. Blanc, École anglaise; Art Journal (1856), 181.

HAYE, REYNIER DE LA, born at The Hague (?), where mentioned as member of the guild in 1662. Genre, portrait, and still-life painter, in the manner of Terborch and Metsu; removed from The Hague to Utrecht, where he was received into the guild in 1669; then appears as master of the guild at Antwerp in 1672. Works: Lady playing the Lute, Gotha Museum; Flowers and Fruits, Festoon of Flowers with Insects, Schwerin Gallery.

HAYEZ, FRANCESCO, born in Venice, Feb. 10, 1791, died in Milan, Feb. 11, 1882. History, genre, and portrait painter, pupil of Maggiotto and of Venice Academy under Cicognara; studied also in Farsetti Gallery, then at Milan Academy, where in 1809 he obtained the prize for Rome, there studied under Palagi, and then went to Florence and Venice; painted afterwards frescos in the Vatican, Rome, and in Venice Academy; went to Milan in 1820, and there became professor at the Academy and the head of the romantic school. One of the most prominent among modern Italian painters, especially noted as a colourist. Works: Compassion of Ezekiel; Laocoön (1812); Pietro Rossi taking Farewell of his Family (1820), Brera, Milan; Sicilian Vespers; Count Carmagnola hearing his Death Sentence; Mary Stuart on her way to the Scaffold; Filippo Maria Visconti and the Queens of Aragon and Navarra (1829); Imelda de’ Lambertazzi; Peter the Hermit; Fugitives of Parga; Maria Theresa at Hungarian Diet; The Two Foscari, Vienna Museum; Foscarini refusing the Hand of Valenza Gradenigo (1833); Last Moments of Marino Faliero; Vittore Pisani called from Prison to take Command of the Army; Thirst of the Crusaders; Bath of the Nymphs; Rape of Ida; Leda; Greek Pirates; The Kiss; Battle of Magenta, Portrait of Cavour (1867); Flight of Bianca Capello, National Gallery, Berlin.--L’Illustrazione italiana, 1875; Brockhaus, viii. 932; Nagler, vi. 18; Orloff, ii. 262.

HAYLS, JOHN, died at Bloomsbury in 1679. Portrait painter, the contemporary and in some degree the rival of Lely; was an excellent copyist of Van Dyck. Works: Portrait of Samuel Pepys, National Portrait Gallery; Portraits of Bedford Family, Woburn Collection.--Redgrave; Pepys’ Diary, Feb. 15, March 17, 30, April 11, June 14, 1666; see also do., Mynor Bright’s edition (1876) under April 13, 1666.

HAYMAN, FRANCIS, born at Exeter in 1708, died in London, Feb. 2, 1776. History painter, pupil of Robert Brown, a portrait and decorative painter (died 1753); employed as scene painter at Drury Lane and as an illustrator of books. Painted a series of designs for Vauxhall Gardens, which won him fame; became president of the Society of Artists, and one of the foundation members of the Royal Academy, of which he was the first librarian in 1770. Works: Finding of Moses, Foundling Hospital; Portrait of himself with Sir R. Walpole, National Portrait Gallery, London.--Redgrave; F. de Conches, 85; Sandby, i. 94.

HAYON, LÉON ALBERT, born in Paris, Nov. 16, 1840. Genre and portrait painter, pupil of Léon Benonville, Picot, and Pils. Medal, 3d class, 1883. Works: After the Harvest, La Cigale (1876); Corner in Faubourg, St. Honoré (1877); The Gleaners (1879); Dindonnette (1880); Fowl-Plucker (1881); The Day is Done (1882); Return from Market (1883); Mother Madeleine, Old Age’s Staff (1884); Birthday (1885).--Bellier, i. 747.

HAYS, WILLIAM JACOB, born in New York, Aug. 8, 1830, died there in 1875. Animal painter, pupil in drawing of J. R. Smith, New York; went in 1860 to the headwaters of the Missouri to paint the fauna of that region; afterwards visited Nova Scotia and the northern parts of the United States to study wild animals in their homes. Works: Herd of Bisons (1861); The Stampede, Prairie-Dog Village (1862); Bison Bull at Bay (1865); Bull Moose of Nova Scotia (1867); Prairie on Fire (1869); Bouquet of Orchids (1871); Herd of Caribou (1871); Mule Deer (1872).

HAYTER, Sir GEORGE, born in London, Dec. 17, 1792, died there, Jan. 18, 1871. History and portrait painter, son and pupil of Charles Hayter, portrait painter; also student of Royal Academy; won at British Institution in 1815 a prize of £200 for his prophet Ezra. Went soon after to Rome, where he studied till 1819, when he returned to London; visited Italy again in 1826, returned in 1831 via Paris, where he painted portraits of many prominent persons. In 1816 he was appointed miniature painter to Princess Charlotte, in 1837 portrait painter to Queen Victoria, in 1841 historical painter to Her Majesty, and in 1842 was knighted. Member of Academies of Rome, Florence, Bologna, Parma, and Venice. Works: Venus complaining to Mars (1820); Trial of Lord William Russell (1825), Woburn Abbey; Trial of Queen Caroline; Meeting of First Reformed Parliament, National Portrait Gallery; Coronation of Queen Victoria; Christening of Prince of Wales, The Queen; Angels ministering to Christ (1849), South Kensington Museum; Joseph interpreting the Chief Baker’s Dream; Three Daughters of Edward Earl of Derby, Knowsley Hall.

HEADE, MARTIN J., born in Bucks County, Pa.; contemporary. Landscape painter; studied two years in Italy, and sketched in South America. During a visit to Brazil he received the decoration of Chevalier of the Order of the Rose from the Emperor. His Brazilian sketches, originally intended for a book on South American Humming-Birds, are now owned by Sir Morton Peto, London. Has lived and painted in the Western States and in Boston. Studio in New York. Works: Point Judith; Off the California Coast (1876); South American Scene, High Tide on the Marshes, Apple-Blossoms, Hurlbut Collection, Cleveland; Nicaragua, Fairman Rogers, Philadelphia; Sunset--Passamaquoddy Bay (1884).

HEALY, GEORGE PETER ALEXANDER, born in Boston, Mass., July 15, 1808. Portrait and history painter, studied in Paris from 1836; went to Chicago about 1858, and painted portraits; revisited Europe in 1869 and resided long in Rome. Exhibits at Paris Salon and at National Academy, New York, of which he is an honorary member. Studio in Paris, France (1885). Medals: Paris, 3d class, 1840; 2d class, 1855. Ideal works: Franklin urging the Claims of the American Colonies before Louis XVI. (1855); Webster’s Reply to Hayne, Faneuil Hall, Boston. Portraits: Marshal Soult; M. Guizot; Pius IX. (1871); Lord Lyons, Thiers, E. B. Washburne, Princess of Roumania (1876); General Grant (1878); Webster; Clay; Calhoun; Guyot, Smithsonian Institute, Washington; Guizot (1841), Presidents John Tyler (2), John Quincy Adams, Jackson, Van Buren, Taylor, Fillmore, Polk, Pierce, Buchanan, Lincoln, Corcoran Gallery, Washington; William H. Seward, State Library, Albany; Cardinal McCloskey, Governor Morgan, Dr. C. R. Agnew (1883); Dr. Wyman, Miss Horsford, and others (1885).--Tuckerman, 339.

HEAPHY, THOMAS, born in London, Dec. 29, 1775, died Nov. 19, 1835. Was originally a dyer, then an engraver, and finally devoted himself to water-colour painting; in 1800 he exhibited two portraits at the Royal Academy, and became a student in the Academy schools. In 1804 his first subject picture, The Portland Fish-Girl, was well received, and in 1809 his Hastings Fish Market brought him reputation. He was one of the earliest members of the old Water Colour Society, but left it in 1812; and was one of the founders and the first president in 1824 of the Society of British Artists, but withdrew from it in 1829. Visited Italy in 1831, and on his return engaged in the formation of the new Water Colour Society, of which he was one of the first members. He painted miniatures of many distinguished people, and was portrait painter to the Princess of Wales. His eldest daughter, Miss Heaphy, exhibited miniatures at the Royal Academy from 1822 to 1845; and another daughter, Elizabeth Heaphy, from 1838 to 1844.

HEAPHY, THOMAS FRANK, born in 1813, died Aug. 7, 1873. History and portrait painter, son and pupil of Thomas Heaphy; began as a portrait painter, first exhibiting at Royal Academy in 1831, but after 1858 painted chiefly historical pieces. Member of Society of British Artists. Works: Mary Magdalen going to the Sepulchre (1846); Infant Pan educated by Wood Nymphs (1850); Parting of Catherine and Bianca (1853); Kepler in Poverty taken for a Fortune-Teller (1863); Palissy the Potter taken for a Coiner (1864); Unexpected Inheritance (1865); Mary Stuart at Tutbury Castle (1872).

HEARTS ARE TRUMPS, John Everett Millais, J. H. Secker, London; canvas, H. 5 ft. 4 in. × 7 ft. 5 in. Three English ladies (Misses Armstrong) seated at a card table, playing whist with a dummy. Royal Academy, 1872; painted for Walter Armstrong; at his sale (1876) 1,300 guineas; Exposition Universelle, Paris, 1878.

HÉBERT, (ANTOINE AUGUSTE) ERNEST, born at Grenoble, Nov. 3, 1817. Genre painter, pupil of David d’Angers and Paul Delaroche. Abandoned the law for painting on account of the success of a picture sent to the Salon, which was bought by the government. Won the grand prix de Rome in 1839. Made repeated visits to Italy. His style is poetical, but often too sentimental. Medals: 1st class, 1851 and 1855; 2d class, 1867; L. of Honour, 1853; Officer, 1867; Commander, 1874; Member of Institute, 1874; director of the French School of Art in Rome from 1866 to 1873, and again in 1885. Works: Tasso in Prison, Cup found in Benjamin’s Sack (1839); Two Odalisques, Copy of the Sibyl Delphica (1840–41); Oriental Revery, The Siesta, Almeh, Italian Priest, Morning in the Woods, Peasant of Guérande making Butter (1847 and 1848); La Malaria (1850), Kiss of Judas (1853), Luxembourg; Crescenza, Fiénaroles, Girls of Alvito (1855), Rosa Nera at the Fountain; Girls of Cervaro (1859), Female Portrait, Luxembourg; Portrait of Princess Marie Clotilde, Street in Cervaro (1861); Young Girl at the Well (1863), Empress Eugénie; Pasqua Maria (1863), Baroness James de Rothschild; Black Pearl, Type of Italian Woman (1866); Adam and Eve driven from Paradise (1867); Pastorella, Lavandaia (1869); Morning and Evening of Life (1870); Popular Italian Muse (1872); Madonna de Délivrance, Church at Grenoble; do., Study, Mrs. Mary J. Morgan’s Collection, New York; Madonna Addolorata; Woman Knitting (1873); Muse of the Woods (1877); The Sultana (1879); Saint Agnes (1881); Little Violinist (1883); Muse (1884); Slave breaking his Chains, Artist’s Portrait, Grenoble Museum; Going to the Well, At the Well, Returning from the Well, W. T. Walters, Baltimore.--Bellier, i. 747; Larousse; Portfolio (1875), 50; Journal des B. Arts (1860), 167; Meyer, Gesch., 541.

HECK, ROBERT, born in Stuttgart in 1831. Genre and portrait painter, pupil of Stuttgart Art School under Rustige; won first prize in 1855, visited Southern France and Italy. Works: Itinerant Preacher, Stuttgart Museum; Reception of the New Parson; Peasants in a City Church; Return of the Landwehrman; Iphigenia on the Shore; Antigone seeking Polynices on the Battlefield (1879); Campo Vaccino; Forum of Nerva; Neapolitans Praying; Italian Woman.--Müller, 245.

HECKE, JAN VAN DEN, born at Quaremonde, East Flanders, in 1620, died at Antwerp, Aug. 22, 1684. Flemish school; genre, still-life, and animal painter, pupil in Antwerp of Abraham Hack; master of the guild in 1642, went to Italy, where he painted for the Duke of Bracciano, and returned to Antwerp in 1644. Said to be one of the best artists of his time. Work: Dead Game and Hunting Implements watched by Dogs (1658), Schleissheim Gallery.--Van den Branden, 1015.

HECKE, NICOLAAS VAN DER, flourished about 1631 in Alkmaar. Dutch school; history and landscape painter, pupil of Jan Nagel. A descendant of Martin Heemskerk. His composition is grand, the colouring fine, and the chiaroscuro excellent. Works: Death Sentence against the Bailiff of Zuyt--Holland; Judgment of Cambyses, Solomon’s Judgment, Town Hall, Alkmaar; Tavern Interior (2), Surprisal of Hostile Camp (?), Dresden Gallery.--Immerzeel, ii. 21; Kramm, iii. 651.

HECKEL, AUGUST VON, born at Landshut, Bavaria, in 1824. History and genre painter, pupil of Augsburg Art School, then of Munich Academy under Schorn and Philipp Foltz; visited Paris, Belgium, and Italy, where he remained three years. Works: Chactas and Atala; Mignon; Margaret at the Spinning-Wheel; Emigrants; After the Hail-Storm; Child Found; Mother at the Cradle; Judith with Head of Holofernes; Entry of Louis the Bavarian into Rome; Entry of Max Emanuel into Brussels; Founding of Bath Kreuth, National Museum, Munich; Lear casting off Cordelia; Daughter of Herodias; Cæsar Octavianus and Cleopatra; Morning on Piazza Navona; Evening in the Forum; Cobbler; Villa Mondragone; Maiden of Albano.--Müller, 245.

HEDA, WILLEM CLAASZ, born at Haarlem in 1594, died after 1678. Dutch school; still-life painter of eminence; dean of the guild at Haarlem in 1631 and 1651; painted occasionally also historical subjects. Works: Dessert (1637), Louvre, Paris; Breakfast (1638), Still Life, Kunsthalle, Hamburg; Fruits and Vessels, Provinzial Museum, Hanover; Breakfast (1634), do. (1635), Old Pinakothek, Munich; do., Schleissheim Gallery; do., Germanic Museum, Nuremberg; do., Darmstadt Museum; do. (2), Carlsruhe Gallery; do. (3, two dated 1646, 1649), Schwerin Gallery; do. (1678), Gotha Museum.--Bode, Studien, 223, 230; Burger, Musées, ii. 320; Immerzeel, ii. 22; Kramm, iii. 651; Nagler, Mon., ii. 135; Van der Willigen, 156.

HÉDOUIN, EDMOND, born at Boulogne-sur-Mer, July 16, 1820. Genre and landscape painter, pupil of Paul Delaroche and Célestin Nanteuil. Attracted attention by his first picture in the Salon (1844), and followed up his success with many ably treated scenes of French and Spanish peasant life. His later years have been more especially devoted to engraving. Medals: 2d class, 1848; 3d class, 1855, 1857; L. of Honour, 1872. Medal for engraving, 1868; 1st class, 1872. Works: Woodsmen of the Pyrenees (1844); The Halt (1846); Souvenirs of Spain (1847); Arab Mill at Constantine, The Negro Restaurant (1848); Women of Ossan at a Fountain (1850); Evening among the Arabs (1852); House in Chambaudoin; The Pit-Sawyer (1855); Hunting, Fishing, The Gleaners (1857), Luxembourg Museum; A Sower at Chambaudoin, A Swineherd (1859); Spanish Porters (1861); The Sheep-Market at St.-Jean-de-Luz (1863), Valenciennes Museum; Sardine Women of Fontarabia, Allée des Tuileries (1865); Hunting, Fishing (1866); Restaurant in Constantine (1868); Door of a Mosque in Constantine, Street of Fontarabia (1870); Woman of St.-Jean-de-Luz going to a Funeral (1872); Spring-Time, Corner of a Park in the Month of May (1873); Interior of a Courtyard in Constantine (1874); Swine Market at St.-Jean-de-Luz (1875); Country Woman (1876); Arabs in a Tent (1879). Decorative paintings in Galerie des fêtes, Palais royal (1861), and Theatre français.--Bellier, i. 749; Du Camp, B. Arts, 170; Meyer, Gesch., 636; Vapereau (1880), 920.

HEEM, CORNELIS DE, born at Leyden (baptized ?), April 8, 1631, died in Antwerp, buried May 17, 1695. Dutch school; still-life painter, son and pupil of Jan Davidsz de Heem, whom he followed to Antwerp about 1635, and there became master of the guild in 1660; worked also at The Hague, where he is mentioned in documents in 1676 and 1678. There is little doubt that many of his works pass under the name of his famous progenitor. Works: Fruit-piece (1671), Brussels Museum; do., Th. van Lerius, Antwerp; do., Hague Museum; do., Rotterdam Museum; Grapes (1659), Bouquet, Carlsruhe Gallery; Fruits with Vessels, Musical Instruments and Globe, Cassel Gallery; Cupboard, Gotha Museum; Fruit-piece, Oldenburg Gallery; do., Cassel Gallery; do., Berlin Museum; do., Schleissheim Gallery; do., Leipsic Museum; do., Weimar Museum; do. (2), Old Pinakothek, Munich; Flowers around Bumper, Fruits and Oyster, do. and Glass, Fruits and Lobster, Dresden Gallery; Fruits and Oysters on Silver Tray, Museum, Vienna; others in Liechtenstein and Czernin Galleries, ib.; Fruit-piece, Fruits and Flowers (2), Schwerin Gallery; Flower-pieces (2), Stockholm Museum.--Kramm, iii. 651; Rooses (Reber), 432; Van den Branden, 870; Van Lerius, 249.

HEEM, DAVID DE, the elder, born at Utrecht in 1570 (?), died at Antwerp (?) in 1632 (?). Dutch school; still-life painter of distinction, of whose life nothing is known, and some of whose works are possibly attributed in public galleries to his famous son, Jan. As, however, there were besides him three other painters called David de Heem, namely, his son, David the younger, master of the guild at Utrecht in 1668, and to whom is ascribed a Fruit-piece in the Amsterdam Museum; David III. (born in 1628), son of Jan Davidsz; and David IV. (1663–1718), son of Cornelis, it is difficult to determine to which of these the following works should be assigned: Fruits with Oysters and Wineglass (David the elder?), Brunswick Museum; Fruits on Table, small picture with cavern, Flower-piece, Uffizi, Florence.--Kramm, iii. 652; Riegel, Beiträge, ii. 439; Van Lerius, i. 213, 217.

HEEM, JAN DAVIDSZ DE, born at Utrecht, probably in 1600, died in Antwerp, between Oct. 14, 1683, and April 26, 1684. Dutch school; fruit and flower painter, son and pupil of David the elder. He first developed the art of fruit painting; works distinguished for admirable taste of arrangement, excellent drawing, fine feeling for nature, and a depth and richness of colouring sometimes approaching Rembrandt. Works: Fruit-pieces (2), Madrid Museum; do., Louvre; Fruit and Flowers with Insects, Amsterdam Museum; Still Life, Rotterdam Museum; Table with Fruits, etc., Festoon of Fruits and Flowers, Hague Museum; Fruit-piece (1653), Haarlem Museum; Garland around Allegory by Lambrechts (1668), Bouquet, Vanitas, Brussels Museum; Flowers and Insects, Antwerp Museum; Festoon of Fruits, Berne Museum; do. of Fruits and Flowers, Breakfast, Fruit-pieces (3), Carlsruhe Gallery; Still Life Fruit-pieces (2), Cassel Gallery; Festoon of Flowers with Insects, Darmstadt Museum; Fruit-pieces (2), Bumper on Covered Table, Lemons on Plate, Watch (1628), Gotha Museum; Fruit-piece, Kunsthalle, Hamburg; do., Oldenburg Gallery; do., Copenhagen Gallery; do., Wiesbaden Gallery; Fruit-pieces (5), Flower-pieces (5), Dresden Gallery; Fruit- and Flower-pieces (4, two dated 1650, 1651), Berlin Museum; Fruit-piece (1653), do. (2), Bouquet by Crucifix, Skull, etc., Old Pinakothek, Munich; The Host with Symbolical Fruits (1648), two others, Museum, Vienna; Six in Liechtenstein Gallery, ib.; Flower-piece, Fruit-piece, Innsbruck Museum; Dessert (?), Breakfast Table (2), Festoon of Fruits and Flowers, Schwerin Gallery; Still Life, Cologne Museum; do., Stockholm Museum; Fruits and Vegetables (1655), Breakfast (1660), Flower-piece, Hermitage, St. Petersburg; Breakfast, Winter Palace, ib.; Fruit-piece, Leuchtenberg Gallery, ib.--Allgem. d. Biogr., xi. 232; Ch. Blanc, École hollandaise, i.; Bode, Studien, 229; Immerzeel, ii. 23; Kramm, iii. 653; Kugler (Crowe), ii. 515; Riegel, Beiträge, ii. 439; Rooses (Reber), 431; Van den Branden, 866; Van Lerius, i. 213, 219.

HEEMSKERCK (Heemskeerck), B., flourished about 1730. Flemish school; animal and landscape painter, in the manner of Simon van Dow and Peeter van Bloemen. Works: Herd and Herdsman, do. and Woman (1730), Landscapes with Cattle (2), Schwerin Gallery.--Schlie, 246.

HEEMSKERK, EGBERT VAN, the elder, born in Haarlem in 1610, died in 1680. Dutch school; genre painter, chiefly of tavern interiors, with boors regaling or quarrelling, in the manner of Teniers and Brouwer. Works: Tavern Interior (2), Louvre, Paris; do. (1), Hermitage, St. Petersburg; do., Carlsruhe Gallery; do. (2), Peasant and Broker, Schleissheim Gallery; Old Man, Old Woman, Uffizi, Florence.--Immerzeel, ii. 24.

HEEMSKERK, EGBERT VAN, the younger, born in Haarlem in 1645, died in London in 1704. Dutch school; genre painter, son of Egbert the elder, pupil of Pieter de Grebber, but adopted the style of his father; settled early in London, where his works were greatly valued; painted nocturnal gatherings of witches, devils, and ghosts, also rustic amusements, in which he often introduced his own portrait. Works: Interior, Louvre; Peasants Dancing, do. Singing, Basle Museum; Temptation of St. Anthony, Cassel Gallery; Interior of Dutch Kitchen, Darmstadt Museum; Capuchins Praying and Singing, Oldenburg Gallery; Riding School, Dance in a Tavern, Copenhagen Gallery; Beggars’ Meal, Don Quixote and Sancho Panza, Städel Gallery, Frankfort; Card-Players, Men Smoking and Playing Violin, Uffizi, Florence; Interior, do. of Dutch Tavern, Historical Society, New York.--Immerzeel, ii. 24; Kramm, iii. 655.

HEEMSKERK, MARTEN VAN, born at Heemskerk in 1498, died in Haarlem, Oct. 1, 1574. Dutch school. Real name Marten van Veen. History painter, pupil at Haarlem of Cornelis Willemsz and at Delft of Jan Lucasz, then at Haarlem of Jan Schoreel, in whose manner he painted there until 1534, when he went to Italy and became an imitator of Michelangelo. His drawing is bold and energetic, but his compositions are often bizarre. Works: St. Luke painting the Virgin (1532), Nativity, Brazen Serpent, Holy Family (1551), Ecce Homo (1559), Belshazzar’s Feast (1568), Christ crowned with Thorns, Haarlem Museum; Adoration of the Shepherds, Adoration of the Magi (1546), Hague Museum; Entombment (1559), Brussels Museum; Momus with Minerva, Vulcan and Neptune (1561), Portrait of Young Girl, Berlin Museum; Baptism of Christ (1563), Brunswick Museum; do., and Rebekah at the Well, Cassel Gallery; Resurrection, Copenhagen Gallery; The Virgin in Grief, Dresden Gallery; Venus, Cupid and the Cyclops (1536), Nostitz Gallery, Prague; St. John preaching in the Desert, Triumph of Silenus, Bacchanal, Vienna Museum; Triptych with Crucifixion, Hermitage, St. Petersburg; St. Paul at Athens, Historical Society, New York.--Allgem. d. Biogr., xi. 235; Ch. Blanc, École hollandaise; Immerzeel, ii. 23; Jahrb. d. köngl. preuss. Kunstsammlung, v. 327; Kramm, iii. 655; Michiels, v. 185; Riegel, ii. 150; Van der Willigen, 157, 349.

HEERE, LUCAS DE, born in Ghent about 1534, died in 1584. Flemish school; history and portrait painter, son and pupil of the sculptor and architect Jan de Heere, and the miniature painter Anna Smyters; one of the best scholars of Frans Floris, whom he assisted much in his glass-paintings and drawings for tapestry. Resided for some time in France as designer of tapestries; later painted portraits and Scripture pieces. Was a poet and an antiquary. Works: Solomon and the Queen of Sheba, View of St. Bavon’s Abbey and City of Ghent, St. Bavon’s Church, Ghent; Portrait of Lord Darnley, Allegorical Portrait of Queen Elizabeth, Hampton Court; Wise and Foolish Virgins (1570), Copenhagen Gallery; Landscape, Brunswick Gallery; Portrait of Queen Mary, Stoke Park; Portrait of Eleanor Brandon, Wentworth Castle.--Schnaase, viii. 107; Waagen, ii. 361, 421; iii. 342; Immerzeel, ii. 25; Kramm, iii. 659; Michiels, vi. 51.

HEERSCHOP, HENDRIK, born at Haarlem in 1627, died after 1672. Genre painter in the manner of Dou, pupil of Willem Claasz Heda, then (1643 or 1644) of Rembrandt; master of the guild at Haarlem in 1648. Works: Portrait of a Moor (1659), Berlin Museum; Soldier and Woman at Cards, Cassel Gallery; Architecture Painter’s Studio (1672), Schwerin Gallery.

HEGER, HEINRICH, born at Hadersleben, Schleswig, in 1832. Architecture painter, pupil of Copenhagen Academy; travelled in Germany, and made architectural studies especially in Nuremberg and Maulbronn; lived in Munich until 1863, in Copenhagen till 1865, then in Kiel until 1875, when he settled in Munich. In 1869 he visited the Netherlands, in 1872 the German cities, and in 1874 Venice. Works: Oratory in Castle Gottorp, Kiel Gallery; View in Sebaldus Church, Nuremberg; Interior of Ulm Cathedral; Hall in Burgomaster’s House, Lübeck Gallery; Sacristy of San Marco, Dantzic Gallery; Council-Chamber in Dantzic; do. in Lüneburg, Bruges, and Lübeck; Emperors’ Hall in Goslar, Senate-Chamber in Venice.--Müller, 246.

HEIDECK, KARL WILHELM VON, Baron, called Heidegger, born at Saaralben, Lorraine, Dec. 6, 1788, died in Munich, Feb. 21, 1861. Military genre and landscape painter, engraver, and lithographer. Studied at the Zürich Art School under Meyer, Huber, and Konrad Gessner, then from 1799 in Zweibrücken, and in 1801 in Munich under Quaglio and Hauenstein. In 1805 he entered the Bavarian army and fought against Napoleon in Spain, Germany, and France; in 1816–25 he painted in Salzburg and Munich; in 1828 was commander in Nauplia, Greece, and military governor of Argos; in 1829–33 painted in Munich, and in latter year went again to Greece and reorganized the army. On his return he was made baron, lieutenant-general, and chief of a department in the ministry of war. His pictures of wars in Spain and Greece are historically interesting, and together with his landscapes and genre pieces artistically meritorious. Works: Bavarian Tree-Fellers (1823), Pallicares near Corinth (1829), National Gallery, Berlin; Camp of the Philhellenes before Athens, Carlsruhe Gallery; Donkey Drivers in Italian Osteria (1830), Kunsthalle, Hamburg; Scene in Spanish Guerilla War in 1809 (1824), Leipsic Museum; Views in Greece and Spain (6), New Pinakothek, Munich; Angora Gate at Athens (1838), Königsberg Museum; others in Schleissheim and Stuttgart Galleries; and many in the possession of the royal family of Bavaria.--Allgem. d. Biogr., xi. 295; Cotta’s Kunstbl. (1835), 15; Nagler, Mon., ii. 303; Raczynski, ii. 387.

HEIDELOFF, VICTOR PETER, born in Stuttgart in 1757, died there in 1816. German school; history and genre painter, pupil of Stuttgart Academy under Guibal, Harper, and Scotti; became court-painter in 1780, visited Italy in 1782–86, and was professor at the Stuttgart Academy in 1790–93. Works: Four Seasons, Exit from Theatre, Royal Palace, Stuttgart; Two Ceiling Paintings, Stuttgart Academy; Altarpiece, Rottweil. His son and pupil, Karl Alexander (born in Stuttgart, Feb. 2, 1788, died at Hassfurt, Sept. 28, 1865), more noted as an architect, painted Emperor Maximilian at the Grave of Duke Eberhard, in the Royal Palace at Stuttgart; and Knight Toggenburg, in the collection of Count Fries, ib.--Wagner, Gesch. d. Karlsschule, i. 462.

HEIDENREICH, GUSTAV, born in Berlin in 1819, died there in 1855. History painter, pupil in Breslau of A. F. König and in Berlin of Wach. Works: Hertha and Odin, The Nornæ, Play of the Nixies, Combat of Giants, New Museum, Berlin; Material and Mental Development of Greece, Old Museum, ib.--Kunstbl. (1856), 3.

HEIGEL, FRANZ NAPOLEON, born in Paris, May 15, 1813. Portrait and genre painter, son of Josef, pupil of Munich Academy, then studied in Paris; visited Italy repeatedly in 1839–46, also Belgium and France, and became court-painter in Munich. Bavarian medal for Art and Science; Member of Société belge des Aquarellistes. Works: Portraits of Royal Family of Bavaria; National Costume Pictures; Genre Scenes.--Müller, 246.

HEIJDE, JAN VAN DER. See Heyden.

HEIL, DANIEL VAN, born at Brussels in 1604, died in 1662. Flemish school; landscape painter, master unknown; after having acquired considerable reputation, he abandoned his former subjects for conflagrations, which he represented with unusual effect. Works: Conflagration, Lille Museum; Winter Landscape, Hermitage, St. Petersburg. Leonard van Heil, his brother (born in Brussels in 1605), painted architecture, flowers, and insects; and Jan Baptist van Heil, a younger brother (born in Brussels in 1609), was a history and portrait painter. He was living in 1661.

HEILBUTH, FERDINAND, born in Hamburg, naturalized in France; contemporary. Genre painter. At first merely a skilful painter of costumes, he developed at Rome his peculiar talent for treating life and manners with that fine sense of humour and insight into character which has won him a wide reputation. Medals: 2d class, 1857, 1859, and 1861; L. of Honour, 1861; Officer, 1881. Works: Titian the Younger with his Lady Love (1857), Ravené Gallery, Berlin; Luca Signorelli by the Dead Body of his Son (1859), Orphans, Watteau and his Sweetheart, Male Portrait, Kunsthalle, Hamburg; Absolution in St. Peter’s; The Mont-de-Piété (1861), Luxembourg Museum; On Monte Pincio, Corcoran Gallery, Washington; In His Eminence’s Waiting Room; Cardinal entering his Carriage; Spring-time; On the River-side, In the Fields, William Astor, New York; The Seine; Fine Weather (1881); Idlers in Anteroom of the Vatican (1882); Promenade (1884); Lawn-tennis, Presentation (1885).--Meyer, Conv. Lex., xvii. 443; Quarterly Rev., i. 253.

HEILMAYER, KARL, born in Munich, March 5, 1829. Landscape painter, son of the portrait and landscape painter Emil H., pupil of Munich Academy; travelled extensively in Germany, Italy, and France. Works: Foggy Morning on Lake Starnberg; Moonlight Night in Normandy; The Lido in Venice; View on Via Appia near Rome; Smugglers crossing Mountain, New Pinakothek, Munich.--Müller, 246.

HEIM, FRANÇOIS JOSEPH, born at Belfort, Jan. 15, 1787, died in Paris, Oct. 20, 1865. History painter, pupil of Vincent, won grand prix in 1807, and lived in Rome about six years. With the rise of the romantic school he lost his popularity, and was called by the critics the fossil of the Academy, but his merits were again recognized at the Salon of 1855. Medals: 1st class, 1812; Member of Institute, 1829; Professor, 1831; L. of Honour, 1825; Officer, 1855; grand medal of honour, 1855. Works: Arrival of Jacob in Mesopotamia (1812), Bordeaux Museum; Ptolemæus Philopator (1817), Amiens Museum; Joseph’s Coat brought to Jacob (1817), Lyons Museum; Raising of Lazarus, Titus pardoning Conspirators; Martyrdom of St. Cyr and of St. Juliet (1819), St. Gervais, Paris; Martyrdom of St. Hippolytus, Notre Dame, Paris; Rescue of King of Spain; Capture of Temple of Jerusalem (1822); St. Hyacinth reviving a Drowned Person (1827), Notre Dame, Paris; Charles X. distributing Rewards to Artists at Exhibition of 1824 (1827), Louvre; Andrieux reading in the Lobby of the Comédie-française (1847); Defence of Burgos, Louis Philippe receiving the Deputies come to offer him the Crown (1834), do. receiving the Chamber of Peers, Champ de Mai of 1815, Battle of Rocroy, Portraits of Marquis de Chamilly, Duc de la Fertè, Comte d’Estrades, Marquis de Bournonville, Versailles Museum; Vesuvius receiving Heavenly Fire from Jupiter, The Revival of the Arts, ceilings in Louvre; Charlemagne causing his Capitularies to be read, Louis the Fat freeing the Towns, St. Louis causing the Publication of his Ordinances, Louis XII. organizing the Chamber of Accounts, Defeat of the Cimbri and Teutons (1853), Palais Bourbon; Victory of Judas Maccabæus (1855); Subject from History of the Jews (1824).--Bellier, i. 751; Larousse; Gaz. des. B. Arts (1867), xxii. 40; Meyer, Gesch., 167.

HEIMERDINGER, FRIEDRICH, born in Altona, Jan. 10, 1817, died in Hamburg, Oct., 1883. Animal and still-life painter, pupil of Düsseldorf Academy under Theodor Hildebrandt; continued his studies in Munich, whence he visited Switzerland. He afterwards founded a preparatory school for artists in Hamburg. Works: Foxes contesting Booty (1848), Kunsthalle, Hamburg; Scene from Elf Life (1860); Lurking Fox (1861); Nut-Cracker (1871); Plover (1875); Rabbit and Frog; Fen-Duck; Fruit-Seller.--Kunst-Chronik, xviii. 9; Müller, 247.

HEINE, WILHELM, born in Düsseldorf, April 18, 1813, died June 29, 1839. Genre painter, pupil of Düsseldorf Academy, and an artist of great promise at the time of his premature death. Works: Poachers, Smuggler (1834); Tramp (1835); Peasant Cottage (1836); Criminals at Church (1837), Leipsic Museum; replica (1838), National Gallery, Berlin.--W. Müller, Düsseldorf K., 289.

HEINEFETTER, JOHANN, born in Mentz in 1815. Battle and landscape painter, pupil in Munich of D. Monten; travelled in France, Italy, Switzerland, and the Tyrol. Works: Tavern Scenes and Skirmishes; Frescos in Trinkhalle, Baden-Baden; Pictures in the Kursaal, Cemetery Chapel, and several Villas, ib.

HEINEL, JOHANN PHILIPP, born at Baireuth, Oct. 21, 1800, died in Munich, July 29, 1843. Genre and landscape painter, pupil of the Munich Academy in 1820–26 under Robert von Langer; painted at first historical subjects, then portraits, and finally genre scenes in the Bavarian Alps and landscapes. Works: Achilles (1823); Ossian and Malvina (1826); Group of Bavarian Peasant Girls (1829); Landscape after Storm (1830); Tyrolese Landscape (1832); Priest’s Visit, On Lake Starnberg, The Watzmann, Scene on a Tyrolese Alp, Poacher watching for his Persecutors, Height with Chamois (1834); Tyrolese Family, Young Tyrolese with his Sweetheart, The Bride, Family Scene, Girl playing Zither, Rocky Landscape, Bavarian Mountain Lake, Glacier (1835); Bagpiper (1836); Mountain Landscape with Lake, Tyrolese playing to a Girl, Two Bavarian Peasant Girls (1837); Adoration of the Shepherds (1838); Shepherdess (1840).--Allgem. d. Biogr., xi. 366; Andresen, i. 164; Cotta’s Kunstbl. (1836), 87.

HEINLEIN, HEINRICH, born at Weilburg, Nassau, Dec. 3, 1803, died in Munich, Dec. 8, 1885. Landscape painter, first instructed by his mother, a painter in pastel, studied architecture at Munich and drawing at Mannheim Academy; visited Switzerland and Italy, and settled in Munich in 1829, and in 1830 had obtained reputation as one of the best German landscape painters. Honorary member of the Munich (1846) and Vienna Academies; Order of St. Michael, 1852. Works: Ravine; Poachers attacked in their Camp (1823); Mountain Lake in a Storm; Alpine Valley with a Funeral (1825); Waldesstille; Klösterl am Wachensee; Upper Gosau Lake; Windauthal; Wilderness in Salvaretta Mountains; Engadine Valley; Ruins of Juvarium; View in South Tyrol, New Pinakothek, Munich; Landscape with Castle Tyrol, Carlsruhe Gallery; View in Grisons (1839), Leipsic Museum; others in Stuttgart, Hanover, Brunswick, Mentz, and Prague Galleries.--Dioskuren (1860), 193, 204; Kunst-Chronik, xxi. 219; Die Kunst für Alle, i. 100; Müller, 247; Raczynski, ii. 338, 402.

HEINRICH OF DUDERSTADT, monk, German school, early part of 15th century. His large altarpiece (1424), now in the library at Göttingen, representing the Twelve Apostles, the Crucifixion, and eighteen small Passion-Scenes, show that he was influenced by the school of Cologne.--Kugler, Gesch. d. Malerei, i. 257; Schnaase, vi. 479.

HEINTSCH, JOHANN GEORG, born in Silesia about middle of 17th century, died in Prague in 1713. German school; Lived in Prague from 1678, married in 1704, and took the freedom of the city. Quirin Jahn, his contemporary, says that he belonged to a monastic fraternity. In his later works he was influenced by Carl Screta, who died (1674) a few years before Heintsch’s arrival in Prague. Works in Prague: Altarpiece, Jesuit Church; Madonna (1696), Karlshofer Stiftskirche; Altarpiece, St. Henry’s; Side Altarpieces, St. Catherine’s; Holy Family, Minorites Church; Transportation of St. Wenceslaus’ Body to Prague in 940 (1692), Teinkirche; several pictures in chapels and cloister of the Kreuzherren-Stift; Christ in the Temple, St. Joseph, St. Clemens adoring the Virgin, St. Ignatius and Trinity, Martyrdom of St. Vitus, St. Francis Xavier baptizing Moorish Prince, Four Elements, Bust Portrait of Praying Woman, St. Norbert, St. Aloysius, Flight to Egypt.--Allgem. d. Biogr., xi. 660; Kugler (Crowe), 528.

HEINZ, JOSEPH, the elder, born in Berne in 1565, died in Prague, Oct. 15, 1609. German school; history painter, called by Van Mander a pupil of Johann van Achen, which seems doubtful, as the latter went to Venice in 1574. Heinz went to Prague, studied at the Academy, and in 1590–94 was employed by Rudolph II., who made him court-painter and sent him to Italy. There he remained four years, studying especially Paul Veronese, but after his return was strongly influenced by Johann van Achen, Spranger, and Velvet Brueghel, his contemporaries at the imperial court. Works: Rape of Proserpine, Dresden Gallery; Leda, Artemisia with the Ashes of Mausolus, Augsburg Gallery; Satyrs and Nymphs (1599), Schleissheim Gallery; Herodias, Venus Asleep, Venus and Adonis, do. and Nymphs (1609), Crucifixion (2), Diana and Actæon, Portrait of Rudolph II. (1594), Vienna Museum; Portrait of Himself, his Brother and Sister (1596), Berne Museum; Crucifixion(?), Schwerin Gallery.--Allgem. d. Biogr., xi. 663; Füessli, i. 61; Kugler (Crowe), i. 271.

HEINZ, JOSEPH, the younger, born about 1590, died in 1655. German school; son and pupil of Joseph the elder; afterwards studied with his stepfather Gondelach in Augsburg. Fond of painting sorcerers and witches. Went to Italy, and lived mostly in Venice, where he painted altarpieces. Urban VIII. made him knight of the Golden Spur. Works: Two Marys at Christ’s Grave (1655), All Saints’ Chapel, Venice; Diana Bathing, Venice Academy.--Allgem. d. Biogr., xi. 664.

HEISS, JOHANN, born at Memmingen, Bavaria, in 1640, died at Augsburg in 1704. History and landscape painter, pupil of Heinrich Schönfeld and of Sichelbein. There are many altarpieces by him in the churches of Augsburg, Ratisbon, and Neustadt. Works: Scipio granting Liberty to Allucius (1679), Death of Dido, Neptune and Venus, Hall with Antiques, Hall with Female Models, Brunswick Museum; The Seasons personified, Wiesbaden Gallery; Exodus of the Israelites (1677), Dresden Museum.

HELEN, ancient pictures. See Eumelus, Zeuxis.

HELEN, RAPE OF, Benozzo Gozzoli, National Gallery, London; wood, octagon, tempera, H. 1 ft. 7 in. × 2 ft. The wife of Menelaus carried off to a ship by Paris and his companions. Panel probably formed the cover of a cassettone or box for wedding gifts.--Nat. Gal. Cat.

By Guido Reni, Louvre; canvas, H. 8 ft. 3 in. × 8 ft. 7 in. Paris, preceded by Cupid and giving his hand to Helen, leads her to the ship in which his companions are about to embark; three women follow Helen, bearing jewels and a dog; in front, a little negro with an ape and a dog. This picture, celebrated in its time in verse and prose, was painted for the King of Spain; but he finding the price too high, Guido sold it to M. de La Forcade for Maria de’ Médici; the queen being obliged to leave Paris, M. Forcade sold it to Louis Phélipeaux, Seigneur de La Villière, from whom it passed through several other hands to the Musée Napoléon. Engraved by Desplaces.--Landon, Musée, xi. Pl. 50.

HELENA, painter, daughter of Timon of Egypt, 4th century B.C. The mosaic of the Battle of Issus, at Naples, is perhaps a reproduction of her only recorded work.--Ptolem. Hephaest. in Phot. Bibl., p. 482 (ed. Hoeschel).

HELENA, ST., VISION OF, Paolo Veronese, National Gallery, London; canvas, H. 6 ft. 5 in. × 3 ft. 9 in. The Saint, in sleep or revery, reclines on a marble window-seat, resting her head upon her right hand; through the open window are seen two cherubim bearing a cross. The design appears to be after an engraving by Marc Antonio, supposed to be after a drawing by Raphael. Etched by E. W. Sherborn in Art Journal (1884), 257.--Nat. Gal. Cat.; Bartsch, xiv. 443; Richter, 74.

By Paolo Veronese, Vatican, Rome. Seated, asleep, wearing the imperial crown, and clad in a rich brocaded Venetian costume, her head resting upon her left hand; at right, a little angel standing holds a Greek cross. Acquired from Galleria Sacchetti by Benedict XIV., who placed it in the Capitol Museum, whence removed to Vatican. Engraved by Gius. Craffonara.--Larousse, ix. 19; Vaticano descritto, vi. Pl. 76.

HELFFT, JULIUS, born in Berlin, April 6, 1818. Landscape and architecture painter, pupil of Berlin Academy and of W. Schirmer; went in 1843 to Italy, painted there a series of views around Florence for King Frederick William IV., then visited Rome, Naples, and Sicily, and returned in 1847, when he was appointed professor in Berlin Academy. Works: Sicilian Cloister Yard (1847), Doge’s Palace--Venice (1856), National Gallery, Berlin; Canal Grande in Venice; San Miniato near Florence.--Müller, 247.

HELIODORUS, painter, of Athens, date unknown. Perhaps identical with sculptor of same name mentioned by Pliny (xxxvi. 4 [91]), some of whose statues were in the Temple of Jupiter in the Portico of Octavia, Rome.--Pausan., 1, 37, 1.

HELIODORUS, EXPULSION OF, Raphael, Stanza d’Eliodoro, Vatican; fresco. Heliodorus, treasurer of the Syrian king, attempting to plunder the Temple at Jerusalem, is driven out by two avenging angels (2 Maccabees, ii. 25). In background the High Priest Onias praying before the tabernacle; in foreground, right, the answer to the prayer--Heliodorus overthrown, and his soldiers put to flight by two angels with scourges and a celestial horseman; at left, the assembled people and Julius II. in his chair of state. The bearer in front is Marc Antonio Raimondi, and another farther back is supposed to be Giulio Romano. Typical of the victory of the Papacy over its enemies, especially Louis XII. of France. Painted in 1512. Engraved by A. Meldolla; Mocbetti; Volpato; Friquet; Anderloni; Baillu; C. Maratti.--Vasari, ed. Mil., iv. 345; Müntz, 360; Passavant, ii. 130; Springer, 201; Kugler (Eastlake), ii. 433; Perkins, 135.

HELLEMANS, PETRUS JOANNES, born at Brussels in 1787, died there in 1845. Landscape painter, pupil of Jean Baptiste de Roy; good colourist, painted trees with great care. Works: Bois de Soignies, Mechlin Museum; do., and Mill, Brussels Museum; Landscapes in Guelders (2, with figures by Eugene Verboeckhoven), Kunsthalle, Hamburg; Wood Landscape (1829), Leipsic Museum. His wife, Jean Marie Josephine (1796–1837), painted fruit and flowers.--Immerzeel, ii. 26; Kramm, iii. 665.

HELLEMONT (Helmont), MATTHEUS VAN, born at Antwerp, baptized July 24, 1623, died at Brussels. Flemish school; genre painter, pupil of Teniers the younger; visited Italy, and in Paris painted some of his best pictures for Louis XIV. Master of the guild at Antwerp in 1646, then at Brussels, having left Antwerp in 1674. His colouring is warm and transparent, treatment broad, figures well drawn and full of expression. Works: Kirmess, Aremberg Gallery, Brussels; Alchemist in his Laboratory, Rotterdam Museum; do., Copenhagen Gallery; Interior, Farrier at Work, Lille Museum; Drinker, Dunkirk Museum; Kirmess, Douai Museum; Shoemaker’s Shop, Family Group, Brunswick Museum; Peasants Drinking, Betrothal Feast, Peasant Weddings (2), Stockholm Museum; Temptation of St. Anthony, Musical Party, Historical Society, New York.--Immerzeel, ii. 28; Riegel, Beiträge, ii. 127; Van den Branden, 1022.

HELLEMONT, ZEGER JACOB VAN, born at Antwerp, April 17, 1683, died at Brussels, Aug. 21, 1726. History and genre painter, son and pupil of the portrait painter Jan van Hellemont (1650–1719?); went early to Brussels, and there painted many pictures for churches, in which the decline of the school of Antwerp after Rubens is apparent. Works: Martyrdom of St. Barbara, St. Mary Magdalen’s, Brussels; Triumph of David, St. Michael’s, ib.; Elijah sacrificing before the Priests of Baal, Carmelites, ib.; Christ on the Cross, Ghent Museum; Peasants at Cards, Male Portrait (1724), Darmstadt Museum; Dentist in his Office, Augsburg Gallery; Priest distributing Bread and Wine, Modena Gallery.--Descamps, iii. 188; Michiels, x. 403; Rooses (Reber), 440; Van den Branden, 1171.

HELLEN, KARL VON DER, born in Bremen, May 10, 1843. Landscape painter, pupil in Düsseldorf of Oswald Achenbach, then studied in Munich, and in 1864–68 in Carlsruhe under Gude, 1869 in Paris, 1870 in Rome, and in 1871 settled in Düsseldorf. Works: Wood Interior; Landscape in Black Forest; North German Landscape; Evening in Italy.--Müller, 247.

HELLQVIST, KARL GUSTAF, born in Kungsör in 1851. History painter, pupil of Stockholm Academy and of M. T. Lefebvre in Paris; received a medal for one of his first pictures; lives now in Munich. Honourable mention, Paris. Instructor at Berlin Academy, January, 1886. Works: Ebba Brahe writing on the Window-Pane; Gustavus Vasa accusing Bishop Sonnanväder of High Treason; Opprobrious Entry of Peder Sonnanväder and Master Knut into Stockholm (1870), New York Museum; Louis XI. and Tristan at Plessis-les-Tours; Death of Sten Stures; The Last Friend (1876); Ransom of Town of Visby by King Waldemar of Denmark in 1361 (1883); Snow Effect in Tyrolese Mountains, On a Bench in the Woods, Portrait of Professor Thiersch (1884); Idyl, Swedish Peasant, At the Harbor of Wolgast, June 15, 1633 (1885).--Müller, 248; Illustr. Zeitg. (1883), ii. 11; D. illustr. Zeitg., iii. 527; Zeitsch., xviii. 274; xx. 116.

HELLRATH, EMIL, born at Rees, Westphalia, in 1839. Landscape painter, pupil in Düsseldorf Academy of Oswald Achenbach, then visited Munich and Dresden; lived for some time in Amsterdam, and in 1863 settled in Munich. Works: Landscape in Rain; On Lake Chiem; Convent Pond; Landscape at Early Morning; View in Quarries near Polling; Road to Convent, Johnston sale, New York, 1876, $1,275.--Müller, 248.

HELLWEGER, FRANZ, born at St. Lorenz, Tyrol, Sept. 7, 1812, died in Innsbruck, Feb. 15, 1880. History painter, pupil of Munich Academy under Clemens Zimmermann and Heinrich Hess. In 1843 passed eight months in Rome, then returned to Munich, where he assisted Cornelius in the frescos in St. Louis’ Church, and afterwards Steinle in the Cathedral of Cologne, and Schraudolph in the Cathedral of Speyer. In 1856 he settled in Innsbruck. Works: Death of Mary, and three other altarpieces, Brunneck, Tyrol; Madonna, St. Ann, Parish Church, Innsbruck; Baptism of Christ, Scapulary Festival, Flight into Egypt, Male Portraits (2), Innsbruck Museum; St. Catherine, Fathers of the Church, Ischl, Upper Austria.--Allgem. d. Biogr., xi. 699; Kunst-Chronik, xv. 371; Wurzbach, viii. 237.

HELLWIG, THEODOR, born at Halberstadt in 1815. Genre and portrait painter, pupil in Berlin of Menzel, Franz Krüger, and Magnus; paints scenes from time of Louis XIV. and XV. in the manner of Watteau, and from peasant life of his native country. Works: Rendezvous; Children at a Fountain; Serenade under the Doorway.--Müller, 248.

HELMBREKER, THEODORUS, born in Haarlem in 1624, died in Rome in 1694. Dutch school; history and genre painter, pupil of Pieter de Grebber, went to Venice, afterwards to Rome, where he was employed by Cardinal de Medici. Works: Temptation of Christ; Christ bearing the Cross; Christ before Pilate; Christ Crucified; Franciscan Monks distributing Food; Pilgrim with Italian Shepherds, Copenhagen Gallery.--Immerzeel, ii. 27; Kramm, iii. 665.

HELMSDORF, FRIEDRICH, born at Magdeburg in 1784, died at Carlsruhe in 1852. Landscape painter, in 1809 settled in Strassburg, where he had many pupils; visited Italy twice, and lived there in 1816–20. Works: Tasso’s Oak; Lake of Nemi.

HELST, BARTHOLOMEUS VAN DER, born at Haarlem (or Dordrecht) in 1613 (?), died in Amsterdam, buried Dec. 16, 1670. Dutch school; portrait painter, either studied under Frans Hals or took him as his model, and became one of the greatest portrait painters of his time. Lived chiefly at Amsterdam, where in 1654 he and Nicolaas van Helt-Stokade founded the guild of St. Luke. His earliest picture is dated 1639. Sometimes painted sacred and mythological subjects. Works: Banquet of the Civic Guard (1648), Syndics of the Arquebusiers (1657), Portraits of Vice-Admiral Kortenaar, Andries Bicker, Gerard Bicker, Mary Henrietta Stuart, Lieutenant-Admiral Van Nes and Madame Van Nes (1668), Female Portrait (1646), Male do. (1650), Amsterdam Museum; The Archers (2, 1639 and 1656), Hôtel de Ville, Amsterdam; Portrait of Paul Potter (1654), Hague Museum; Portrait of a Preacher (1638), two others (1646), Portrait of Lady and Gentleman (1654), do. of Daniel Bernard (1669), Rotterdam Museum; Man with emptied Glass (1649), Oldenburg Gallery; Aristocratic Young Couple (1661), Carlsruhe Gallery; Male and Female Portrait, Man with a Ring (1655), Gotha Museum; Female Portrait (1655), Weimar Museum; Male do. (1663), Schwerin Gallery; do. (2, one dated 1651), Copenhagen Gallery; Portraits (3, 1642 and 1643), Cassel Gallery; do. (2), Brunswick Museum; do. (3, one dated 1654), Dresden Gallery; Portrait of Admiral Tromp, do. of Prince de Chabanais, Male (1649) and Female Portrait, Old Pinakothek, Munich; Dutch Family at Dinner, Innsbruck Museum; Syndics of the Arquebusiers (1653, study for Amsterdam picture), Portrait (1655), do., Louvre; Presentation of the Betrothed (1647), Family Group (1652), New Market in Amsterdam (1666), Portrait of Govaert Flinck, Male Portrait (1670), three other portraits, Hermitage, St. Petersburg; Portraits of himself and Wife (1664), Brussels Museum; German Baron and his Family, Portrait of a Lady, Historical Society, New York. Others in Antwerp, Berlin, Geneva, Stockholm, Vienna, and London Galleries. By his son and pupil, Lodewyk, is a Portrait of Admiral Stellingwerf (1670), in the Amsterdam Museum.--Allgem. d. Biogr., xi. 709; Ch. Blanc, École hollandaise; Bode, Studien, 112; Burger, ii. 218; Gower, Figure Painters, 31; Riegel, Beiträge, i. 129; Scheltema, Amstel’s oudheid, i. 159.

HELSTED, AXEL THEOFILUS, born in Copenhagen, April 11, 1847. Genre painter, son and pupil of Frederik Ferdinand Helsted (1809–75), then pupil of Copenhagen Academy, where he took a medal in 1864; went in 1869 to Paris, where he studied under Bonnat, and thence to Italy. Works: Portrait of Professor Stephens (1869); do. of the painter Küchler (1878); From the Villa Borghese (1876); After the Lesson, Lesson with the Parson (1877); Father with his Children praying to Madonna (1878); Country Physician (1879); Clymene and her Sisters at Phaëton’s Grave (1880); Father and Son (1882); Two Sons at their Mother’s Deathbed (1883).--Sigurd Müller, 151.

HELT-STOKADE, NICOLAAS VAN, born at Nymwegen about 1614, died in 1669. Dutch school; history and portrait painter, pupil of David Rykaert the elder; for a time court-painter in France, but lived mostly in Rome and Venice, though at Amsterdam in 1654. Many European princes ordered pictures of him, as he was an excellent colourist. He supplied the landscapes of Wynants, Hackaert, and De Heusch with figures. Works: Grain Market under Joseph in Egypt, Town Hall, Amsterdam; Figures in Border of a Forest (by Wynants, 1659), Hague Museum; Susanna at the Bath, Leipsic Museum; Male Portrait, Old Pinakothek, Munich.--Immerzeel, iii. 115; Kramm, v. 1575; De Stuers, 186; Van den Branden, 871.

HÉMICYCLE, Paul Delaroche, Palais des Beaux-Arts, Paris; encaustic painting, H. 15 ft. × about 50 ft. Scene--the portico of an Ionic temple; in centre sits Apelles enthroned, with Ictinus on his right and Phidias on his left. Near them are five allegorical figures: in front, Fame, nude, kneeling, casting out wreaths from a heap at her side; back of her, at left, seated, are Greek Art and Gothic Art, the latter (with the model of a cathedral) a portrait of Delaroche’s wife, daughter of Horace Vernet; at right, Roman Art and Renaissance Art. On each side of this ideal group extend the wings of the picture, in which are grouped the great artists of the world, standing or sitting in their habits as they moved of old. The work contains 75 colossal figures. The original, called the Hémicycle because it occupies the semicircular frieze of the amphitheatre of the Beaux-Arts, was painted in 1837–41. Delaroche received for it 80,000 francs, the price set for a canvas of fifteen figures, the work originally contemplated. It was injured by fire in 1855, but the damage was repaired by the artist himself, aided by Mercier and Fleury. The engraving by Henriquel Dupont cost eight years’ labour. Delaroche made for Dupont’s use a copy of the work, in small (1853), now owned by W. T. Walters, Baltimore. There is a photogravure of it in Art Treasures of America, together with a key to the figures. The original sketch for the large work is in the Nantes Museum.--Art Treas. of Amer., i. 82; Mrs. Jameson; Gaz. des B. Arts (1860), viii. 354.

HEMISSEN (Hemishem, Hemsen), JAN VAN, born at Hemishem (Hemixem), near Antwerp, about 1500, died at Haarlem between 1555 and 1566. Flemish school. Real name Jan Sanders. History and portrait painter, pupil at Antwerp of Hendrik van Cleve in 1519, master of the guild before 1524, its dean in 1548; removed to Haarlem in 1551. Although, in his time, the influence of the Italian school asserted itself strongly, he adhered to the old traditions, and took Quinten Massys for his model. Works: Calling of St. Matthew, Museum, Antwerp; do., Theodor van Lerius, ib.; do., Ghent Museum; Prodigal Son (1556), Brussels Museum; Tobias restoring his Father’s Sight (1555), Louvre, Paris; Christ driving out the Money-Changers (1556), Nancy Museum; Madonna, Village Physician, Madrid Museum; Abraham’s Sacrifice, Germanic Museum, Nuremberg; Calling of St. Matthew (1536), Isaac blessing Jacob, Holy Family (1541), Old Pinakothek, Munich; Mocking of Christ (1544), Schleissheim Gallery; Calling of St. Matthew, do. (1537), do. (1548), St. Jerome, St. William, Portrait of Mabuse, Vienna Museum; St. Ursula, Adoration of the Magi, Prince Albert Collection, London. His daughter and pupil, Catharina, was an artist of merit; went with her husband, a musician, to Spain, where both entered the service of the Queen of Hungary. A Male Portrait by her, dated 1552, is in the National Gallery, London.--Allgem. d. Biogr., xi. 720; Ch. Blanc, École flamande; Cat. du Musée d’Anvers (1874), 472; Kramm, iii. 674; Rooses (Reber), 68; Van den Branden, 98.

HEMLING. See Memling.

HEMPEL, JOSEF VON, Ritter, born in Vienna, Feb. 9, 1800. History painter, pupil of Vienna Academy under Redl; went to Italy in 1821, studied in Florence and in Rome, where he was influenced by Overbeck, returned to Vienna in 1825, moved to Klagenfurt in 1848, where he founded the school of design at the Lyceum, lived four years in Tyrol, then in Gratz, and in 1859 settled on an estate in Croatia. Works: Christ and the Woman of Samaria (1822); Entombment; Jacob’s Dream; Flight into Egypt; Raising of Lazarus; Trinity, and many other altarpieces for churches in Vienna and the Austrian provinces.--Wurzbach, viii. 465.

HEMSEN. See Hemissen.

HEMY, CHARLES NAPIER, born at Newcastle-on-Tyne, May 25, 1841. Marine painter, pupil of School of Art at Newcastle; entered Dominican monastery at Newcastle, whence he was sent to a branch at Lyons, France, but left when twenty-two years old and became a painter. In 1863 he became a student at Antwerp of Henri Leys, on whose death he returned to London. Works: The Shrine, London River, Limehouse, Barge Builders, Blackwall, and Cheyne Walk (all exhibited in Royal Academy, 1872); Vespers (1879); Cavalry (1879); Saved (1880); Lobster Boat, Oporto, Rocky Shore, Mill in the Gloaming (1881); Oporto from Sandeman Wine Lodges, Cinderella and her Sisters (1882); Oyster Dredgers, Ferryman, Old Putney Bridge in 1882, Bargaining for the Catch, Cool of the Morning (1883); Tipping a Shrimp Trawl, The Trammel Net Catch (1884).--Art Journal (1881), 225.

HENDERSON, JOSEPH, born in Perthshire, Scotland, in 1832. Marine and genre painter, pupil of Royal Scottish Academy at Edinburgh. Has resided since 1852 in Glasgow, where he became in 1863 a member of the Institute of Fine Arts; in 1877 elected a member of the Scottish Water Colour Society. Began with portraits and genre pictures, but finally devoted himself with success to marine painting. Works: Where Breakers Roar (1874); A Lively Haul (1875); Weeding the Garden, Under the Sand-Hills (1878); From the Cliffs of Ailsa, Haymaking in the Highlands (1879); Travelling Cobbler (1883).

HENDRIKS, WYBRAND, born at Amsterdam, June 24, 1747, died at Haarlem, Jan. 28, 1831. Portrait, landscape, and still-life painter, pupil of Amsterdam Academy, where he won three prizes; visited England, and having lived for several years at Eden in Gelderland, settled at Haarlem in 1786. Was very versatile, and made fine drawings after famous masters. Works: Female Portrait (1791), Male do. (1811), Hunting Party of Henry IV., view in Haarlem, Haarlem Museum.--Immerzeel, ii. 30; Kramm, iii. 677.

HENDSCHEL, ALBERT, born in Frankfort, July 9, 1834, died there, Oct. 22, 1883. Genre painter, pupil of Städel Institute under Steinle and Passavant, then under Jacob Becker; visited the principal galleries of Germany, and in 1869–70 Italy. Works: Hostess’s Daughter; Fiddler of Gemünd; Cinderella; Broken Pitcher; Scenes from Götz von Berlichingen; Sketch-Book (1872–74); Coffee-Party; Wreath-Maker; Judgment of Paris.--Zeitschr. f. b. K., viii. 81; Illustr. Zeitg. (1874), ii. 309; (1883), ii. 408; Land und Meer (1884), i. 127.

HENGSBACH, FRANZ, born at Werl, Westphalia, in 1814, died in Düsseldorf, Feb. 25, 1883. German school; landscape painter, pupil of Düsseldorf Academy under Schirmer; chose his subjects principally from the high mountains of the Alpine countries. Works: Rainy Weather in the Odenwald (1840), Schwerin Gallery; View of Salzburg (1841); The Staufen near Salzburg (1842); Mill in Tyrol (1846); Mountainous Landscape (1847), Leipsic Museum; Hallstadt Lake (1848); Gosau Waterfall (1850); Hohentwiel and Lake Constance; Alp near Lago Maggiore; Huts on Seelisberg on Lake Luzerne; Lauterbrunnenthal; Limburg on the Lenne by Moonlight; Lausanne and Lake of Geneva.--Kunst-Chronik, xviii. 418; Müller, 249.

HENNEBERG, RUDOLF (FRIEDRICH), born at Brunswick, Sept. 13, 1825, died there, Sept. 14, 1876. History and genre painter, pupil in 1850–53 at Antwerp Academy, then for three years in Paris of Couture; visited Italy in 1861–63, lived then in Munich until 1865, in Berlin in 1866–73, and in Rome in 1873–75. Member of Berlin Academy in 1869; gold medal, Berlin, 1856, 1868; Vienna, 1873. Works: Bathing Students (1853); Gypsy and his Love (1854), Brunswick Gallery; Wild Hunter (1856), National Gallery, Berlin; two replicas of do. (1871); Regenstein, Hare-Hunt (1857); Wild Huntsman (1856, replica in Schack Gallery, Munich), Criminal from Lost Honour (1860), Fortune Chase (1868), National Gallery, Berlin; Fairy Princess, Declaration of Love, Objectionable People, Germania Liberata (1869–71); Cycle of Wall-paintings with Scenes from War of 1870–71 (1872), Villa Warschauer, Charlottenburg; Scenes from the Campagna (1873–75).--Allgem. d. Biogr., xi. 768; Graph. K., v. 41; Illustr. Zeitg. (1883), i. 245; Kunst-Chronik, iii. 94; xii. 473; Schack, Meine Gemäldesammlung (1885), 179; Rosenberg, Berl. Malersch., 203.

HENNEBICQ, ANDRÉ, born at Tournay, Belgium; contemporary. Portrait and history painter, pupil of Portaels. Medals at Brussels (1872), Amsterdam (1874), Paris, 2d class (1874); Order of Leopold. Studio in Brussels. Works: Jeremiah’s Lament; Messalina insulted by the People; Doge Foscari; Labourers in the Campagna; Sale of Objects of Art (1883).

HENNEQUIN, PHILIPPE AUGUSTE, born in Lyons in 1763, died at Leuze near Tournay, May 12, 1833. History and genre painter, studied under Taraval, Gois, and Brenet, and became one of David’s best pupils. Won the grand prix de Rome in 1788. Obliged to leave Italy on account of his liberal opinions, he returned to France, where he several times narrowly escaped death during the Revolution. In 1814 he retired to Liège, and finally to Tournay, where he became director of the Academy in the following year. Works: Confederation of July 4, 1790 (1794); Remorse of Orestes (1798), Louvre; Triumph of the French People (1799), Rouen Museum; Self-sacrifice of 300 Citizens of Franchimont (1814); Socrates and his Disciples; Catherine de Lalain; Battle of Aboukir, Napoleon in the Camp at Boulogne (1806), Allegory on Napoleon I., Portrait of Marquis de Pérignon, Versailles Museum; Saul and Witch of Endor, Lyons Museum; Battle of Quiberon (1804), Toulouse Museum; Crime pursued by Remorse, Time, Fright, Young Man, Angers Museum; others in Museums of Orléans, Mans, and Caen.--Bellier, i. 755; Immerzeel, ii. 31; Larousse; Lejeune, Guide, iii. 125.

HENNER, JEAN JACQUES, born in Bernwiller (Alsace), March 5, 1829. Genre painter, pupil of Drolling and of Picot; won the grand prix de Rome in 1858. His colouring, at first weak and thin, has improved from year to year. Usually paints nude figures. Medals: 3d class, 1863, 1865, and 1866; 1st class, 1878; L. of Honour, 1873; Officer, 1878. Works: Bathing Girl Asleep (1863), Colmar Museum; Chaste Susanna (1865), Idyl (1872), Naiad, Good Samaritan (1874), Luxembourg Museum; Girl (1866); Biblis (1867), Dijon Museum; Woman Dressing, Woman Reclining (1869), Mulhouse Museum; Little Writer (1869); Alsatian Woman (1870); Magdalen in the Desert (1874); Dead Christ (1876); John the Baptist, Evening (1877); Christ at the Tomb, Eclogue (1879); The Fountain, Sleep (1880); The Spring, St. Jerome (1881); Bara (1882); Woman Reading, Nun (1883); Christ Entombed, Weeping Nymph (1884); Madeleine (1885); Sleeping Nymph, Repose, La Source (1881), Fabiola (1885), Mrs. M. J. Morgan Collection, New York; Nymph, W. T. Walters, Baltimore; Andromeda, Mme. Raffalovitch, Paris.--Gaz. des B. Arts (1869), i. 495; Larousse; Claretie, Peintres (1884), ii. 81.

HENNESSEY, WILLIAM J., born in Thomastown, Ireland, in 1839. Landscape and genre painter; went to New York in 1849, pupil in 1856 of National Academy; became an A.N.A. in 1862, and N.A. in 1863; removed in 1870 to London, but resides the greater part of the year in Normandy. Works: In Memoriam; Wanderers; On the Sands; New England Hills; Summer Sea; Les Bons Amis; Gypsy Flower-Girl; New England Barberry Pickers; Indian Summer; Notre Dame des Flôts (1877); Fête-Day in Cider Orchard in Normandy (1878); Waiting for the Boats, Gloire de Dijon, Normandy Pippin, Aftermath, Sunbeam (1879); Visit to the Peacock, Evening at Calvados, Spring Fantasy, In a Normandy Cider Orchard (1880); Straw Harvest in Calvados, Jocund Spring, An Impressionist at Work (1881); Spring in Calvados, Winter in Calvados, En Fête--Calvados (1882); Pastoral, With the Birds (1883); ’Twixt Day and Night (1884); Return from School, The Flowers of May (1885).

HENNIG, GUSTAV ADOLF, born in Dresden in 1798, died in Leipsic, Jan. 15, 1869. History painter, pupil of Leipsic Academy, then studied in Rome; after his return became professor, later director, of Leipsic Academy, and in 1840 professor at Dresden Academy. Works: Christ driving out the Money-Changers; Finding of Moses (1848), Dresden Museum; Annunciation, Saltarello Dance, Leipsic Museum.--Kunstbl. (1853), 49; Christl. Kunstbl. (1870), 12.

HENNING, ADOLF, born in Berlin in 1809. History and portrait painter, pupil of Berlin Academy and of Wach; in 1833 went to Italy for several years. Member of and professor at Berlin Academy. Works: Portrait of Himself (1826); Girl of Frascati (1838), National Gallery, Berlin; Funeral in the Campagna; Portrait Group of Count Raczynski’s Family; Portrait of Sculptor Rauch; St. Luke and St. John, Chapel of Royal Palace, Berlin; Colossal Figures of Eight Prussian Provinces, Royal Palace, Berlin; Thetis and Achilles; Ulysses and Leucothea; Diana and Iphigenia; Æneas and Anchises; Ajax Enraged; Romulus Ploughing.--Müller, 250; Kugler, Kleine Schriften, iii. 175; Rosenberg, Berl. Malersch., 33.

HENNINGS, FRIEDRICH, born in Bremen in 1838. Landscape painter, pupil in Düsseldorf of Oswald Achenbach; perfected himself by repeated journeys to Italy. Among his German and North Italian landscapes, those by moonlight are the most successful. Has recently exhibited garden scenes with figures mostly in rococo-costume. Works: Landscape with Gypsies (1864); Malsen on Lake Garda (1865); Evening in Garden of Villa San Lissandro; Nuremberg at Moonrise; Salzburg by Moonlight (1869); View of Passau; Venice; Avenue near Nymphenburg; Avenue at Wilhelmshöhe; Park with rococo-figures.--Müller, 250.

HENNINGSEN, ERIK, born in Copenhagen, Aug. 29, 1855. Genre painter, pupil of Copenhagen Academy; visited Paris in 1880, and travelled for two years in Germany. Works: Dilettante on the Violoncello (1879); Cake-Woman, Old Bachelor Shopping (1880); Morning in Address-Agency’s Yard (1881); Confirmation (1882); Dirty Apprentice, Guard mounting at Amalienborg (1883).--Sigurd Müller, 156.

HENNINGSEN, FRANTS, born in Copenhagen, June 22, 1850. Genre and portrait painter, brother of preceding, pupil of Copenhagen Academy, and in Paris of Bonnat; visited Spain, where, especially in Madrid in 1878, he studied popular types. Works: On a Pedestrian Trip (1877); Pond in Zealand (1878); Ploughing in October (1880); Hay Harvest, Huntsman with Horse and Dog, On the Highway (1881); The Old Story (1882); Burial, In Front of a Smithy (1883).--Sigurd Müller, 160.

HENRI IV., ENTRY OF, François Gérard, Versailles Museum; canvas, H. 16 ft. 9 in. × 31 ft. 5 in.; signed. In centre, Luillier, provost of the merchants of Paris, advances at the head of a group of municipal officers to present the keys of the city to the king, near whom are, on left, Crillon, De Retz, Montmorency, and Brissac, and on right, Biron, Sully bearing the king’s casque, and Bellegarde, all on horseback; farther to right, Maréchal de Matignon, sword in hand; in a balcony, Gabrielle d’Estrées. Collection of Charles X., Salon, 1817. Repetition, reduced, in Louvre. Engraved by Toschi.--Larousse, ix. 186.

By Rubens, Uffizi, Florence; canvas, figures more than life-size. The king, crowned with laurel, and mounted on a Roman chariot, is making a triumphal entry into Paris after the Battle of Ivry. In this picture Rubens has availed himself of several parts of Mantegna’s Triumph of Cæsar at Hampton Court. Brought from Palazzo Pitti in 1773. Sketch in Earl Darnley’s Collection, Cobham Hall.--Waagen, Treasures, iii. 23; Cat. Louvre, Rubens, 231.

HENRI IV. AT IVRY, Rubens, Uffizi, Florence; canvas, figures more than life-size. The king, mounted, in the centre of the composition, followed by many knights, who are engaged with the enemy. This and the preceding picture were painted about 1630 by order of Maria de’ Medici, as part of a series illustrative of the history of Henri IV., for her palace of the Luxembourg. Transported from Palazzo Pitti in 1773.--Cat. Louvre, Rubens, 231.

HENRI IV. AND THE SPANISH AMBASSADOR, Richard Parkes Bonington, Sir Richard Wallace, Hertford House, London; canvas, H. 1 ft. 4 in. × 1 ft. 7 in. The King, on all fours, romping with his three children, one of whom is astride his back, turns his head to greet the Spanish ambassador, who enters at right through a door from which the portière is drawn back by a page; in background, the Queen, seated. San Donato sale (1870), £3,320.

By Dominique Ingres, Baron Alphonse de Rothschild, Paris; canvas, H. 1 ft. 3 in. × 1 ft. 7 in. The King and his children at right, the Spanish ambassador at left near an open door; in background, the Queen, seated; at right, a maid, standing. Painted in 1817, for Duc de Blacas; Salon, 1824. According to Ch. Blanc, Ingres painted this subject again in 1828.--Larousse, ix. 187; Landon, Musée, Salon of (1824,) i. 34.

HENRIET, FRÉDÉRIC, born in Château-Thierry, Sept. 6, 1826. Landscape painter; was educated a lawyer, and took up painting after being secretary to Count Nieuwerkerke, inspector of the Louvre. Author of “Le Paysagiste aux Champs” (Paris, 1866; 2d edition, 1876); “Daubigny and his Engravings” (Paris, 1875); “Chintreuil, sa Vie et son Œuvre” (Paris, 1874). Knight of the Spanish Order of Isabella. Works: Hamlet of Montgoin (1867), Château-Thierry Museum; The Marne at Tancrou (1868), Vire Museum; Islands of Mary-sur-Marne (1869), Laon Museum; Shore Road at Mézy (1879); Evening at Révin (1880); The Meuse (1881); The Way to School (1882); Gothic Doorway at Armentières, Tower of Guinette (1883); View at Mézy (1884); Ruins of Mill in the Ardennes (1885).--Bellier, i. 176.

HENRIETTA MARIA, QUEEN, portrait, Anton van Dyck, Windsor Castle. The Queen seated, with infant Duke of York in her arms, Prince Charles standing by her side, and three small dogs at her feet; in background, a curtain, and in distance, Westminster Hall. Engraved by R. Strange. Other portraits of the Queen at Windsor Castle, in collections of Earl of Clarendon, Marquis of Lansdowne, Earl of Portarlington, Earl of Radnor, in Ambrosian Library at Milan, and elsewhere.--Head, 64; Klass. der Malerci, Pl. 16.

HENRY, EDWARD L., born in Charleston, S. C., Jan. 12, 1841. Genre painter, pupil of the Philadelphia Academy, and of Gleyre in Paris. In 1860–63 lived in Paris, Rome, and Florence; sketched on the James River during the Civil War; revisited Europe in 1871, 1875, and 1882, when he sketched in France and England. Elected N.A. in 1869. Studio in New York. Works: Old Clock on the Stairs (1868); City Point--Grant’s Headquarters (1869), Union League Club, New York; Battle of Germantown, Wm. Astor, ib.; Declaration of Independence, Cloister, J. W. Drexel, ib.; Off for the Races (1878), Fairman Rogers, Philadelphia; Reception to Lafayette, Samuel Chew, Germantown; Waiting for the Bathers (1879); Mountain Stage (1880); Lovers of Ceramic Art, Railway Station (1881); In Sight of Home (1882); Uninvited Guests (1883); Waiting for the Answer (1884).

HENSEL, WILHELM, born at Trebbin, Brandenburg, July 6, 1794, died in Berlin, Nov. 26, 1861. History and portrait painter, pupil of Berlin Academy; in 1813 joined the army as volunteer, and during the war went twice to Paris, where he studied the art treasures; in 1825 went to Rome, returned in 1828, became court-painter, and in 1831 member of and professor at Berlin Academy. Works: Christ on Mount of Olives (1812); Christ and Woman of Samaria (1825); Farewell of Vittoria Caldoni; Christ before Pilate, Garnisonskirche, Berlin; Good Samaritan, Royal Palace, ib.; Christ in the Desert; Miriam preceding Israel (1839), Queen of England; Christ meditating on his Mission, Bridgewater Gallery, London; Emperor Wenceslaus; Italian Peasants at an Antique Well; Duke of Brunswick at the Ball in Brussels in 1815; Portraits of Frederic William IV., Mendelssohn, Prince of Wales, and of nearly 1,000 famous contemporaries.--Art Journal (1862), 25; Rosenberg, Berl. Malersch., 78.

HER, THEODOR, born at Roth near Leutkirch, Würtemberg, July 30, 1838. Landscape painter, pupil of Stuttgart Art School under Neher; in 1868 went to Paris, where he studied after Titian, Palma Vecchio, Paolo Veronese, and Delacroix; in 1869 pupil of Ramberg in Munich. Works: Spring Day (1872); Evening; Landscape with Figures; Moonlight on Via Appia, Morning on Lake Avernus (1884).--Illustr. Zeitg. (1873), i. 275.

HERBELIN, Mme. JEANNE MATHILDE (née Habert), born in Brunoy (Seine-et-Oise), Aug. 24, 1820. Miniature painter, pupil of her uncle, Belloc. Began by painting in oils. Painted the only miniature ever admitted to the Luxembourg. Has visited Italy. Medals: 3d class, 1843; 2d class, 1844; 1st class, 1847, 1848, 1855. Works: Margaret of Spain (after Velasquez); Rembrandt’s Virgin; Peasant Woman, Burgundian Shepherdess; The Prayer; A Souvenir; Child holding a Rose; Girl playing with a Fan (1855).

HERBERT, JOHN ROGERS, born at Maldon, Essex, Jan. 23, 1810. History and portrait painter, pupil in London of Royal Academy; began by painting portraits and drawing book-illustrations; first subject picture exhibited, The Appointed Hour. After visiting Italy, exhibited Brides of Venice (1839). His conversion to Roman Catholicism (1840) has had a marked influence on his art. Elected an A.R.A. in 1841, and R.A. in 1846, when he was commissioned to paint frescos in the Houses of Parliament. Corresponding Member of Institute of France. Works: Introduction of Christianity into Britain (1842); Sir Thomas More and his Daughter (1844), National Gallery; St. Gregory teaching his Chant (1845); St. John reproving Herod (1848); Mary Magdalen (1859); Virgin Mary (1860); To Labour is to Pray (1862); Valley of Moses (1868); Adoration of Magi (1874); David while a Shepherd, Our Lord after Resurrection (1878); Youth of St. John the Baptist (1879); Christmas Eve at Bethlehem (1880); Joseph warned that Archelaus Reigns, Flight from the Sword of Herod (1881); Justice not always Slow, Happy Valley, Appointed Hour, Esther with Handmaidens (1882); Madonna, Captive Musician (1883); Treasures of the Home, Ruth with the Reapers at Meal-time, Evening near Windsor, Bend on the Thames (1884). His son and pupil Cyril Wiseman, born in France in 1848, died in London in 1882, was an artist of the brightest promise.--Sandby, ii. 179.

HERBST (Herbster), HANS, born in Strasburg about 1468. German school; master in 1492 of the guild of Basle, where Hans Holbein, the younger, painted his portrait in 1516. In 1500 painted an altarpiece for the convent of St. Dominick. Gave up painting after the Reformation, having scruples about ministering to picture-worship.--Cotta’s Kunstbl. (1846), 46; W. & W., ii. 483.

HERBSTHOFFER, KARL, born at Pressburg, Hungary, April 17, 1821, died in Paris in 1876. Genre painter, pupil of Vienna Academy under Amerling; went afterwards to Paris, where he became naturalized, and adopted Isabey’s style. Works: Arpád elected Duke of the Magyárs (1842); Maskerade at Worms in 16th Century, Tasso reading to Duchess of Ferrara (1843); Hungarian Robbers in Ambush (1843), Schwerin Gallery; Episode during the Inquisition in Holland (1846), owned by State; Iconoclasts (1846), Avery Sale, New York, 1870; Studio of Van Ostade (1849); Daniel in Lions’ Den, Lady Macbeth, Episode in Thirty Years’ War (1850); Temptation (1852); Raising of Lazarus (1855), owned by State; Studio of Rubens (1857); Partie Carrée, Scene in St. Bartholomew’s Night, Duel on Banks of the Seine (1859); Gunsmith, Antechamber in Time of Louis XIII. (1863), both bought by State; Last Resource (1865); Religious Instruction in Jewish Family (1868); Arrest (1871); Convulsionnaires in the Cemetery, After the Pillage (1876).--Bellier, i. 760; Kunst-Chronik, v. 189; Wurzbach, viii. 362; Zeitschr. f. b. K., vi. 215.

HERCULANEUM, Hector Leroux, John G. Johnson, Philadelphia; canvas, H. 3 ft. × 4 ft. Destruction of Herculaneum, A.D. 79, by the eruption of Vesuvius, which is seen in background; in foreground, a group of fugitives, mostly women, gazing on the spectacle.--Salon, 1881.

HERCULES, ancient pictures. See Apelles, Artemon, Nearchus, Panœnus, Parrhasius, Zeuxis.

HERCULES AND ACHELOUS, Domenichino, Louvre; canvas, H. 4 ft. × 5 ft. Hercules overcomes the river-god Achelous transformed into a bull, while his father-in-law, Œneus, king of Calydon, with one of his followers, are spectators of the combat; meanwhile, two shepherds watch their flocks on the banks of the river. Belonged to Cardinal Ludovisi, nephew of Gregory XIV.; bought from him by Louis XIV. Engraved by Duthenofer.--Villot, Cat. Louvre; Musée français, iii. Part 1; Filhol, ii. Pl. 94; Landon, Vies, Pl. 114.

By Guido Reni, Louvre; canvas, H. 8 ft. 7 in. × 6 ft. 6 in. Hercules, covered with the lion’s skin, struggles with Achelous and forces him to bend his body to the ground. Painted for Duke of Mantua; bought by Charles I. of England; on his death sold to Jabach, who transferred it to Louis XIV. Engraved by G. Rousselet.--Landon, Musée, ii. Pl. 15; Villot, Cat. Louvre; Felsina Pittrice, ii. 23.

HERCULES, APOTHEOSIS OF, François Lemoyne, Toulouse Museum. Same subject by Charles Coypel, engraved by Surugue. Arrival of Hercules at Olympus, fresco by P. Cornelius, Glyptothek, Munich.

HERCULES AND CACUS, Domenichino, Louvre; canvas, H. 4 ft. × 5 ft. Hercules, leaning on his club, drags the body of Cacus out of his den; near him, a man points to Evander and Faunus, hastening to his aid; in the background, the cattle of Hercules graze on the banks of a stream; to the right, on a wooded hill, are ruined monuments. Engraved by Pillement.--Villot, Cat. Louvre; Musée français; iii. Part 1; Filhol, ii. Pl. 118; Landon, Vies, Pl. 113.

HERCULES, DEATH OF, Guido Reni, Louvre; canvas, H. 8 ft. 7 in. × 6 ft. 6 in. Hercules, unable to bear the anguish caused by the poisoned tunic of Nessus, stretches himself upon the funeral pyre which he has himself prepared, and expires with eyes and hands raised toward heaven. Same history as Hercules and Achelous of Guido. Engraved by G. Rousselet.--Landon, Musée, i. Pl. 41; Villot, Cat. Louvre.

HERCULES WRESTLING WITH DEATH, Sir Frederick Leighton, Bernhard Samuelson, M.P., London; canvas, H. 5 ft. 6 in. × 8 ft. Subject from the “Alcestis” of Euripides. Admetus, the friend of Apollo, married Alcestis; when his time came for death, the Fates consented to prolong his life if another person would die in his stead; Alcestis offered herself, but when Death came to take his due, Hercules struggled with and overcame him. Alcestis, pale and statue-like, lies on a bier beneath a canopy hung from trees near the sea-shore, which, with a vast plain under a lowering sky, is seen behind. In the foreground, at right, Hercules struggles with the King of Terrors; at left, a group of attendants; in front, the grave. Behind the bier Admetus, old and hoary, sustains a damsel who is overcome with terror. Royal Academy, 1871.--Athen. (1870), i. 203; Art Journal (1871), 153.

HERCULES AND THE HYDRA, Guido Reni, Louvre; canvas, H. 8 ft. 7 in × 6 ft. 6 in. Hercules, armed with the club, strikes the Lernean Hydra, which raises its head near a rock. Same history as Hercules and Achelous of Guido. Engraved by G. Rousselet.--Landon, Musée, ii. Pl. 30; Larousse, ix. 214.

HERCULES, INFANT, attributed to Annibale, but probably by Agostino Carracci, Louvre; canvas, H. 6½ in. × 5½ in. The young Hercules strangles a serpent with his left hand while holding down a second one, which has twined about his right arm, with his knee upon his cradle. Formerly in Orleans Gallery, but not sold in England with the other pictures; bought in Rome for Musée Napoleon. Engraved by Ern. Marace; Count Bizemont-Prunélé.--Villot, Cat. Louvre; Musée français, i.; Filhol, i. Pl. 63; Landon, Musée, vi. Pl. 14.

HERCULES AND OMPHALE, Luca Giordano, Dresden Gallery; canvas, H. 7 ft. 6 in. × 9 ft. 2 in.; signed, dated 1690. Hercules, submissive to the charms of Omphale, has dropped his club and taken up the distaff; the two, who sit side by side, are surrounded by her companions. Painted for Don Andrea d’Avalos, Prince of Montesarchio. In catalogue of 1722. Engraved by C. Duflos.--Gal. Roy. de Dresden, i. Pl. 40.

By Alessandro Turchi, Munich Gallery; canvas, H. 5 ft. 1 in. × 7 ft. 3 in. The god, nude, seated in an antique chair, spinning; before him, Omphale, nearly nude, her back covered with the lion’s skin, leans one arm on the hero’s club, and glances at her companions, three other young women, who mock Hercules, while Cupid looks on with a pitying expression. Formerly attributed to Domenichino.

HERCULES STRANGLING THE SERPENTS, Sir Joshua Reynolds, Hermitage, St. Petersburg; canvas. In the centre Hercules grasps the serpents by the throat, while Iphicles cowers in terror beside him; on one side rushes in Alcmena, with attendants, half clad, as if aroused from sleep; on the other, Amphitryon, sword in hand, followed by servants with torches; Tiresias the blind seer (head of Samuel Johnson) stands by with uplifted hands; above, Juno looks down from black clouds at the baffling of her vengeance. Painted in 1788 for Catherine II. of Russia, who paid for it 1,500 guineas, and sent Sir Joshua in addition a gold snuff-box, on which was her portrait with cypher in diamonds. Engraved by J. Hodges, J. Walker; original sketch in possession of Lord Arran. Lord Fitzwilliam owns a repetition of the figure of the Hercules.--Leslie Taylor, ii. 482, 500, 516, 538; Pulling, 83; Northcote, ii. 214; Beechey, i. 244; Art Journal (1860), 358; Notes and Queries, 4th S., ix. 333; Atkinson, Art Tour, 248.

HERCULES, TEMPLE OF, Francia Bigio, Uffizi, Florence; wood. The statue of Hercules, on a pedestal, under the portico of a temple, with soldiers, philosophers, and others grouped around it. Of his late period. Probably part of a cassone or chest.--C. & C., Italy, iii. 512; Ch. Blanc. École florentine; Molini, Gal. di Firenze, ii. 61; Lasinio, i. Pl. 63.

HERCULES BETWEEN VICE AND VIRTUE, Annibale Carracci, Naples Museum. Scene from allegory by Prodicus, preserved by Xenophon in the Memorabilia. Hercules, seated between two women, appears irresolute; Virtue, chastely clad, presents a sword and points heavenward; Vice, reclining upon a couch strewn with flowers, displays her charms and invites him to pleasure. Engraved by N. Mignard.--Larousse, ix. 214.

By Rubens, Uffizi, Florence. Hercules, seated in a landscape, with Venus on his right and Cupid embracing his knees; on his left, Minerva, who takes him by the hand and points to arms; above, Time, bearing emblems of life; the god, while turning his eyes toward the goddess of pleasure, appears ready to follow Minerva.--Larousse, ix. 214.

HERCULES LED BY WISDOM, Paolo Veronese, Hope Collection, London; canvas. Hercules, emblematical of strength, is led by Wisdom, and gazes tranquilly on worldly Love, who is at his feet. From Orleans Gallery; sold in 1793 for £300.--Cab. Crozat, ii. Pl. 24; Waagen, Treasures, ii. 113, 498.

HERDTLE, HERMANN, born in Stuttgart, Sept. 20, 1819. Landscape and architecture painter, pupil of Steinkopf; studied from nature in Germany, France, Belgium, Italy, and Switzerland, and with Pieter Francis Peters founded a permanent art-exhibition in Stuttgart. Works: Palace Interior in Florence, Court-Yard in Verona, Lake Lugano, all in Villa Rosenstein, near Stuttgart; View of Lake Constance; View of Bregenz, Castle Friedrichshafen; Wassen on St. Gothard; Misocco Valley; Bellinzona; Canal Grande with Rialto Bridge; View in Villa Borghese.--Müller, 252.

HÉREAU, JULES, born in Paris, Aug. 29, 1830 (1831 ?), died June 26, 1879. Landscape painter, especially skilful in painting animals, but his landscapes and city views are of great merit. Medals: 1865, 1868. Works: Shepherd and the Sea (1864), Montpellier Museum; Impending Storm (1865), Amiens Museum; Shepherd’s Song (1866), Rouen Museum; Gathering Seaweed in Brittany, Snow-Storm in Paris (1868); The Thames near London Bridge, The Thames at Gravesend (1873); The Meuse at Rotterdam (1874); Mouth of the Seine, the Meuse (1879); Returning (1880).--L’Art (1879), xviii. 24; Bellier, i. 761.

HERILLUS, painter. See Erillus.

HERING, GEORGE EDWARDS, born in London in 1806, died there, Dec. 18, 1879. Landscape painter, studied in Munich (1829) and in Italy, settled in London (1841), and exhibited often at Royal Academy. Works: Morning on Lake Lugano (1860); Amalfi (1865); Head of the Glen (1868); Old Red Sandstone Cliffs (1869); Sunset after a Storm (1872); Outskirts of a Wood (1873); Kildonan (1875); Woodland Waters (1876); Tormore (1877); Loch Etive (1878); By the Lonely Tarn (1879); Loch Etive near Taynuilt (1880).--Amer. Art Review (1880), 180; Art Journal (1861), 73; (1880), 83.

HERKOMER, HUBERT, born at Waal, Bavaria, May 26, 1849. Genre, landscape, and portrait painter; came to America in 1851 with his father, a wood-carver, but returned in 1857 to Europe, and settled at Southampton, where he entered the school of art; in 1865 visited Munich, and in 1866 entered the South Kensington Schools under Frederick Walker. Member of Institute of Water Colours in 1871, A.R.A. in 1879. Settled in 1873 at Bushey, Hertfordshire, where, in 1881, he established an art-school. Revisited America in 1882, painted many portraits in New York and Boston, and lectured in both cities. Visited America again in 1883 and 1885, when he opened a studio in Boston. Elected Slade professor of art at Oxford, as successor of John Ruskin, and member of Berlin Academy, 1885. Medal of Honour, Paris, 1878. Paints in both oil and water-colours, and is one of the best living etchers. Many of his drawings have appeared in the Graphic. Works in oil: After the Toil of the Day (1873); Last Muster--Chelsea Hospital (1875); At Death’s Door (1876); Der Bittgang, Who Comes Here? Souvenir of Rembrandt (1877); Eventide (1878); Life, Light, and Melody (1879); Wind-Swept, God’s Shrine (1880); Missing (1881); Gloom of Idwal, Homeward (1882); Natural Enemies (1883); Pressing to the West--Scene in Castle Garden, N. Y. (1884); Found, Grave-Digger’s Firewood, First Warmth of Spring, Bavarian Forester, Old Peasant Woman (1885). Water-colours: Im Walde (1874); Wood-Cutter’s Rest; Poacher’s Fate; At the Well. Portraits: Richard Wagner (1878); Alfred Tennyson (1879); Lord Stratford de Radclyffe, Odell the Actor (1880); John Ruskin (1881); Richard Oakes, Lorenz Herkomer, Archibald Forbes (1882); Viscount Eversley; Dr. A. B. Garrod; Hans Richter (1883); Canon Ellison, Canon Bradley, Canon Furse, Lord Brabourne (1884); Owen Grant, C. Villiers Stanford, William Sandbach (1885).--Art Journal (1878), 141; (1880), 109; (1882), 238; Portfolio (1882), 81.

HERLEN (Herlin, Herlein, Hörlin), FRIEDRICH, born at Rothenburg or Nördlingen, Bavaria, died at Nördlingen, Oct. 12, 1491. German school; probably son of the painter Hans Herlen, of Nördlingen, about 1442–76. He lived in Ulm in 1449–54, then went to Flanders, where Roger van der Weyden, whom he closely imitated, was probably his master, and after his return was employed in Nördlingen, perhaps as early as 1459, but certainly in 1462–63, then in Rothenburg and Dinkelsbühl in 1466–67, then settled in Nördlingen. A noteworthy master, though limited in his range and in no sense original. Works: Madonna, Circumcision (1459), National Museum, Munich; Adoration of the Magi, St. Ottilia (1459), sixteen Panels with Life of the Virgin (8), Legend of St. George (3), Story of Magdalen (2), Ladies of Donor’s Family and Saints (2) (1462), Madonna enthroned and Saints (1488), Town Hall, Nördlingen; Panels on Shrine with Passion of Christ (4) and Last Judgment (4) (1462), St. George’s, ib.; Altarpiece with Life of the Virgin (1466), St. James’s, Rothenburg; Nativity, Adoration of the Magi (1472), St. Blasius’, Bopfingen; Marriage of St. Catherine, Germanic Museum, Nuremberg.--Allgem. d. Biogr., xii. 115; Förster, Gesch., ii. 18, 187; do., Denkmale, XII. ii. 2; iii. 3; Grüneisen & Mauch, 37; Kugler (Crowe), i. 138; D. Kunstblatt (1854), 187; Schnaase, viii. 407; Waagen, K. u. K. in D., i. 324, 347; W. & W., ii. 112; Zeitschr. f. b. K., iii. 37.

HERLIN, AUGUSTE, born at Lille, Aug. 18, 1835. Genre painter, pupil of Souchon; paints subjects from every-day life with spirit and humour. Works: The Wafer, Beating Colza, The Alloir (1861); Washerwoman, The Pleasure-Trip (1863); Visiting One’s Colleague, Burial of a Pauper (1866); The Lotion (1867); Amusing their Little Brother, A Pond (1868); Time for the Interview, Returning from the Fields (1869); The Interview, The Parade (1870); Going to Harvest, Lake Evian, Souvenir of Dinard (1874); A Vision, Woman of Lille, Hour for Walking (1875); Stella Maris, Affair of Honour (1876).--Müller, 253.

HERMANN, KARL HEINRICH, born in Dresden, Jan. 6, 1802, died in Berlin, April 30, 1880. History painter, pupil of the Dresden Academy under Hartmann, then from 1822 in Düsseldorf under Cornelius, who entrusted him with important fresco works in Munich and (1840) Berlin, where in 1844 he became professor at the Academy. Works: Theology, Bonn University; Scenes from Parcival (1834), Königsbau, Munich; Victory of Louis the Bavarian at Ampfing, Arcades, Royal Garden, ib.; Ascension (1835), Protestant Church, Munich; Patriarchs, Prophets, Evangelists, Apostles Peter and Paul (1840–44), 14 frescos, Klosterkirche, Berlin; Easter Morn, St. Matthew’s, ib.; Sermon on the Mount, Fifteen Pictures from German History (1844–54).--Allgem. d. Biogr., xii. 185; Allgem. Zeitg., May 20, 1880, Beilage, 141; Brockhaus, ix. 145; Cotta’s Kunstbl. (1831), 103; (1835), 42; D. Kunstbl. (1853), 40; (1854), 31; Kunst-Chronik, xv. 560; Förster, v. 72; Raczynski, i. 55, 65, 270; ii. 230.

HERMANN-LÉON, CHARLES, born at Havre, July 22, 1838. Animal and genre painter, pupil of Philippe Rousseau and of Fromentin. Medals: 3d class, 1873; 2d class, 1879. Works: Ill-gotten Gains do no Good to the Getter, Contempt (1868); Valet coupling Dogs, Intermission (1870); Hunting Relay (1872); Peasants fleeing from Invasion, Who-hoop to the Boar (1873); Legend of St. Hubert, Fino a Fox-Terrier (1874); Galendor and Castillo (1875); Mass of St. Hubert, Shepherd and the Sea (1876); Huntsman (1877); Death of Actæon (1878); Who-hoop (1879), bought by State; Relay of Dogs (1880); Maternity, Wolf-Hunt (1881); Eve of Lent (1882); Coming from the Watering-Trough, Shepherd Dog (1883); In the Heath, Tip, A Pug-Dog (1884); Welfare (1885).--Bellier, i. 762.

HERMANN AND THUSNELDA, Angelica Kauffmann, Vienna Museum; canvas, H. 5 ft. 4 in. × 7 ft. 3 in. Scene from one of Klopstock’s dramas on Hermann (Arminius). Hermann, having triumphed over the legions of Varus, returns, bearing the spoils of victory, to sacrifice on the altars of his fathers; Thusnelda presents him the wreath of sacred leaves, while her companions strew flowers and a priest gives thanks to Woden. Engraved by J. B. Durer; G. Kotterba.--Réveil, x. 712.

HERMANS, CHARLES, born in Brussels, Aug. 17, 1839. Genre painter, pupil of Brussels Academy, and in Paris of École des Beaux Arts and of Gleyre; lived in 1862–66 in Italy, mostly at Rome. First attracted attention in Brussels in 1875 by his Morning Dawn in a Large City, for which he received the Order of Leopold. Works: On the Strand; On the Terrace; At Dawn of Day; Monks playing Nine-Pins; Job and his Friends (1872); Child’s Hospital (1873); Masked Ball (1880), Pennsylvania Academy, Philadelphia.--Müller, 253.

HERMELIN, OLOF, born at Gripenberg, Småland, Feb. 8, 1820. Landscape painter, pupil of Stockholm Academy under Billings; visited in 1870 Copenhagen, Düsseldorf, Paris, Belgium, and Holland, and in 1873 went to London. Member of the Stockholm Academy since 1870. Works: Evening in Autumn; King’s Hut in Orebro; Shower in Bohuslän; Cloudy Evening; Spring Landscape; End of Winter; Autumn Landscape; Fish-Market in Honfleur; On Hunting-Ground.--Müller, 253.

HERMINIA AT THE SHEPHERD’S HOUSE, Domenichino, Louvre; canvas, H. 4 ft. × 5 ft. 10 in. Herminia, in Clorinda’s armour, addresses the old shepherd, whose children play the flute and the pipe, and whose sheep are seen in the fold (Tasso, Jerusalem Delivered, Canto vii.). Collection of Louis XIV. Formerly attributed to Annibale Carracci.--Villot, Cat. Louvre; Réveil, v. 308.

HERMOGENES, painter and philosopher, of Carthage (?), second half of 2d century, A.D. After his conversion to Christianity he incurred the anger of Tertullian, whose work “Adversus Hermogenem” alone has preserved the painter’s name from oblivion.

HERNANDEZ, Don GERMAN, born in Spain; contemporary. History painter, pupil of San Fernando Academy. Works: Socrates and Alcibiades in the House of Lais; Journey of the Virgin and St. John to Ephesus; Entombment; Romeo and Juliet; The Virgin in the Desert; Return from Ponte Molle--Rome, Luisa Miller (1883).--La Ilustracion (1883), i. 242, 291.

HERP, GUILLIAM (Willem) VAN, born at Antwerp in 1614, died there, buried June 23, 1677. Flemish school; history and genre painter, pupil of Damiaan Wortelmans, and formed himself further under the influence of Rubens; master of the guild in 1637. Works: A Festival, Bridgewater Gallery, London; Men and Women regaling Themselves, Repast, Marquis of Bute, ib.; Pharaoh’s Dream, Christ bearing the Cross, Hampton Court Palace; Figures with Sheep at a Well, Dulwich Gallery; Peasant Family, Arenberg Gallery, Brussels; Calling of St. Matthew, Comte Dubus de Ghisignies, ib.; Conversion of St. Augustine, Baptism of do., St. Augustine’s, Antwerp; Abraham and the Angels, Darmstadt Museum; do., Cassel Gallery; Peasant at Domestic Work, Bamberg Gallery; Satyr at Repast of Peasant Family, Berlin Museum; Soldiers in Peasant’s Cottage (1664), Harrach Gallery, Vienna; Christ with Martha and Mary, Schwerin Gallery; Christ’s Entry into Jerusalem, Stockholm Museum; Christ before Caiaphas, do. bearing the Cross, do. crowned with Thorns, Historical Society, New York.--Kramm, iii. 680; Michiels, viii. 248; Van den Branden, 916.

HERP, HENDRIK VAN, born at Antwerp, baptized May 20, 1619, died there in 1667. Flemish school; history painter, son of and first instructed by Nicolaas van Herp (pupil of Hendrik van Balen in 1602, and master of the guild in 1606); then (1627) pupil of Adam van Noort; master of the guild in 1637. Works: St. Roch adoring the Virgin, The Plague-Stricken invoking St. Roch, Godshuizen, Antwerp.--Van den Branden, 922.

HERPFER, KARL, born at Dinkelsbühl, Bavaria, Nov. 30, 1836. Genre painter, pupil of Munich Academy under Ramberg; paints mostly rococo scenes, better in drawing and colour than in composition. Works: The Coquette; Good News; Disagreeable News; The Nurse; Gentle Waking; Interrupted Festival; Scene from Molière’s “Narcisse”; Disturbed Betrothal (1872), Kunsthalle, Hamburg.--Müller, 253.

HERPIN, LÉON, born at Granville, Normandy, Oct. 12, 1841, died Oct. 27, 1880. Landscape and porcelain painter, pupil of Daubigny, J. André, and Busson. Medals: 3d class, 1875; 2d class, 1876. Works: Seine at Sèvres (1868); Environs of Dinan (1869); Views of Bas-Meudon (1870); Island of Chansey (1872); The Oise, River in the Woods (1874); The Marne at Chennevières, The Knoll of Moulineaux (1875); Bridge of Sèvres, The Little Bridge of San Jacut (1876); Environs of Cherbourg, Salt Marshes of the Pouliquen (1877); Paris at Evening from the Bridge of Saints Pères (1878), Paris from the Pont Neuf (1878), Luxembourg Museum; do. in 1878 (1879), bought by the city; Castle of Gaillard (1880); Old Mill at Bonneuil, Gate of La Villette (1881).--Amer. Art Rev. (1881), 88; L’Art (1880), xxiii. 168; Meyer, Conv. Lex., xix. 461.

HERR, MICHAEL, born at Metzingen, Würtemberg, in 1591, died at Nuremberg in 1661. German school; history and portrait painter; seems to have gone to Nuremberg early in life, and returned in 1620 after a visit to Italy. Works: The Seven Liberal Arts with Mars and Justice (1622); Nuremberg during the Siege in Thirty Years’ War, Male Portrait (1639), Germanic Museum, Nuremberg.

HERREGOUTS, HENDRIK, born at Mechlin, April 1, 1633, died at Antwerp before March 3, 1704. Flemish school; history painter, son and pupil of David Herregouts (born at Mechlin in 1600), spent several years at Rome studying after the best masters, was at Cologne about 1661, came to Antwerp, and entered the guild there in 1664, but soon removed to Mechlin, where he became master of the guild in 1666; went afterwards again to Germany and Italy, whence he returned to Antwerp in 1679. Painted altarpieces for churches in all the principal cities of Belgium. Works: Martyrdom of St. Matthew, Antwerp Cathedral; Last Judgment, St. Ann’s, Bruges; Martyrdom of St. Basil, St. Basil’s, ib.; St. Augustine in Ecstasy, St. John’s Hospital, ib.; St. Dominic in Prayer, Notre Dame, ib.; Assumption, St. Magdalen’s, ib.; Apotheosis of Christ, St. Peter and Paul’s, Mechlin; Trinity, Cologne Museum.--Descamps, iii. 105; Kramm, iii. 681; Merlo, 175; Van den Branden, 947.

HERREGOUTS, JAN BAPTIST, born in Gelders about 1640, died at Bruges in 1721. Flemish school; history and portrait painter, brother of preceding, like whom he visited Italy, then entered the guild at Antwerp in 1673; removed to Bruges in 1682, and there became master of the guild in 1684. Works: Circumcision, Assumption, St. Ann’s, Bruges; Presentation in the Temple, The Virgin and Saints kneeling before Christ, Church of the Carmelites, ib.; two portraits (1699, 1709), St. John’s Hospital, ib.; portrait of himself, do. of his Father, Academy, ib.; The Cardinal Virtues (3), Town Hall, Ostend.--Van den Branden, 948.

HERRENBURG, JOHANN ANDREAS, born in Berlin, Feb. 6, 1824. Architecture and landscape painter, pupil of Biermann; travelled in Germany, France, and Italy, and in 1845 went to Athens, whence by order of King Otto he travelled through the Morea in search of ancient monuments. In 1846 he accompanied the Turkish expedition to Asia Minor, Palestine, and Persia, was made a Bey by the Sultan; visited Egypt, Nubia, and Abyssinia in 1847, and returned to Berlin in 1848 via Italy, France, Spain, and England. In 1855 he moved to Dresden. Works: Street in Cairo; Plain of Thebes; Street in Bagdad; View of Sidon; View on White Nile; View on Red Sea; Colossus of Memnon; Coast of Paphos in Cyprus; View on Lake Como; Canal in Venice; Acropolis at Athens; Temple of Isis on Isle of Philæ; Theatre of Taormina; Forum at Rome; Temple of Vesta; Tivoli from Neptune’s Grotto; Posilippo.--Müller, 254.

HERRERA, ALONZO DE, living at Segovia in 1579, intimate friend of El Mudo. Spanish school. In 1590 he painted, for the high altar of the Church of Villa-Castin, six pictures illustrating the life of Christ, which were ruined in 1734 by a bungling restorer.--Cean Bermudez; Stirling, i. 290.

HERRERA, FRANCISCO DE, el Viejo (the elder), born in Seville about 1576, died in Madrid in 1656. Spanish school; pupil of Luis Fernandez, but disdaining to imitate him, adopted a free bold style, and became one of the most original and famous artists of his time in Spain. He painted many religious compositions, and attracted numerous students, among whom was Velasquez, but his temper was so violent that he was abandoned by even his children. Accused of coining false money, he took refuge in the Jesuits’ College, Seville, where he painted a noble altarpiece, St. Hermengild in Glory, now in the Seville Museum. Philip IV. on seeing this picture granted him a free pardon. In 1650 he settled in Madrid. Other works: Last Judgment, S. Bernardo, Seville; St. Peter, Cathedral, ib.; St. Basil, Museum, ib.; Israelites gathering Manna, Moses smiting the Rock, Marriage at Cana, Miracle of Loaves and Fishes, Archbishop’s Palace, ib.; St. Augustine and Church Fathers, St. Jerome and do., Montpensier Collection, ib.; St. Basil Dictating, Louvre; St. Matthew, Dresden Museum. He also executed many frescos, of which but few remain. His eldest son, called El Rubis, was an artist of merit, but died young.--Ch. Blanc, École espagnole; Stirling, i. 454; Viardot, 191.

HERRERA, FRANCISCO DE, el Mozo (the younger), born in Seville in 1622, died in Madrid in 1685. Spanish school; son and pupil of Francisco de Herrera, el Viejo, from whom he ran away and went to Rome, where he learned to paint still-life, especially fish, so well that he was called Il Spagnuolo degli Pesci. Returning to Seville on the death of his father, he painted several large altarpieces for churches. In 1660 he aided in founding the Academy at Seville, of which Murillo was chosen president and Herrera second or vice-president; but, displeased at this inferior position, he went in 1661 to Madrid, where he became painter to Philip IV. and superintendent of the royal works (1671). Named royal painter to Charles II. Though possessed of considerable mechanical facility, Herrera did not inherit much of his father’s genius; he coloured with some brilliancy, but his drawing and his composition are alike affected. Works: Triumph of St. Hermengild, Madrid Museum; two landscapes, Montpensier Gallery, Seville; Saints appearing to St. Dominick, Hermitage, St. Petersburg.--Ch. Blanc, École espagnole; Madrazo, 411; Stirling, ii. 936; Viardot, 191.

HERRERA BARNUEVO, SEBASTIANO DE. born in Madrid in 1619, died there in 1671. Spanish school; history painter, pupil of A. Cano, worked especially for the Escorial. Works: St. Barnabas, St. Jerome in the Desert, St. John in Patmos, St. John Baptist in the Desert, Escorial; Two Wandering Musicians, Louvre.

HERREYNS, WILLEM JACOBUS, born in Antwerp, baptized June 10, 1743, died there Aug. 10, 1827. Flemish school; history and portrait painter, son and pupil of Jacob Herreyns the younger, a decorative painter, and of the Academy, where he won prizes in 1762 and 1764; professor in 1765. After travelling in 1767, he settled in 1771 at Mechlin, where he founded an academy. In 1780 he was visited by Gustavus III. of Sweden, who made him his court-painter, and in 1781 by Joseph II. of Austria. On the change of the Antwerp Academy into a special school for painting, sculpture, and architecture, in 1800, he was again appointed professor; exercised a favourable influence upon modern art in Belgium. Works: Last Sigh of Christ, four portraits (1793, 1809), Museum, Antwerp; Christ and the Disciples at Emmaus (1808), Cathedral, ib.; Adoration of the Magi, Museum, Brussels; Last Supper, St. Nicholas’, ib.; Scenes in Life of St. Rumoldus (3), Cathedral, Mechlin; Disciples at Emmaus, St. Francis of Assisi, St. John in the Desert, God Father, St. John’s, ib.; Christ on the Cross, Seminary, ib.; Portrait of Emperor Joseph II., do. of a Canon, Museum, ib.--Ch. Blanc, École flamande; Immerzeel, ii. 35; Michiels, x. 498; Rooses (Reber), 447; Van den Branden, 1255.

HERRING, JOHN FREDERICK, born in Surrey in 1795, died at Tunbridge, Kent, Sept. 23, 1865. Painter of horses and farm-yard scenes, pupil of A. Cooper. He was animal-painter to the Duchess of Kent. Many of his coaching and racing pictures have been engraved and lithographed. Among his best works are: The Baron’s Charger, Members of the Temperance Society, Returning from Epsom, Derby Day, Market Day, and Horse Fair; Frugal Meal (1847), National Gallery; Group of Ducks, Deer-Stalker, Glasgow Gallery; Horse at the Trough, National Gallery, Dublin; Mare and Foal (1853), W. T. Walters, Baltimore. His son, John Frederick, paints similar subjects.--Cat. Nat. Gal.; Art Journal (1865), 328, 381.

HERRLEIN, JOHANN ANDREAS, born in Würzburg in 1720, died at Fulda in 1796. German school; landscape and genre painter, especially of hunts, peasant frolics, and bathing nymphs, in the style of the Dutch masters; was court-painter to the Prince-Bishop of Fulda. Works: Wood Landscapes with Huntsmen and Peasants (2), Basle Museum; Charlatan pulling Tooth, Darmstadt Museum; Singing Toper, Zither-Player, Fruit-pieces (2), Boy with Basket, Cassel Gallery; Hunters’ Camp in the Woods--Night scene, Germanic Museum, Nuremberg; others in Städel Institute, Frankfort.

HERRLICH, PHILIPP, born at Solms-Laubach, Hesse, in 1818. Genre and portrait painter, pupil of Städel Institute, Frankfort, under Rustige; painted at first portraits, mostly in water-colours, and afterwards genre scenes of life and customs in Upper Hesse. Works: Convalescent Child; Hansel and Gretel; Playing Children; The Stork brought It; Before Confirmation; Preparation for School; Grandfather.

HERSENT, LOUIS, born in Paris, March 10, 1777, died there, Oct. 2, 1860. Genre, history, and portrait painter, pupil of Regnault. Took his first subjects from Greek mythology, like David and Girodet, but later also treated historical genre. After 1824 confined himself to portrait painting. Won the 2d grand prize in 1797; L. of Honour, 1819; Member of Institute, 1823; professor, 1825. Works: Narcissus changed into a Flower (1802), Cambrai Museum; Achilles delivering Briseïs to Agamemnon’s Heralds (1804); Atala poisoning herself in the Arms of Chactas (1806); Fénelon taking back a Cow to some Peasants (1810); Passage of the Bridge of Landshut by Count Lobau (1810), Versailles Museum; Las Casas taken care of by Savages when Sick (1814); Death of Dr. Bichat (1817); Louis XVI. helping the Poor in the Winter of 1788 (1817), Duke of Bordeaux in his Cradle, Versailles Museum; Daphnis and Chloe (1817); The Abdication of Gustavus Vasa (1819, destroyed in 1848); Ruth and Boaz (1822); Monks of St. Gothard helping Families robbed by Brigands (1824); Henry IV. of France (1827), Grand Trianon, Versailles.--Bellier, i. 763; Ch. Blanc, École française; Gaz. des B. Arts (1860), viii. 128; Larousse; Meyer, Gesch., 174.

HERSILIA SEPARATING ROMULUS AND TATIUS, Guercino, Louvre; canvas, H. 8 ft. 3 in. × 8 ft. 9 in. Hersilia, holding the arm of Romulus, looks entreatingly at her father, whose hand, armed with a sword, is arrested by a Sabine; in background Romans and Sabines fighting. Painted in 1645 for the Marquis de La Vaillière.--Villot, Cat. Louvre.

HERST, AUGUSTE CLÉMENT JACQUES, born at Rocroy (Ardennes), Aug. 28, 1825. Landscape painter; chiefly known by his water-colours. L. of Honour, 1874. Works: Storm on the Coast of Africa, Sunrise at Rotterdam, Old Bridge in Holland (1874); Valley of Sallanches, Forest Border (1875); Low Tide, Spring (1876); View near Dordrecht, La Barre--Africa (1877); Interior of Farm-Yard, Chartres Museum.--Bellier, i. 764.

HERTEL, ALBERT, born in Berlin, April 19, 1843. Landscape painter, pupil of Berlin Academy, and one of the foremost Prussian colourists. Professor at Berlin Academy in 1875. Works: Capri; Via Flaminia near Rome; View of Cape Portofino; After Storm on Coast of Genoa (1878), Northern Coast Scene (1883), National Gallery, Berlin; Repose in Egypt, Breslau Museum; Ulysses and the Sirens; Heights of Antemna; Olive Harvest in Capri; Summer Evening by Brandenburg Gate; Genovese Still Life (1879).--Müller, 254; Rosenberg, Berl. Malersch., 344; Zeitschr. f. b. K., xix. 64.

HERTEL, KARL, born in Breslau, Oct. 17, 1837. Genre painter, pupil of Düsseldorf Academy under Wilhelm Sohn; visited the art centres of Germany, and after settling in Düsseldorf made annual trips to Belgium and Holland. His well-coloured pictures show genuine feeling. Works: Boys at Play; Departure of Landwehr; The Two Friends; Young Germany (1874), National Gallery, Berlin; replica, and Young Wounded Soldier playing on Violin (1872), Leipsic Museum; Dutch Coast Scene (1883).

HERTERICH, HANS, born at Ansbach, Bavaria, in 1843. Historical genre painter, pupil of Munich Academy under Philipp Foltz, and of Piloty; afterwards studied in Rome, where he painted scenes from renaissance and rococo time. Works: Ingeborg at the Sea; Frederic with the Bitten Cheek; Not at Home (1876).--Illustr. Zeitg. (1874), ii. 522; (1877), ii. 465.

HERZOG, HERMANN, born in Bremen, Nov. 15, 1832. Landscape painter, pupil of Düsseldorf Academy under Schirmer; visited repeatedly Norway, Switzerland, Italy, and the Pyrenees, of which countries he has painted numerous mountain landscapes excellent in drawing and pleasing in colouring. In 1869 he came to America, and settled in Philadelphia. Works: Festival at Unspunnen, Switzerland (1862); Norwegian Fjord; The Wetterhorn; Twilight in the Alps; Lauterbrunn Valley; Norwegian Waterfall; Views in Yosemite Valley; Norwegian Landscape, Gotha Museum.--Müller, 255.

HESS, EUGEN, born in Munich, June 25, 1824, died there, Nov. 21, 1862. Genre painter, son and pupil of Peter Hess, and student in Munich Academy. Travelled with his father (1839) in Northern Germany, Poland, and Russia. Early gained repute by his works, and in 1849–50 profited by studying the old masters in Brussels and Paris. Works: Family in Forester’s House, Game Poulterer (1846); Hunter’s Good Morning (1848); First Instruction in Hunting (1850); Bavarian Rifleman on Outpost (1853); Marshal Wrangel overtaken by General von Werth (1855); Message from Battlefield (1857); Looking for Pheasants (1862); Shakespeare as a Poacher before his Landlord; Visit at the Monastery, The Swedish General Wrangel escaping capture by the Bavarians in 1647 while hunting, New Pinakothek, Munich.--Andresen, iii. 203.

HESS, HEINRICH MARIA VON, born in Düsseldorf, April 19, 1798, died in Munich, March 29, 1863. History and portrait painter, son and pupil of the engraver Karl Ernst Christoph Hess, then from 1813 at the Munich Academy under P. von Langer. Having attracted attention by his paintings when only eighteen, he went in 1821 to Rome, and remained four years. In 1827–47 he was professor at the Munich Academy, and in 1849 became director of all the galleries. His frescos in the Chapel of All Saints (1827–37), and especially those in the Basilica (1837–46), are among the most remarkable modern works of their kind. He was a member of the Vienna, Milan, Stockholm, and Antwerp Academies. Works: Entombment, St. Luke (1815); Holy Family, Faith, Love, and Hope (1817); Charity, Christmas Eve, St. Cecilia, Entombment, Descent from the Cross, several portraits (1817–21); Portrait of Thorwaldsen, Countess Florenzi, Parnassus (1821–26); 67 Scenes from Old and New Testament, and 11 from Church History (1827–37), Life of St. Boniface (1840–45), Church of All Saints, Munich; Last Supper (1846), Refectory, Benedictine Monastery, Munich; Madonna Enthroned, Last Supper (1863, unfinished), Peasants on Pilgrimage to Rome, Portrait of Thorwaldsen, do. of Florentine Lady, New Pinakothek, ib.; Portrait of Thorwaldsen, Schack Gallery, ib.--Allgem. d. Biogr., xii. 278; Brockhaus, ix. 181; Art Journal (1865), 97; Reber-Pecht, ii. 97.

HESS, HIERONYMUS, born in Basle in 1788, died there in 1850. History painter, pupil in Rome of Koch. Works: Murder of Emperor Albrecht by Hans von Schwaben; Battle of the Swiss against the French near St. Jacob, Basle Museum.--Cotta’s Kunstbl., 1830, 25; N. Necrol. d. D. 1850; Waagen, D., ii. 283, 290.

HESS, JOHANN MICHAEL, born at Erlau, Hungary, Sept. 18, 1768, died about 1830. History painter, pupil of Vienna Academy under Maurer, won the first prize in 1794, and afterwards became professor of drawing at the Engineer Academy. Works: St. Stephen, Assumption, John the Baptist and John of Nepomuk, Seminary Church, Erlau; Baptism of St. Stephen, Gran Cathedral.--Wurzbach, viii. 424.

HESS, KARL, born in Düsseldorf in 1801, died at Reichenhall, Nov. 16, 1874. Genre and animal painter, youngest brother of Peter, whom, with Wagenbauer, he took for his model. Educated in Munich. Pictures full of truth, character, and poetry. Also an engraver. Works: Thierstück (1835); Starting for the Alp, Alp near Kochel (1848); On Stahremberg Lake; Alp near Schliersee; Munich Buck-Cellar; Pasturage; Tyrolese Landscape, National Gallery, Berlin.--Allgem. d. Biogr., xii. 298; Deutsche Warte (1875), 768; Kunst-Chronik, x. 137.

HESS, KARL ADOLF, born in Dresden in 1769, died at Wilhelmsdorf, near Vienna, July 3, 1849. Battle and horse painter, pupil of Klass; settled about 1809 in Vienna, where he afterwards became professor at the Academy. His many journeys to Hungary, Russia, and Turkey, and in 1829 to England, enabled him to acquire a thorough knowledge of the various breeds of horses, which he painted with great skill. Works: Attack of Saxon Dragoons (1796); March of Cossacks through Bohemia (1799); Twelve Pictures--The Riding School (1800–1807); Horses’ Heads (1825).--Allgem. d. Biogr., vii. 296; Wurzbach, viii. 425.

HESS, LUDWIG, born in Zürich, Oct. 16, 1760, died there, April 13, 1800. Landscape painter, studied entirely from nature; visited Florence and Rome in 1794. Much influenced by Salomon Gessner. Works: Mont Blanc; Morning in the Alps; Evening on Lago Maggiore; Grütli, Tell’s Chapel; collection of his best paintings (37) in Zürich Gallery.--Allgem. d. Biogr., xii. 298; Joh. Heinr. Meyer, Ludwig Hess (Zürich, 1800).

HESS, MAX, born in Munich, Oct. 15, 1825, died at Lippspringe, Westphalia, July 19, 1868. History painter, youngest son and pupil of Peter; also studied in Paris and Düsseldorf. Works: Puritans on Guard; Italian Noblemen on a Veranda; Pillage of a Monastery; Torchlight Procession at Düsseldorf, 1857, painted for the Princes of Hohenzollern; Portrait of the Opera-Singer Kindermann.--Allgem. d. Biogr., xii. 299; Blanckarts, 30; Kunst-Chronik, iii. 171.

HESS, PETER VON, born in Düsseldorf, July 29, 1792, died in Munich, April 4, 1871. Genre and battle painter, son and pupil of Karl Ernst Christoph Hess, and from 1806 at the Munich Academy; served in the campaigns of 1813–15, visited Vienna, Switzerland, and Italy (1818), accompanied King Otho to Greece in 1833, and visited Russia (1839) to make studies for a series of battle-pieces ordered by the Czar Nicolas. One of the foremost modern painters of war life. Founded with Quaglio the Art Union at Munich. Bavarian court-painter and member of the Berlin, Vienna, Munich, and St. Petersburg Academies. Works: Battle of Arcis-sur-Aube, Return of Bavarian Officers (1813); Horsemen seeking Shelter, Cossack Scenes (1814); Battle of Arcis-sur-Aube (1817); Abruzzi Peasants before an Inn, Marino--a Robber--defending Himself, Cossacks crossing the Rhine (1819); Defence of a Bridge near Hanau (1820); Skirmish between French and Austrian Cavalry, Austrian Camp (1822); Plundering Cossacks (1820), Sutler Scene, Feast of St. Leonhard in Bavaria (1825), French Train-Wagon surprised by Austrian Uhlans, Pallicares near Athens (1829), National Gallery, Berlin; Encounter at Wörgel in 1809, Skirmish near Pass Strub in 1805, Battle of Arcis-sur-Aube (1828); Wallachian Horses, Entry of King Otho into Nauplia (1835), do. into Athens, The Robber Barbone and Family defending themselves against Gendarmes, View of San Marino, Rest before Inn, Train of Greek Peasants on Sea-Coast, Chamois Hunter, Italian Family at Tivoli, Battle of Austerlitz, Scenes from Greek War of Independence (40 oil sketches for frescos in Arcades of Royal Garden), New Pinakothek, Munich; Duck-Shooting on the Moor, Leipsic Museum; Laying of Corner-Stone of Column of Constitution; Landing of Greek Troops at Nauplia; Battles of Smolensk, Poloczk, Wiasma, Valutina Gora, Krasnoi, Klasigy, and Borodino, Crossing of the Beresina (1839–55); Battle of Leipsic (1854); Battle of Austerlitz (1856).--Allgem. d. Biogr., xii. 300; Brockhaus, ix. 180; Kunst-Chronik, vi. 116.

HESSE, ALEXANDRE (JEAN BAPTISTE), born in Paris, Sept. 30, 1806, died there, Aug. 7, 1879. History painter, nephew and pupil of Auguste Hesse, and pupil of Gros; studied the works of Paolo Veronese at Venice, and formed his style after that master. His pictures are much admired for their skilful composition and careful finish. Medals: 1st class, 1833; 2d class, 1848; L. of Honour, 1842; Officer, 1868; Member of Institute, 1867. Works: Titian’s Funeral (1833); Leonardo da Vinci letting loose some Birds (1836); Mower Girl (1837), Girl carrying Fruit (1838), Venetian Concert, Nantes Museum; Death of Brisson (1840); Adoption of Godfrey de Bouillon by Emperor Alexis Comnenus (1842), Versailles Museum; Catalan Fishermen, Young Woman of Arles (1844); Pisani’s Triumph (1847), Luxembourg Museum; The Republic (1848); Charity (1861); Mural paintings illustrative of the Life of St. Francis, in chapel of St. Francis de Sales, St. Sulpice, Paris.--Bellier, i. 766; Kunst-Chronik, xv. 29; Meyer, Gesch., 283.

HESSE, (NICOLAS) AUGUSTE, born in Paris, Aug. 28, 1795, died there, June 14, 1869. History painter, uncle of Alexandre Hesse, pupil of Gros; won the grand prix de Rome in 1818. Decorated the churches of Notre Dame de Lorette, St. Elizabeth, Bonne Nouvelle, St. Eustache, St. Séverin, and St. Sulpice, Paris. Painted on glass and made designs for other glass painters. Seldom exhibited in the Salon. Medal, 1st class, 1838; L. of Honour, 1840; Member of Institute, 1863. Works: Philemon and Baucis (1818); Foundation of Collège de Sorbonne (1827), Church of the Sorbonne, Paris; Mirabeau in the States-General of 1789 (1838), Amiens Museum; Christ at the Sepulchre (1838), Cathedral of Périgueux; St. Mary fainting at the Tomb of Christ (1845), formerly Luxembourg Museum; Adoration of Shepherds, Conversion and Martyrdom of St. Hippolytus, Notre Dame de Lorette, Paris; Jacob and the Angel (1851), Avranches Cathedral; Clytia Dying (1853), Amiens Museum; Portrait of Girardon (1856). In the Hotel de Ville, he painted, among other pictures, the Promulgation of the Concordat.--Bellier, i. 765; Kunst-Chronik, iv. 195.

HETSCH, PHILIPP FRIEDRICH VON, born in Stuttgart, Sept. 10, 1758, died there, Dec. 31, 1839. History painter, pupil, from 1773 at the Karlsschule, of Guibal and Harper; made court-painter in 1780, and sent to Paris, where he continued his studies for two years under Vien, Vernet, and David; was in Rome in 1785–87, and again in 1795. In 1787 he was appointed professor at the Karlsschule, in 1798 director of the Ducal Gallery, and in 1801 member of the Berlin Academy. In 1809 he again visited Paris, and in 1816 Leipsic, Dresden, and Berlin. His pictures, which show the influence of David’s school, are mostly in the Würtemberg galleries. Works: Anger of Achilles; Blind Œdipus; Cupid and Psyche; Farewell of Regulus; Brutus and Portia; Papirius and the Gauls; Marius at Carthage; Daniel in the Lions’ Den; Joseph in Prison; Ascension; St. Cecilia; Mary with Wife of Pilate; Odin’s Descent into Hell; Cornelia with her Children; Albonack’s Daughters before King Alfred, Stuttgart Museum; King Frederic and Suite before Castle Monrepos; Brutus seeing the Ghost of Cæsar, Darmstadt Museum.--Allgem. d. Biogr., xii. 320; Goethe, Schweizer Reise, i. J. 1797; Haakh, Beiträge, 8; Riegel, 175; Wagner, Gesch. der Karlsschule, i. 463.

HEUBNER, HERMANN LUDWIG, born in Leipsic in 1843. Landscape, genre, and portrait painter, pupil of Weimar Art School under Pauwels; was in 1869–73 director of the Aarland Institute, Leipsic. Works: Lying-in Room; Going to Church; Nobody at Home; Goats in Entrance Hall; View in Rhön Mountains.--Müller, 255.

HEULLANT, FÉLIX ARMAND, born in Paris, April 23, 1834. Genre painter, pupil of Picot and E. Giraud. Paints attractive pictures of life and manners. Works: The Truant; The Spring; Hiding; Apple-Gathering in Japan; Greek Washerwomen; Sacrifice to Venus; Sleeping Endymion; Lover of the Olden Time; Soap-Bubbles, Cleopatra (1879); Heliogabalus raining Roses, The Nest (1880); Origin of Design, Summer (1881); Japanese Concert, Japanese Marriage Car (1882); A Harem, A Meeting (1883); Finding of Moses, Bouquet de Nice (1884); Iris (1885).

HEUR, CORNELIS JOZEF D’, born at Antwerp, March 27, 1707, died March 12, 1762. Flemish school; history and interior painter, pupil of Kasper Jacob van Opstal, of Jan Jozef Horemans, the elder, and of Peeter Snyers; went in 1730 to Paris, where he won several medals (1730, 1731, 1732); painted chiefly grisailles. Works: Coat of Arms of Abbey Saint-Michel, do. of Abbot Jacques Thomas, Prudence, Justice, Force, Instruction in Perspective (1761), Antwerp Museum.--Cat. du Musée d’Anvers (1874), 149; Van den Branden, 1214.

HEUSCH, GUILLIAM (Willem) DE, born at Utrecht in 16--?, died in 1699 (1712?). Dutch school; landscape painter, said to have studied in Italy under Jan Both, whom he imitated. Dean of guild in Utrecht in 1649. Works: Road with Shepherd and Herd (1629), Dresden Gallery; Landscape with Cattle and Shepherds (1696), Louvre; Italian View with Waterfall, Rotterdam Museum; Italian Landscape (3), Amsterdam Museum; do. (2), Hague Museum; Mountainous Landscape, Cassel Gallery; do., Kunsthalle, Hamburg; do., Hermitage, St. Petersburg; Evening Landscape with Ruin, Vienna Museum; others in Brunswick, Frankfort, Copenhagen, and Stockholm Galleries.--Ch. Blanc, École hollandaise; Immerzeel, ii. 36; Kramm, iii. 686; De Stuers, 47; Riegel, Beiträge, ii. 371.

HEUSCH, JACOB DE, born at Utrecht in 1657, died in Amsterdam in 1701. Dutch school; landscape painter, nephew and pupil of Guilliam de Heusch, whom he imitated; went to Italy, where he studied from nature and the works of Salvator Rosa. His pictures so clearly resembled those of his uncle that the members of the Schilderbent in Rome called him Affdruck (copyist). Landscape pleasing, colour good, composition well distributed, enlivened with figures and animals. Works: Ponte Rotto in Rome (1696), Brunswick Museum; Landscapes (2, 1699), Landing-Place on a Lake (1699), Vienna Museum; Mountainous Landscapes (2), Hermitage, St. Petersburg.--Immerzeel, ii. 37; Quellenschriften, xiv. 429; Riegel, Beiträge, ii. 416.

HEUSS, EDUARD VAN, born at Oggersheim, Rhenish Palatinate, in 1808, died in 1880. History and portrait painter; studied in Munich and Rome, where he joined the artistic circle of Cornelius and companions, and was on intimate terms with Thorwaldsen. On his travels afterwards through Holland, Paris, and London he was much influenced by Rubens and Rembrandt. Painted more than eighty portraits, many life-size, of reigning princes, dignitaries, and representatives of science and art, among them Thorwaldsen and Overbeck. Works: Rape of Europa (1832), Darmstadt Museum; Annunciation, Mater Amabilis, Mater Gloriosa, Mater Dolorosa, Mater Salvatoris, New Pinakothek, Munich.--Kunst-Chronik, xviii. 648.

HEYDEN, AUGUST (JACOB THEODOR) VON, born in Breslau, June 13, 1827. History painter, pupil in Berlin of Steffeck, and in Paris of Gleyre and Couture; won the gold medal, and afterwards repeatedly visited Italy to study the monumental painting of the Renaissance. Works: St. Barbara as Patron Saint of Miners (1864); Luther and Frundsberg before the Imperial Diet, Germanic Museum, Nuremberg; Luther in Wittenberg; Arion on Waves of the Sea (1868), Berlin Opera-House; Wooing of French Ambassador for Princess Clemence (1869); The Siesta, The Fairy-Tale (1870); Festive Morning (1870), National Gallery, Berlin; Happy Times, The Anglers, Ride of the Walkyries (1872); Leucothea, Martyr at the Stake, Œdipus and the Sphinx, Olof’s Wedding Ride (1878); Fresco paintings in City Hall and National Gallery, Berlin.--Illustr. Zeitg. (1876), ii. 493; Meyer, Conv. Lex., xix. 565; Rosenberg, Berl. Malersch., 211; D. Rundschau, xiii. 334; xvii. 299; xx. 103.

HEYDEN, JAN VAN DER, born at Gorinchem (Gorkum), in 1637, died in Amsterdam, Sept. 28, 1712. Dutch school; architecture and landscape painter; views of buildings show a feeling for the picturesque, warm and transparent tone, accurate perspective, and fine touch. Ranks first among those who represented exteriors of buildings. Adriaan van de Velde, Eglon van der Neer, and Lingelbach painted figures in his pictures. Said to have visited London. Works: Street in Cologne, Landscape, Street in Town, Architectural Scene, National Gallery, London; Cologne Cathedral, Two Church Views, Sir Richard Wallace, London; Dutch House on a Canal, Buckingham Palace; do., Bridgewater Gallery; Market-Place in Dutch Town, Lord Ashburton, London; Stone Bridge, Draw-Bridge, Canal View, View of Amersfoort, Amsterdam Museum; Interior of Dutch Town (1667), Hague Museum; Amsterdam Town Hall (1668), Market-Place and Church in Dutch Town, Village on a River, Landscape with Ruins, Louvre; Quay of Amsterdam, Aremberg Gallery, Brussels; The Vyvergracht at the Hague, Public Square at Veere--Zealand, Carlsruhe Gallery; Palace with Dutch Garden, Landscape, Cassel Gallery; Landscape with Castle, Brunswick Museum; Mordecai’s Ride, Landscapes (2), Schwerin Gallery; Square in a City, Palace of Duke of Brabant at Brussels, Old Pinakothek, Munich; Gothic Church (1678), Views of Monasteries (3), Dresden Gallery; Old Castle, Museum, Vienna; Interior of a Town, Academy, ib.; Dutch Street on Canal, Landscape with Town, Canal with Vessels, Church, Mountainous Landscape, Three Churches and Castle, Perspective View of Street, Italian Castle, Hermitage, St. Petersburg; others in Copenhagen and Frankfort Galleries; Old City on the Rhine, Château and Park, Historical Society, New York.--Ch. Blanc, École hollandaise; Immerzeel, ii. 37; Kramm, iii. 687; Kugler (Crowe), ii. 506; Riegel, Beiträge, ii. 407.

HEYDEN, KARL, born in Cologne in 1845. Portrait and genre painter, pupil of Düsseldorf Academy and of Wilhelm Sohn; travelled in Germany, Belgium, and France. Works: Convalescent; Women at Grave of Fallen Soldier; Spring Flower; Apple Woman; Among Favourites.

HEYDEN, Dr. OTTO, born at Ducherow, Pomerania, July 8, 1820. History and portrait painter, pupil of Berlin Academy under Klöber and Woch, and in Paris (1847–48) of Cogniet; lived in Italy, especially in Rome and Sicily, in 1850–54, and then settled in Berlin. In 1866 he took part in the campaign in Bohemia, in the suite of the Crown Prince, visited the East in 1869, and accompanied the army to France in 1870. Court-painter and professor at Berlin Academy. Works: Job derided by his Wife (1855), Stettin Museum; Italian Mower, Founding of Greifswalde University (1856); Boguslaw X. attacked by Pirates, Girl of Sorrento, Stettin Museum; Field-Marshal Schwerin in Battle of Prague, Royal Palace, Berlin; Ride of Emperor William over Battlefield at Sadowa (1868), National Gallery, Berlin; Meeting of Crown Prince and Prince Frederic Charles; Emperor William decorating the Crown Prince; Bazaar in Cairo; Street Life in Cairo; Emperor William visiting the Wounded at Versailles; Portraits of German Emperor, of Bismarck, Moltke, and General Steinmetz.--Müller, 256; Rosenberg, Berl. Malersch., 188.

HEYERDAHL, HANS, born in Sweden; contemporary. Genre painter, pupil of Munich Academy and in Paris of Bonnat; now in Florence. Medal, Paris, 3d class, 1878. Works: Nymph talking to Magpie (1880); Flower-Seller, “How Much?” (1881); Dead Child, The Visit (1882); Sleeping Nymph and Satyr, Girl lighting Fire (1883); Bather (1884); Norwegian Landscape, Young Girl (1885).

HEYMANS, ADRIEN JOSEPH, born in Antwerp, June 11, 1839. Landscape painter, pupil of Antwerp Academy at the age of fifteen, but formed himself chiefly through study of nature and of the works of Corot, Millet, and Daubigny in Paris. In 1880 he exhibited about sixty of his pictures in Brussels, with great success. Works: Sunset on Heath (1875), Ghent Museum; Return of the Herd; Moonrise; Morning Mist by the Sea; Three Marines; Sunrise; Snow Landscape with Birch Trees; Cows at Pasture; Evening on the Scheldt; Old Avenue of Bloemeschot; Spring Morning in the Campine, Ghent Museum; Swamp, Evening Landscape; Snow-Storm.--Müller, 257.

HEYN, AUGUST, born at Sophienau, Meiningen, Aug. 10, 1837. Genre painter, pupil of Munich Academy, and of Raupp and Defregger; copied in the Munich and Dresden Galleries, visited Italy, South Tyrol, Hesse, the Black Forest, and England. Works: Scenes from Children’s World and Peasant Life; To Her! To Him!; Little Barber (1880).--Müller, 257.

HICKEL, ANTON, born at Böhmisch-Leipa, Bohemia, in 1745, died in Hamburg, Oct. 30, 1798. German school; portrait painter, pupil of his brother Josef and of Vienna Academy; went about 1777 to France, where he painted Marie Antoinette, then to London, where he made a name by his picture of the House of Commons, containing ninety-six life-size portraits (1793–95), now in National Gallery, London (presented by Emperor Francis Joseph of Austria, 1885); Turk with Slave making Music, Schleissheim Gallery; Portrait of Burgomaster Debary, Basle Museum. One of his best works is the portrait of the poet Klopstock.--Allgem. Kunst-Chronik, ix. 567; Wurzbach, ix. 2.

HICKEL, JOSEF, born at Böhmisch-Leipa in 1736, died in Vienna, March 28, 1807. Portrait painter, first instructed by his father, then pupil of Vienna Academy under Martin van Meytens; went to Italy in 1768, painted the portraits of many notabilities in Milan, Parma, and Florence for the Empress Maria Theresa, and was made member of the Florence and, after his return, of the Vienna Academy (1776), and court-painter. More than three thousand of his works are known. Works: Portrait of Joseph II., City Hall, Vienna; Empress Maria Theresa, King Ferdinand of Naples and Queen; Duke Albert of Teschen and Archduchess Christine; Emperor Leopold II.; Emperor Francis; Pope Pius VI.; Prince Kaunitz; General Baron Lascy; Prince Kinsky; Elector Charles Theodore, Painter Winck, Augsburg Gallery.--Allgem. d. Biogr., xii. 385; Wurzbach, ix. 3.

HICKS, GEORGE EDGAR, born at Lymington, England, in 1824. Genre and portrait painter, pupil of Bloomsbury School of Art in 1843, and of Royal Academy in 1844. Works: Lark at Heaven’s Gate (1855); Dividend Day at the Bank (1859); Post-Office (1860); Before the Magistrates (1866); Reflected Smiles (1867); Utilizing Church Metal (1869); Black Monday (1871); Ruth the Moabitess (1874); Return from Gleaning (1876); Fisherman’s Wife, Woodman’s Daughter (1877); Forget Me Not (1878); Cinderella (1883); Portraits (1884).

HICKS, THOMAS, born at Newtown, Penn., Oct. 18, 1823. Portrait painter, studied in Philadelphia and at the National Academy, later a pupil of Couture in Paris. In 1845 visited Europe, where he remained four years. First picture exhibited in 1841. Elected N.A. in 1851. Studios in New York and Trenton Falls, N. J. Works: Edwin Booth as Iago; Henry Ward Beecher; Longfellow; Halleck; Dr. Kane; William M. Evarts; Dr. Cogswell; Bayard Taylor; Hamilton Fish; Luther Bradish (1857), Elisha Kent Kane (1859), Henry Abbott (1863), Historical Society, New York; Parke Godwin (1879), Mrs. F. N. Goddard, New York; Portrait, Indian Summer (1881); Mrs. B. F. Romaine (1882); Mrs. S. F. Billings (1883); Dr. James R. Wood (1884), New York Academy of Medicine; Birches at Thornwood--Trenton Falls (1879); In Brittany (1884); End of a Winter Day (1885), Dr. Robert Band, New York.--Tuckerman, 465; Benjamin, 49, 86.

HIDDEMANN, FRIEDRICH PETER, born at Düsseldorf, Oct. 4, 1829. Genre painter, pupil of Düsseldorf Academy under Theodor Hildebrandt and Wilhelm Schadow; travelled in Germany, France, Belgium, and Holland, painted at first historical and romantic subjects, then humourous genre scenes. Medals in Vienna (1873), Philadelphia (1876). Works: Wedding and Baptism; The Monster; Concert; Surprise; Severe Lecture; Pocket-Revision; Philosophy of the Ball (1858), W. T. Walters, Baltimore; From Bygone Days (1861); School-Arrest; Beginning of Kirmess (1862); Amateur Quartette (1863), Königsberg Museum; Bottle of Champagne; Reunion (1866); Recruiting in Time of Frederic the Great (1870), National Gallery, Berlin; Return from Afar (1871); Unbidden Neighbours (1872), Wiesbaden Museum; Picnic in the Woods, In Compartment of First Class (1874); Winter Pleasure (1875); Funeral in Westphalia, Carlsruhe Gallery; Love Letter (1875), Düsseldorf Gallery; Desire for Revenge (1876); Physician’s Anteroom (1877).--Illustr. Zeitg. (1873), i. 32; ii. 307; (1878), ii. 347; Müller, 258; Neue freie Presse, Aug. 18, 1871.

HIEN, DANIEL, born at Strassburg in 1725, died at Zweibrücken, Bavaria, in 1773. Landscape, animal, and still-life painter, pupil of Konrad Mannlich, then in Milan (1749) of Crivelli, and in Paris of Oudry; painted especially hunting pieces with great skill. Works: Landscape with Herd and Figures, Germanic Museum, Nuremberg; Animal pieces (2) (1765), Schleissheim Gallery; others in Augsburg Gallery.

HIGHLANDERS HOME, Sir David Wilkie, Earl of Essex; canvas. Interior, with the father of the family sitting at right, and the mother standing, holding her baby for him to kiss; at their feet, two dogs; in background, a girl going out of the door. Painted in 1825. Engraved by W. Finden.--Heaton, Works of Sir D. W.; Painters of Georgian Era.

HIGHMORE, JOSEPH, born in London in 1692, died at Canterbury in 1780. History and portrait painter, pupil of the Academy under Sir Godfrey Kneller; painted portraits of several Knights of the Bath on the revival of that order in 1725, particularly a fine picture of the Duke of Richmond and his esquires, and afterwards, by order of George I., a portrait of the Duke of Cumberland; visited the Continent in 1732, chiefly to see the Düsseldorf Gallery, and at Antwerp to study the works of Rubens. Works: Hagar and Ishmael; Good Samaritan; Finding of Moses; The Graces unveiling Nature; Portraits of Samuel Richardson and Dr. Stebbing, National Gallery, London.--Bryan (Graves), 654.

HILANDERAS, LAS (The Tapestry Weavers), Velasquez, Madrid Museum; canvas, H. 7 ft. 3 in. × 9 ft. 6 in. Scene in royal tapestry manufactory of S. Isabel, Madrid. An old woman, at spinning-wheel, turns to speak to a girl behind her, who is drawing back a red curtain; girl in centre, carding wool, looks at a cat asleep by her side; another, on right, winds yarn from a reel; behind her, one entering room with a basket; in background, three ladies examining tapestry. A masterpiece; painted about 1656; formerly in palace of Buen Retiro. Copy by Collier in École des Beaux Arts, Paris. Etched by Milius; Gaujean; Galvan; Maura.--Ch. Blanc, École espagnole; Gaz. des B. Arts (1880), xxi. 527; Curtis, 15; Madrazo, 603.

HILARIUS, painter, of Bithynia; removed in reign of Valens (A.D. 364–379) to Athens, where he became noted as a teacher. Slain, with all his family, near Corinth, in 379, during an invasion of Goths.--Eunap, Vitæ Philos. et Soph. (ed. Boissonade), 67.

HILDEBRAND, ERNST, born at Falkenberg, Lusatia, in 1833. Genre painter, pupil in Berlin of Steffeck; spent one year in Paris, and in 1875 became professor at the Carlsruhe Art School, afterwards at the Berlin Academy, which position he resigned in 1885; first practised decorative painting, then turned to portrait, and finally to genre, painting, which he treats in a realistic manner. Medal in Vienna, 1873. Works: Mother and Child, Marguerita, Spoletina (1866); Let Little Children come unto Me; Praying Peasants; Sick Child; Kitchen in Hartz Mountains; Fervent Entreaty; Repentance; Rococo Interior in Bruchsal; Wedding Procession in Banqueting Hall of Passage in Berlin; Anxious Hour (1885); Child’s Portrait, Ravené Gallery, Berlin.--Müller, 258; Leixner, Mod. K., i. 74.

HILDEBRANDT, EDUARD, born in Dantzic, Sept. 9, 1817, died in Berlin, Oct. 25, 1868. Landscape and marine painter, pupil in Berlin of Krause, and in 1841–43, in Paris, of Isabey. Visited in 1840 Denmark, Norway, and Great Britain, in 1843–44 Brazil, in 1847–49 England, Scotland, Spain, and the Canary Islands, in 1851 Italy, Egypt, Palestine, Turkey, Greece, and the Sahara, in 1853 Switzerland, Tyrol, and Upper Italy, and in 1856 the Arctic Ocean. Went around the world in 1862–64, and brought home 400 water colours, which, when exhibited in London in 1866, attracted much attention. A selection from them, in a portfolio, was published in 1869. In 1853 he was made professor and in 1855 member of the Berlin Academy. Works: Am Bollwerk (1838); Agitated Sea with Vessels, Fishing Boats leaving the Harbour, Fishermen and Boat (1840); Agitated Sea with Boats, Fishermen’s Children (1842); Two Views of Helgoland, Boy with Dog, Winter Genre Scene (1843); Tropical Rain, Tropical City on the Water (1845); St. Domingo Square in Mexico (1846); Street in Lyons (1843), Street in Rouen, Fisher-maiden on Shore, Hour of Rest, Santa Gloria, Evening in Bay of Rio Janeiro, Children on Shore, Winter Landscapes (2, 1847), Irish Peasant Cottage (1850), Ravené Gallery, Berlin; Panorama of Madeira (1848); View of Lisbon, Fort Belem, Cape Vincent, Coast of Madeira (1849); Coast by Moonlight, Moonlight on Scotch Coast, Irish Genre Scene, View of Rio Janeiro (1850); Two Views on Scotch Coast, Rio Janeiro, Near Palermo, Madeira, Evening in Madeira, Fort St. Elmo, Horse-Love, Moonlight on Scotch Coast (1851); Naples with Vesuvius, View near Cairo, Bay of Madeira, Coast of Madeira (1852); Sea of Marmora, Castle and Park, Children with Sleigh (1853); Flood-Tide, Strand, On Gosau Lake, Alpenglühen, San Giorgio by Moonlight (1854); Moonlight on Scotch Coast, Winter Landscape, On Brienz Lake, View of Bethlehem, View of Jerusalem, Children Playing (1855); Pool of Bethesda, Nazareth, Stormy Sea, On the Fish-Pond, Under the Willows (1856); Moonlight, Sunset, Tropical Landscape, North Cape (1857); Village Scene, Coast with Lighthouse (1860); Cave at Staffa (1865); Benares on the Ganges, Evening in Siam (1866); Holy Lake in Burmah, Moonlight near Macao, Chinese Fishermen (1867); Sunlight in Jersey, Evening in Siam (1868); Surge on Baltic Sea, Dover Castle, Marine with Fort Rouge, Winter Landscape, Stettin Museum; Coast of Normandy, Winter Landscape (1846), Sea-Shore in Evening Light (1855), Castle Kronborg near Elsinore (1857), National Gallery, Berlin; Moonrise in Madeira, Corcoran Gallery, Washington.--Allgem. d. Biogr., xii. 402; Illustr. Zeitg. (1868), 372; Bruno Meyer, Studien, 376; Rosenberg, Berl. Malersch., 335; Land und Meer (1869), i. 223; Zeitschr. f. b. K., i. 25; iv. 261, 336.

HILDEBRANDT, THEODOR, born in Stettin, July 2, 1804, died in Düsseldorf, Sept. 29, 1874. History, genre, and portrait painter, pupil from 1820 of the Berlin Academy, and from 1823 under Schadow, whom, in 1826, he accompanied to Düsseldorf, where he soon became celebrated, and was made in 1832 assistant, and in 1836 professor, at the Academy. In 1829 with Schadow, and later, he repeatedly visited the Netherlands, where he was influenced by the realistic school of Wappers; went in 1830 to Italy, where, as later in Paris, he studied the old masters, especially of the Dutch school. Member of the Berlin and Vienna Academies. Works: Faust and Mephistopheles (1824); Faust and Gretchen (1825); Lear and Cordelia (1826); Romeo and Juliet (1827); Tancred and Clorinda (1828); Caution against the Water-Sprite (1830); Judith and Holofernes (1830); The Robber (1829), Warrior and Child (1832), National Gallery, Berlin; Story-teller (1832); Sick Senator (1833); Choir Boys in Gothic Church (1834); Assassination of Sons of Edward IV. (1836), Raczynski Gallery, Berlin; Christmas Eve (1840); Reception of Cardinal Wolsey in the Monastery (1842); Doge and Daughter (1843), Stettin Museum; Judith (1844); Italian Woman (1845); Othello (1847); Lear awakening from Insanity (1851); Juliet taking the Poison (1853); Arthur and De Burgh (1855); Cordelia reading the Letter to Kent (1859), Christiania Museum; Copy of St. Francis by Rubens (1850), Düsseldorf Academy; Portrait of Artist’s Father, Cologne Museum; Cordelia and King Lear, Mrs. A. T. Stewart, New York; Portraits of Princes Frederic, Georg, and Albrecht of Prussia, of Count Stolberg, of Schadow; do. of Wappers (1849), Düsseldorf Gallery.--Allgem. d. Biogr., xii. 405; Blanckarts, 75; W. Müller, Düsseldorf K., 180; Illustr. Zeitg. (1874), ii. 359; Kunst-Chronik, x. 39.

HILGERS, KARL, born in Düsseldorf in 1818. Landscape painter, pupil of Düsseldorf Academy; spent some time in Berlin and studied the Dutch and French masters; represents nature, especially in her winter aspects, often with architectural accessories, with much skill. Works: Dutch Cottages in Winter (1839); View near Amsterdam (1840 and 1841); Winter Landscape, Chapel in the Snow (1845); Casemate on the Danube; Evening Landscape in Hartz Mountains; Dornburg Citadel; Drifting of Ice in the Rhine; Winter Landscape (1847), do. (1848), do. (1850), Storm in the Mountains (1849), Fisherman’s Hut (1850), Huntsmen with Dogs, Fisherman on Shore, Ravené Gallery, Berlin; Convent Yard in Winter by Moonlight (1867), Schwerin Gallery.--Müller, 258; W. Müller, Düsseldorf K., 349.

HILL, DAVID OCTAVIUS, born in Perth, Scotland, in 1802, died in Edinburgh, May 17, 1870. Landscape painter, pupil of Andrew Wilson; was in 1830 one of the foundation members of the Royal Scottish Academy, of which he was secretary until October, 1869. At first painted pictures illustrative of Scottish peasant life, and in 1843 he finished a large work containing 470 portraits--The Establishment of the Free Kirk, which now hangs in the Presbytery Hall of the Free Church, Edinburgh, but later devoted himself to landscape. Works: Edinburgh from Mons Meg (1852); Ruins of Dunfermline Palace (1854); Windsor Castle; Castle of Dunure on Ayrshire Coast (1861); River Tay at Evening (1862); Vale of the Forth (1868); Leith Pier, National Gallery, Edinburgh.--Redgrave; Art Journal (1869).

HILL, THOMAS, born at Birmingham, England, in 1829. Landscape painter, went to America in 1841; pupil in Paris of Paul Meyerheim, but mostly self-taught. Professional life has been passed in Philadelphia, Boston, and San Francisco. Works: Home of the Eagle, J. A. Faull; Donner Lake (1876), Leland Stanford; White Mountain Notch, E. Hamlin, Boston; Great Cañon of the Sierras, Yosemite Valley, Charles Crocker, San Francisco; Early Morning--Yosemite, I. M. Scott, ib.; What is It? (1884); Who are You? (1885).

HILLE BOBBE, Frans Hals, Berlin Museum; canvas, H. 2 ft. 6 in. × 2 ft. 1 in. The witch of Haarlem, half-length, in a white cap, sitting by a table, looking at an owl perched on her left shoulder; in her right hand an open beer-mug. Painted about 1650; from Suermondt Collection in 1874. Etched by Leo. Flameng. Same subject (30 in. × 24½ in.), Metropolitan Museum, New York, from Collection of Lord Palmerston; (probably by Frans, the younger) engraved by Jules Jacquemart. Another, engraved by L. B. Coclers, has two hands crossed holding a string attached to the owl. Still another, in Van Reede Collection, Utrecht, formerly in Cremer Collection, ib., is a free repetition by F. Hals, the younger. A Laughing Woman by Hals, (about 1645) in Lille Museum, is erroneously called Hille Bobbe.--Zeitschr., v. 78; Gaz. des B. Arts (1869), i. 162; (1872), vi. 476; Bode, Studien, 103.

HILLEGAERT (Hilligaard), PAUWELS VAN, died in Amsterdam in Feb., 1658. Dutch school; battle painter, shows in the landscape part of his pictures the influence of Jan van Goyen. Works: Disbanding of Mercenaries at Utrecht in 1618 (1627), Amsterdam Museum; A Surprisal, Brunswick Museum.--Kramm, iii. 692; Riegel, Beiträge, ii. 424.

HILLEMACHER, EUGÈNE ERNEST, born in Paris, Oct. 13, 1818. History painter, pupil of Cogniet. Fond of painting episodes in the lives of famous men. Medals: 2d class, 1848, 1857; 1st class, 1861, 1863; L. of Honour, 1865. Works: Death of St. Sebastian (1842); Magdalen at the Sepulchre (1845); Old Woman and Children (1847); Neapolitan Fishermen, Confessional (1848); Chess Players under Louis XIII. (1849), Rouen Museum; Satyr (1850); Siege of Rouen in 1418 (1852); Journey of Vert-Vert (1853), bought by Empress; Rubens painting his Wife’s Portrait, Confessional at St. Peter’s (1855), Luxembourg Museum; Two Scholars of Salamanca, Whist Party (1857); Jupiter in Infancy, Molière consulting his Maid, Boileau and his Gardener (1859); Offering a Taper to the Virgin in St. Laurent in Paris, Cinq-Mars presenting Poussin to Louis XIII. (1861), Society of Arts, Lyons; Gutenberg and Faust, James Watt, Post-Office in its Infancy, Soap-Bubbles (1861); Napoleon I. with Goethe and Wieland (1863); Death of Mark Antony (1863), Grenoble Museum; The Two Corneilles (1863); Philip IV. and Velasquez, Don Juan (1864); Psyche in the Lower World, The Bibliomaniac (1865); Margaret of Anjou and the Robber, Indecision (1866); Little John de Saintré and Lady with the Fair Cousins (1868); Aristides and the Peasant (1869); Brother Philip’s Geese (1870); Latona, Three Friends (1872); The Burgher Gentleman and his Professors (1873); Turenne Asleep on a Gun-Carriage, The Marriage-Box (1874); Beauty Asleep in the Woods (1875); Entry of the Turks into Church of St. Sophia in 1453 (1876); Archimedes, Phidias (1877); Giuliano de’ Medici (1878); Astolfo and Jocunda consulting Fiammetta, Piccolo Moneta (1879); Tarpeia (1880); The Brothers de Witt (1881); Edward Jenner experimenting, Lisabetta of Messina (1884); Æneas and Dido (1885).--Bellier, i. 769; Meyer, Gesch., 661.

HILLIARD, NICHOLAS, born at Exeter in 1547, died in London, Jan. 6, 1619. Was goldsmith, carver, and portrait painter to Queen Elizabeth and to James I., who gave him for twelve years the exclusive privilege “to mint, make, grave, and imprint any pictures of our image or our royal family.” He painted portraits of Elizabeth, of Mary Queen of Scots, and of other notable personages, and was the first English native artist of importance whose contemporary reputation has been maintained. Hilliard was especially noted for his miniatures, of which that of Jane Seymour in the Royal Library at Windsor is one of the best. The influence of Holbein is traceable in his works. His son, Lawrence Hilliard, who was living in 1634, was also a miniature painter, and enjoyed the exclusive patent granted to his father till its term expired. Work, Portrait of Queen Elizabeth, National Portrait Gallery.--Wilmot-Buxton, 22; Redgrave; Walpole, Anecdotes.

HILLIARD, WILLIAM HENRY, born at Auburn, N. Y., in 1836. Landscape painter, pupil of Lambinet in Paris, sketched in England and Scotland. Painted in the West before studying in Europe; has since lived in New York and Boston. Studio in Paris, 1880–84. Works: Battle-Field of Lookout Mountain; Alatoona Pass--Georgia; Castle Rock; Campton Meadows; Wind against Tide (1878); View near Sark--Maine (1879); In the Forest, Cernay-la-Ville near Paris, Canal Boats near Montcourt--France (1880); Twilight (1882); At Pont Aven, Cottage at Pau--France, Un Marais dans les Landes (1883); Windmill near Giesen--Holland (1884).

HILLINGFORD, ROBERT ALEXANDER, born in England in 1828. Genre painter, pupil in 1841–45 of the Düsseldorf Academy; studied in Munich, Rome, and Florence, and returned to England in 1864. Honorary member of St. Petersburg Academy. Works: Petruchio (1866); Before the Tournament (1868); The Armourer and the Glee Maiden (1872); Munchausen (1873); Wanderings of Charles Edward Stuart (1874); Manager’s Troubles (1875); Incident in Early Life of Louis XIV. (1877); Summons from the Invisible Judges (1879); Ich Dien (1881); Last Days of Sir Philip Sidney (1882); The Duke’s Musicians (1883); In Presence (1884).

HILLS, ROBERT, born at Islington, June 26, 1769, died in London, May 14, 1844. Animal and landscape painter, pupil of Gresse; first exhibited at the Royal Academy in 1791, and was one of the founders of the Society of Painters in Water Colours in 1804, subsequently its secretary; sometimes worked conjointly with Robson and Barret. Works: Deer in a Landscape, Broken Plough (1804), Landscape with Cattle (1807), Ox Team (1810), Wild Boars in a Wood (1826), Stags in Knole Park (1827), Cows and Sheep, South Kensington Museum.--Redgrave, 211.

HILTENSPERGER, JOHANN GEORG, born at Haldenwang, Bavaria, Feb. 22, 1806. History painter, pupil of Munich Academy under Peter von Langer, then of Düsseldorf Academy under Cornelius, with whom, in 1825, he returned to Munich. King Louis soon after sent him to Naples and Pompeii, to study antique painting, and after his return he executed a large number of decorative works in the Königsbau. In 1846–50 he painted a cycle of pictures in the St. Petersburg Museum, became professor at the Munich Academy in 1851, and afterwards received extensive orders for the decoration of the Maximilianeum. Works: Duke Albrecht refusing Crown of Bohemia, Arcade of Royal Garden, Munich; twenty-seven Scenes from Comedies of Aristophanes, Scenes from Hesiod’s Poems, Illustrations to Homer’s Hymns, Cycle from Ulysses, Königsbau, Munich; Pegasus and the Hours, Apollo and the Muses, Royal Theatre, Munich; eighty-six Scenes from History of Greek Painting (1846–50), St. Petersburg Museum; Herodotus at the Olympian Games, Emperor Augustus as Protector of Arts, Maximilianeum, Munich.--Nagler, Mon., ii. 1057; Reber-Pecht, ii. 57.

HILTON, WILLIAM, born at Lincoln, June 3, 1786, died in London, Dec. 30, 1839. Son and pupil of William Hilton, portrait painter (died 1822); also studied with Raphael Smith, mezzotint engraver, and in 1806 in school of Royal Academy. Became an exhibitor in 1803, A.R.A. in 1813, R.A. in 1819, and keeper in 1827. He won distinction as a subject painter, his works being marked by refined taste in design, and by rich and harmonious colouring, though they have much depreciated, owing to the excessive use of asphaltum. Though his skill was recognized by the profession, his art was not popular, and want of encouragement weighed heavily upon him. Works: Serena rescued by Sir Calepine (Faerie Queen, vi. 8; 1831), Edith discovering the Dead Body of Harold (1834), Cupid Disarmed (1828), Meeting of Abraham’s Servant with Rebecca (1833), National Gallery, London; Rape of Ganymede (1818), Christ crowned with Thorns (1825), Royal Academy, ib.; Venus seeking Cupid at the Bath of Diana, Sir Richard Wallace; Rape of Europa (1818), Earl of Egremont; Crucifixion (1827), Liverpool Institution; Triumphal Entry of Duke of Wellington into Madrid; Portrait of Keats, National Portrait Gallery, London.--Redgrave; F. de Conches, 436; Ch. Blanc, École anglaise; Sandby, i. 362.

HILVERDINK, JOHANNES, born at Gröningen, Jan. 28, 1813. Landscape and marine painter, pupil of Daiwaille, and of Amsterdam Academy under Pieneman, visited Belgium, Germany, and the coasts of the Mediterranean, won several medals with his marines, and became member of Amsterdam Academy in 1852. Works: Coast of England, Pavilion, Haarlem; Calm Sea, Museum Fedor, Amsterdam; After the Storm; The Y near Zeeburg. His son and pupil, Eduard Alexander (born at Amsterdam, May 12, 1846), paints landscapes and city views.--Immerzeel, ii. 40; Müller, 259.

HINCKLEY, THOMAS HEWES, born in Milton, Mass., in 1813. Animal painter, pupil during one winter of an evening school in Philadelphia, where he was taught perspective by Mason. Painted portraits and landscapes in Boston until 1843, when he turned his attention to animal painting. Visited Europe in 1851 to study Landseer in England, and the Flemish painters. His pictures are in many private collections in the United States; he rarely exhibits.

HIPPOCENTAUR, picture. See Zeuxis.

HIPPYS (Hippeus), painter, date unknown. Pliny (xxxv. 40 [138]) mentions his picture of Neptune and Victory, and Athenæus (xi. p. 474 D.) that of the Wedding of Peirithoüs.

HIRE (Hyre), LAURENT DE LA, born in Paris, Feb. 27, 1606, died there, Dec. 29, 1656. French school; history painter, son and pupil of Etienne de la H., then of Lallemand at Fontainebleau, where he studied also the works of that school. Painted many finely-executed pictures, some of which have been copied in tapestry or engraved. One of the twelve founders of the French Academy of Painting (1648), and professor in 1648–51. Works: Laban looking for his Idols (1647), Madonna (1642), Jesus appearing to Three Marys, St. Peter healing the Sick with his Shadow (1635), A Sketch of the preceding, Pope Nicholas V. opening Tomb of St. Francis of Assisi (1630), Landscapes (3), Louvre, Paris; Assumption (in Vienna); Descent from Cross, Nativity, Adoration of Shepherds, Education of the Virgin, Portrait of a Nun, Rouen Museum; Mercury and Herse, Épinal Museum; The Trinity, Lyons Museum; Repose of Holy Family (2), Palm Sunday, Nantes Museum; Disciples at Emmaus, Portico with Figures, Rennes Museum; Christ appearing to Magdalen, The Breaking of Bread, Grenoble Museum; Judgment of Paris, Dijon Museum; Vision of St. Francis, Strasburg Museum; Ruins of a Temple, Valenciennes Museum; Finding of Moses, Landscape, Montpellier Museum; Rebecca and Laban, Lord Forester’s Collection; Repose in Egypt, Galton Collection; Conversion of St. Paul (1637); Theseus seizing the Arms of his Father Ægeus, Perseus rescuing Andromeda, Palais Royal; Madonna, Carlsruhe Gallery; Infancy of Bacchus, Abraham starting for the Promised Land, Hermitage, St. Petersburg.--Bellier, i. 881; Ch. Blanc, École française; Lejeune, Guide, i. 161; Larousse; Mémoires inédits, i. 104.

HIRSCHELY, KASPAR, born in Prague about 1701, died there in 1745. German school; landscape, animal, and still-life painter, pupil of Angermayer; endowed with an unusual talent for imitation, he often finished and sold pictures, painted after his master’s sketches. Works: Flower-pieces (2) (1741), Thistles with Birds (2), Schleissheim Gallery; others in private collections in Prague.--Wurzbach, ix. 53.

HIRT, WILHELM FRIEDRICH, born in Frankfort in 1721, died there in 1772. German school; landscape and animal painter, son and pupil of Friedrich Christoph Hirt (1685–1763, landscape and portrait painter), whom he surpassed in colouring; in 1757 became court-painter to the Duke of Saxe-Meiningen, after whose death he sketched extensively from nature on a tour through Switzerland; painted cattle especially well, and often supplied them in the pictures of Christian Georg Schütz. Works: Wood Landscapes (2) (1750), Landscapes with Herds and Figures (2) (1768), Städel Gallery, Frankfort; Landscape with Fishermen (1754), Gotha Museum; Landscape with Herd, Kunsthalle, Hamburg; do. (2), Cassel Gallery; do., Mannheim Gallery.

HJALTALIN, DORSTEIN ILLIA, born in Iceland in 1771, died at Brunswick in 1817. German school; landscape painter, pupil at Salzdahlum, Brunswick, of Johann Friedrich Weitsch, whom he even surpassed in the treatment of trees. He was the sixteenth son of his parents, was shipwrecked in Denmark, and wandered under great privations to Poland, and thence to Brunswick. Studied diligently the famous works in the Salzdahlum Gallery, and in 1802 visited Dresden, where he painted two landscapes in the manner of Ruisdael that excited the admiration of connoisseurs.--Allgem. d. Biogr., xii. 383.

HLAVÁCEK, ANTON, born in Vienna in 1842. Landscape painter, pupil of Vienna Academy under Steinfeld and Albert Zimmermann; made a study trip to the Bavarian Alps in 1863, then went to Worms, whence he visited the banks of the Rhine and the Odenwald. Works: From Environs of Vienna (1859); View near Gastein (1860); Mountain Landscape (1861); View near Salzburg (1862); Morning on Hintersee (1863); View of Worms from Meerstädt Height; Lindenfels in the Odenwald; Departure of Burgrave of Rodenstein from Burg Schnellerts; Morning in Rhenish Palatinate, Vienna Museum; Königsee (1869); The Imperial City on the Danube (1884).--Allgem. K. Ch., ix. 147; Kunst-Chronik, xx. 269, 495.

HOBBEMA, MEYNDERT (Minderhout), born at Koeverden or at Amsterdam (?) in 1638, died at Amsterdam, buried Dec. 14, 1709. Dutch school; landscape painter, formed himself under the influence of Jacob van Ruisdael. Much neglected in his life-time, and little esteemed, this painter now takes rank as one of the greatest masters of landscape art, thanks to the initiative of England, where nine-tenths of his works are to be found. With less inventive genius and less poetic feeling than Ruisdael, Hobbema surpassed him in truth to atmospheric effect, in tone, and in brilliancy of colour. These qualities give a magical beauty to the generally prosaic scenes which he habitually treated. Some of his landscapes are enlivened with figures by Pieter Bouts, Adrian van der Velde, Berghem, Lingelbach, Storck, Helt-Stokade, B. Gael, and Helmbreker. Works: Showery Weather, Avenue at Middelharnis, Ruins of Brederode Castle (1667), Village with Water-Mills, Forest Scene, Woody Landscape, Castle in Rocky Landscape, National Gallery, London; landscapes in Buckingham Palace (3), Bridgewater (3), Dulwich (2), and Grosvenor (2) Galleries, Hertford House, Baring, Dudley, Wynn Ellis, Holford, Lord Overstone’s Collections, ib.; Glasgow Gallery (5); National Gallery, Edinburgh (2); Louvre, Paris; Museums of Bordeaux, Antwerp, Brussels (1663), Amsterdam (3), Rotterdam (2), Berlin, Darmstadt (1649), Dresden (2), Gotha, Königsberg, Leipsic (?), Stuttgart (2), Vienna, New York; Städel Gallery, Frankfort (2); Kunsthalle, Hamburg; Old Pinakothek, Munich; Hermitage, St. Petersburg (1663); Historical Society, New York (2).--Allgem. d. Biogr., xii. 516; Dohme, 1ii; Gaz. des B. Arts (1859), iv. 28; (1864), xvi. 214; Immerzeel, ii. 41; Kramm, iii. 693; vii. 77; Kugler (Crowe), ii. 475; Richter, 76.

HODGSON, JOHN EVAN, born in London, March 1, 1831. Subject painter, student in 1855 of the Royal Academy, where he first exhibited in 1856. Painted at first domestic subjects, then historical pictures from 1861 to 1865; and, after a visit to North Africa, subjects of Moorish life, to which he has since mostly confined his efforts. Became an A.R.A. in 1873 and R.A. in 1879. Works: Arrest of a Poacher (1857); Canvassing for a Vote (1858); Patriot Wife (1859); Sir Thomas More’s Daughter in Holbein’s Studio (1861); Return of Sir Francis Drake from Cadiz (1862); First Sight of the Armada (1863); Queen Elizabeth at Purfleet (1864); Taking Home the Bride (1865); Jewess accused of Witchcraft (1866); Even Song (1867); Roman Trireme at Sea (1868); Arab Story-Teller (1869); Pasha’s Black Guards (1870); Snake Charmer (1872); Barbers Shop in Tunis (1875); Relatives in Bond (1877); The Pasha (1878); Bound for the Black Sea--1854 (1881); Painter and Critic (1882); Egypt (1882); The Water Dance (1883); Flat Perjury, There Nelson Fell, The Drowsy East, Gate of the Sea, Church Afloat (1884); Don Quixote and the Galley Slaves (1885).--Portfolio (1871), 18.

HOECGEEST, C. (Cornelis?), born at The Hague, flourished about 1610–51. Dutch school; architecture painter, perhaps son of the portrait painter Joachim H., at The Hague, who entered the guild there in 1610; painted chiefly interiors of churches with a masterly brush. Works: Interior of New Church in Delft, Interior of Protestant Church, Antwerp Museum; Interior of New Church in Delft (1650), Monument of William of Orange in same Church (1651), Hague Museum; Choir in Delft Cathedral (1655), Interior of Flemish Church, Copenhagen Gallery; Interior of Basilica, Oldenburg Gallery; Church Interior, Hermitage, St. Petersburg.--Immerzeel, ii. 43; Kramm, iii. 699.

HOECHLE, JOHANN BAPTIST, born at Klingenau, Switzerland, Oct. 19, 1754, died in Vienna, Jan. 1, 1832. History, genre, and portrait painter, pupil at St. Blasien of Morat, and in Augsburg of Hartmann; settled in Munich in 1780, acquired reputation through historical paintings, and was made court-painter to the Elector Charles Theodor, after whose death in 1800 he settled at Vienna, where also he became court-painter in 1802. Works: Meeting of Charles Theodor and Emperor Francis in Munich (1793); Coronation of Emperor Francis, Banquet in the Römer at Frankfort (1801), Wedding of Emperor Francis, Wedding Banquet, Laxenburg Palace; Suit of Prince Berthier for the Hand of Marie Louise, Marriage of Marie Louise, Harrach Gallery, Vienna; Old Peasant, Old Woman, Vienna Museum.--Allgem. d. Biogr., xii. 522; Wurzbach, ix. 89.

HOECHLE (Hechle), JOHANN NEPOMUK, born in Munich in 1790, died in Vienna, Dec. 12, 1835. History painter, pupil of Munich Academy under Kobell, and of Vienna Academy under Füger and Dies. In 1815 went to Paris with the Austrian Emperor, and in 1819 to Rome and Naples. In 1833 he succeeded his father, Johann Baptist, as court-painter at Vienna. Works: Battle at Aspern, The Allied Armies crossing the Vosges, Vienna Museum; Rudolf von Hapsburg and the Priest; Battle-Pieces, Liechtenstein Gallery, Vienna.--Allgem. d. Biogr., xii. 523; Wurzbach, ix. 90.

HOECKE, JAN VAN DEN, born in Antwerp, baptized Aug. 4, 1611, died there in 1651. Flemish school; history and portrait painter, son and pupil of Kasper van den Hoecke (master of Antwerp guild, 1603), then pupil of Rubens. He visited Italy, and on his return executed many works for the court at Vienna. Settled in Antwerp as court-painter to Archduke Leopold William in 1647. Good draughtsman and pleasing colourist. Works: St. Francis adoring the Child, Museum, Antwerp; Holy Family, St. Willebrordus Church, ib.; Christ bearing the Cross, Entombment, Notre-Dame, Mechlin; Entombment, St. John’s, ib.; do., St. Quentin’s, Louvain; Christ on the Cross, St. Salvator’s, Bruges; do., Dunkirk Museum; Martyrdom of St. Mary of Cordova, Dijon Museum; Resurrection, Schleissheim Gallery; Madonna and Angels, Allegory on Transitoriness, January and February, July and August, September and October, Day and Night, Archduke Leopold William in Prayer, do. on Horseback, Museum, Vienna; Samson and Delilah, Massacre of the Innocents, Cimon and Pera, Liechtenstein Gallery, ib.--Allgem. d. Biogr., xii. 549; Ch. Blanc, École flamande; Cat. du Musée d’Anvers (1874), 429; Immerzeel, ii. 42; Kramm, iii. 699; Michiels, viii. 97; Rooses (Reber), 317; Van den Branden, 794.

HOECKE, ROBRECHT VAN DEN, born in Antwerp, Nov. 30, 1622, died after 1695. Flemish school; genre, landscape, and battle painter, son and pupil of Kasper, and half-brother of Jan; master of the guild in 1645. His style was evidently influenced by Teniers the younger, and his pictures are admired for great delicacy of tone, splendid colouring, and richness of composition. While controller of the fortifications of Flanders he painted many military camps and scenes, executing the figures on a small scale and with great minuteness. Works: Skating in Town-moat at Brussels (1649), View of Ostend, Military Camps (3), March of Troops, Halt of Travellers by an Inn, Flemish Store-room (1695), Nocturnal Conflagration, Vienna Museum; Military Camp (1665), Dunkirk Museum.--Allgem. d. Biogr., xii. 549; Immerzeel, ii. 43; Kramm, iii. 700; Van den Branden, 797.

HOECKERT, JOHANN FREDRIK, born at Jönköping, Aug. 26, 1826, died in Göteburg, Sept. 16, 1866. Genre and portrait painter, pupil of Stockholm Academy under Boklund, with whom he went to Munich in 1846. After his return (1849) he visited Lapland, went in 1853 to Paris, where he allied himself with Max Hess, travelled in 1857 through Holland, Belgium, and England, in 1858; made studies in Dalecarlia, and in 1861 visited Spain, Italy, and North Africa. Medals in 1857, 1866; Orders of Wasa and North Star. Works: Bandits (1846); Queen Christina ordering Execution of Monaldeschi (1853); Divine Service in Lapland Chapel (1855); Return from Chase in Lapland; Interior of Lapland Hut (1857), Lapland Wedding (1858), Stockholm Museum; Rescue of Gustavus Vasa (1858); Peasant Woman at the Hearth (1862); Portraits of Bey of Tunis (1861), and Charles XV.; Burning of Palace in Stockholm in 1697; Bellman in Sergell’s Studio; Dead Body of Charles XI.--Taflor.

HOEFEL, JOHANN NEPOMUK, born in Pesth in 1786, died in Vienna in Feb., 1864. History and portrait painter, pupil of Krafft and of Vienna Academy, where he won the great prize in 1811; visited Italy in 1818, and after his return painted many altarpieces for churches in Austria and Hungary. Works: Ægeus recognizing Theseus by his Sword (1811); Sons of Diagoras as Victors at Olympia (1820); Series of Twenty-Four Figures for Imperial Palace; Portrait of Ladislaus Pyrker.--Wurzbach, ix. 97; Hormayr, Archiv., 623.

HOEFNAGEL, JORIS, born at Antwerp in 1545, died in Vienna after 1618. Flemish school; genre, landscape, portrait, and miniature painter, mostly self-taught, but for a time pupil at Mechlin of Jan Bol, after having travelled through France and Spain in 1563–65, where he made many drawings of notable objects. Returned to Antwerp, and uniting with his art the business of a jewel dealer, he and his father were pillaged of everything on the invasion by the Spaniards in 1576, and went to Augsburg, thence to Munich, where, after a visit to Italy, he spent eight years, patronized by the elector; visited England about 1582; worked temporarily for the Archduke Ferdinand at Innsbruck, then entered the service of Emperor Rudolph at Prague, for whom he illustrated four books on natural history, and finally settled at Vienna. Works: Miniature View of Seville (1573, masterpiece). Burgundian Library, Brussels; Roman Missal (1582–90), Imperial Library, Vienna. His son Jacobus, born at Frankfort in 1575, became court-painter to the Emperor Rudolph in 1607. In the museum at Valencia there is a fine water-colour drawing by him: Samson slaying the Philistines (1600).--Fétis, Les artistes belges à l’étranger, i. 85; Michiels, vi. 239; Nagler, Mon., iii. 564.

HOEGG, JOSEF, born in Coblentz in 1826. Genre painter, pupil of Düsseldorf Academy, paints chiefly mournful subjects. Works: Farewell of Emigrant Wine-Growers (1846); At Mother’s Coffin (1847); Boy reading Letter (1848); Blind Grandmother, Return from Cemetery (1849); Grandfather and Grandchildren (1850); Blind Man (1852).--Wiegmann, 327.

HOERBERG, PEHR, born at Oefra-Oe, Småland, Jan. 31, 1746, died at Oelstorp, East Gothland, Jan. 24, 1816. History painter, self-taught peasant. While serving as a shepherd (1783) he frequented the Stockholm Academy, and obtained two prizes. Made member of the Academy and court-painter in 1797, and received a pension from Charles XIV. in 1812. Over six hundred paintings by him are known, among which are eighty-seven altarpieces. His best fresco paintings are the Combats of Titans at Castle Finspång. He was an accomplished musician, and invented a new kind of violin; his musical compositions are original and full of sentiment.--Pehr Hoerberg’s Lebens beschreibung (Greifswald, 1819).

HOERTER, AUGUST, born in Germany; contemporary. Landscape painter in Carlsruhe, pupil of Lessing; draws his subjects mostly from the high mountains of Germany and Switzerland. Works: Courtyard of Magdeburg; View of Reichenbach Falls; Landscape about the Hohentviel; Oak Landscape; Wood Brook; Approaching Storm with Mediæval Horsemen; Rosegg Glacier; Landscape in the Höhgau (1868).--Müller, 267.

HOET (Hoedt), GERARD, born at Bommel, Aug. 22, 1648, died at The Hague, Dec. 2, 1733. Dutch school; history painter, son and pupil of the glass painter Moses Hoet, then pupil of Warnard van Rysen and of Poelenburg; went to The Hague in 1672, travelled in Holland and France, and settled in Utrecht, where, with H. Schook, he founded a school of painting; returned to The Hague when sixty, and there painted in a hall the Seven Christian Virtues. Works: Landscapes with Figures (2), Marriage of Alexander and Roxana, Homage to Alexander, Family Scene, Amsterdam Museum; Pyramus and Thisbe, Rotterdam Museum; Queen of Sheba before Solomon, Pyramus and Thisbe, Cassel Gallery; Death of Dido, Alcestis at Death-bed of Admetus, Copenhagen Gallery; Woman and Children by Ruined Wall (1667), Dresden Museum; Samson and Delilah, Solomon’s Idolatry, Leipsic Museum; Æneas and Dido, Antony and Cleopatra, Ulysses recognizing Achilles, The Wooers Feasting, Male Portrait, Schleissheim Gallery; Moses striking the Rock, Vienna Museum; Callisto’s Guilt, Glasgow Gallery; Adoration of the Magi, Hermitage, St. Petersburg.--Immerzeel, ii. 44; Kramm, iii. 705.

HOFF, JAKOB, born in Frankfort in 1838. Genre painter, pupil at Frankfort of the sculptor Zwerger, then at the Städel Institute of Jakob Becker, spent two years in Belgium and Holland, and subsequently visited Hungary and North Italy. Works: Kirmess Dance (1861); Under the Linden; Repose at the Chase.--Müller, 261.

HOFF, KARL, born in Mannheim, Sept. 8, 1838. Genre and landscape painter, pupil of Carlsruhe Art School under Schirmer and Des Coudres, and of Düsseldorf Academy under Vautier; visited Paris in 1862, settled in Düsseldorf, whence he made journeys through Germany, France, Italy, and Greece, and in 1878 went to Carlsruhe as professor at the art-school. Medals in Berlin (1872), Vienna (1873); honorary member of Rotterdam Academy. Since 1865 he has painted all the figures in his genre scenes in the costume of the times of Louis XIV. and XV. Works: Gypsies before Bailiff (1861); Last Rendezvous; The Pettifogger; Noblesse Oblige; On the Old Field of Battle; Visit of the Bride (1865); Repose during Flight in Time of Louis XIV. (1866); First Criticism (1868); Return Home (1870); Tartuffe and Elmire (1872); Draught on Horseback (1873); Baptism of Posthumous Son (1875), National Gallery, Berlin; Son’s Last Greeting (1878); Before Departure (1880); Young Lady at Balustrade of Garden-Stairs in Moonlight, Schwerin Gallery.--Müller, 262; Leixner, Mod. K., i. 93; ii. 70; Zeitsch., xii. (Mittheilungen, v. 6); D. Rundschau, ix. 326; xvii. 312.

HOFF, KONRAD, born in Schwerin, Nov. 19, 1816, died in Munich, Feb. 18, 1883. Architecture painter, pupil of Dresden and Munich Academies; travelled extensively in Germany and later in North Italy. His architectural views and interiors are distinguished for poetic conception and brilliant colouring. Works: Rococo Chamber, View in Church of Our Lady--Munich, Renaissance Chamber with Lady Writing (1860); Sacristy (1861); Interior of Old House in Neuburg; Staircase in Castle Schleissheim (1862); Hall of Country Mansion, Room of a Cardinal (1863), Schwerin Gallery; Morning after Banquet; Interior of St. Zeno’s--Verona, Santa Maria dei Miracoli in Venice (1864); Basilica on Isle of Torcello (1865); Scuola di San Rocco in Venice, Santa Maria della Salute in Venice, Bedroom of Charles VII. in Schleissheim (1867); Ancestral Hall in Schleissheim; Last Meeting; Canal Grande; Riva degli Schiavoni; Doge’s Palace.--Kunst-Chronik, xviii. 368; Müller, 262.

HOFFMANN, JOSEF, born in Cologne, Oct. 28, 1764, died there, March 6, 1812. German school; history painter, son of and first instructed by Valentin Hoffmann (a painter of Mentz, who had settled at Cologne before 1764), then pupil of Düsseldorf Academy under Krahe and Langer; won the first prize for decorative painting, then twice (1800–1801) the Goethe prize in Weimar, and another in 1805; visited Paris in 1797. Works: Ulysses and Diomed surprising Camp of the Trojans (1800); Achilles at Court of Lycomedes (1801); Hercules cleaning Stables of Augeas (1805); Diana with Hunting Suite, Ceiling in Audience Chamber, Weimar (sketch of this in Cologne Museum); Ceiling in Choir of St. Martin’s, Düsseldorf (1793–94).--Mercure du Départment de la Roër (1812), 151–60; Merlo, 182.

HOFFMANN, JOSEF, born in Vienna, July 22, 1831. Landscape painter, pupil of Rahl; went in 1856 to Venice and in 1857 to Greece. From 1858 to 1864 he lived in Rome, perfecting himself by study and intercourse with masters of the German school. Member of Vienna Academy since 1867. Works: Remains of Sanctuary of Venus; Anacreon’s Grave (1865); Athens in Time of Pericles; Athens from Gardens of the Queen; Sabine Mountains near Olevano; Eight Landscapes, Palace Epstein, Vienna; Drama; Idyl and Tragedy; Five Views of Ancient Athens (1876), Palace Sina, Vienna; Decorations to Magic Flute, Freischütz, and Romeo and Juliet (1866), Vienna Opera House; Four Joys of Life, Kursalon, Vienna; Burning of Ringtheatre in Vienna (1881); The Hour of Death on Golgotha (1882); Cycle of Landscapes illustrating the Geological Epochs (1884), Museum of Natural History, Vienna; View of Helgoland (1885).--Allgem. K. Ch., ix. 434; Kunst-Chronik, xvii. 259, 467; xx. 636; Müller, 262; Wurzbach, ix. 174; Zeitschr. f. b. K., ix. (Mittheilungen, ii. 47).

HOFFMANN-FALLERSLEBEN, FRANZ, born in Weimar, May 19, 1855. Landscape painter, pupil of Düsseldorf Academy and of Weimar Art School under Theodor Hagen; visited the Baltic coast, Westphalia, Hanover, and Thuringia, and settled in Düsseldorf. Works: Giant’s Grave, By a Woodland Cemetery (1877); Solitude, After Storm-Tide (1878); Twilight, Enchanted Castle (1879); Ancient German Offering Grove, At the Forest-Border (1880).--Müller, 263.

HOFMANN, HEINRICH, born in Darmstadt, March 19, 1824. History and portrait painter, pupil of Düsseldorf Academy under Theodor Hildebrandt and Schadow, then of Antwerp Academy (1845); visited Holland and Paris, and returned to his native city, where he painted portraits; was in Munich in 1847, in Darmstadt and Frankfort in 1848–51, and in Dresden in 1851–53. Went in 1854 to Italy, where he spent four years, mostly at Rome, and was much influenced by Cornelius. Removed to Dresden in 1862, became honorary member of the Academy in 1868, and professor in 1870. Works: Scene from History of Longobards (1844), Würtemberg Art Union; Entombment (1846), Rhenish Art Union; Scene from Romeo and Juliet (1847), Cologne Art Union; King Enzio in Prison (1851), Freiburg Gallery; Taking of Christ (1858), Darmstadt Museum; Othello and Desdemona; Shylock and Jessica; St. Cecilia; Venus and Cupid; Christ and the Adulteress, Christ in the Temple, Dresden Gallery; Christ’s Sermon on the Lake, National Gallery, Berlin; Apotheosis of Ancient Heroes, Court Theatre, Dresden; Betrothal of Albrecht the Brave with Princess Sidonie (fresco), Albrechtsburg, Meissen; Dornröschen, Leda.--Brockhaus, ix. 305; Müller, 263.

HOFMANN, RUDOLF, born in Darmstadt in 1820, died there in 1882. Genre and history painter, pupil in Darmstadt of Lucas, then of Düsseldorf and Munich Academies; studied for three years in Rome, and became professor in Darmstadt and inspector of the Museum there. Works: Scene from Peasants’ War, Darmstadt Museum; twenty-three scenes from History of the House of Ysenburg-Büdingen (1852). Frescos: Minstrels’ War, Scenes from Niebelungen Lied, Parsifal, Tristan and Isolde, all at Wartburg near Eisenach.--Müller, 264.

HOFMANN, SAMUEL, born in Zürich in 1592, died in Frankfort in 1648. Portrait painter, pupil in Zürich of Gotthard Ringli, then in Antwerp of Rubens; worked at Amsterdam, Zürich, and Frankfort after 1638. Works: Equestrian Portrait of Peter König (1631), Freiburg Museum; Duke Bernhard of Weimar (1639), Entry of Gustavus Adolphus into Frankfort, Birth of Erichthonius, Female Portrait, Städel Gallery, Frankfort; The Zinsgroschen, Still Life, Portraits, Zürich City Library and Art Union; Portrait of a Lady, Städel Gallery, Frankfort.--Allgem. d. Biogr., xii. 637; Füessli, i. 155.

HOFMANN-ZEITZ, LUDWIG, born in Zeitz, Nov. 11, 1832. Genre painter, pupil in Munich of Schwind. Works: Blue Floweret; Ruined and Dead; Francesca da Rimini and Paolo; Surprise.--Müller, 264.

HOGARTH, SCOTTISH. See Allan, David.

HOGARTH, WILLIAM, born in London, Dec. 10, 1697, died there, Oct. 26, 1764. Son of Richard Hogarth, schoolmaster; apprenticed to Ellis Gamble, silversmith, to learn to engrave arms and cyphers on plate; when his time had expired (1718), became a student in St. Martin’s Lane Academy, where he learned to draw. About 1720 he set up in business as a silversmith, and began to engrave book-plates, the first of his prints to attract notice being a series of illustrations for Butler’s Hudibras (1726). In 1730 he clandestinely married the daughter of Sir James Thornhill, serjeant-painter to the king, whose studio he had frequented. As his book-plates were not profitable, he set up as a portrait painter and met with considerable success. In 1733 he completed his series of six pictures entitled the Harlot’s Progress (5 burned at Fonthill, 1755; 1, the sixth picture, Earl of Wemys, Gosford House), which was followed by the Rake’s Progress (8 pictures), and Marriage à la Mode (6), in which he reached the height of his art, his more ambitious works, such as the Good Samaritan (1736), Paul before Felix (1748), Moses brought to Pharaoh’s Daughter (1752), and others, being less successful. Among his other pictures painted especially for engraving are: Southwark Fair (1733), Duke of Newcastle; Midnight Modern Conversation (1734); Distressed Poet (1735); The Four Times of the Day (1738); Strolling Actresses Dressing in a Barn (1738, burned at Littleton House, near Staines, 1874); The Enraged Musician (1741); Calais Gate (1749); March to Finchley (1750); The Election (1755), Soane Museum, London. In 1753 he published a work entitled “The Analysis of Beauty”; in 1757 he was appointed serjeant-painter to the king. Hogarth painted several portraits of himself; the best of them, in which he is represented with his dog Trump (1745), is in the National Gallery, London. Other pictures in the National Gallery are: Marriage à la Mode (6), Portrait of his sister, Mary Hogarth (1746), Sigismonda (1763), Family Group, Polly Peachum, Shrimp Girl; Garrick as Richard III., Earl of Feversham.--Dobson, Biogr. Great Artists; Boydell, Works, etc. (London, 1792, new ed. 1849); Home, Works (London, 1866); L’Artiste (1882), ii. 365, 463; Portfolio (1872), 146; Athenæum, Dec., 1874, 888; G. A. Sala, Hogarth (London, 1866); Redgrave, Century, i. 44; Trusler, Works (London, 1821); Zeitschr., vii. 1, 44.

HÖGER, JOSEF, born in Vienna, Nov. 2, 1801, died there, May 13, 1877. Landscape painter, pupil of the Vienna Academy under Mössmer, and then much influenced by Rebell, and later by his brother-in-law, Fritz Gauermann. Studied nature in Styria, Tyrol, and Upper Austria. In 1843 he became member of the Vienna Academy, and took an active part in its reorganization in 1865. He was in great demand as a teacher in the highest circles of Vienna, and gave the empress lessons in water-colour painting. Works: Chapel in the Ramsau (1835), Count Beroldingen, Vienna; View near Lundenburg; Wood with Stags (1847); Landscape in Styria (1850), Austrian Art Union; View near Berchtesgaden (1852); Entrance to Woods (1853), View in Patschkau--Moravia (1857), Views near Patschkau (3, 1858), Landscape with Storm Atmosphere, View near Lundenburg, Count Saint Genois, Vienna; Wood Landscape in the Mountains (1856), Museum, ib.--Kunst-Chronik, xii. 721; Wurzbach, ix. 110.

HOGUET, CHARLES, born in Berlin, Nov. 21, 1821, died there, Aug. 4, 1870. Landscape, genre, and marine painter, pupil of Krause, and in Paris of Ciceri; went in 1841 to England, and in 1842 studied again in Paris under Isabey. Gold medal in Paris (1848) and Berlin. Member of Berlin Academy in 1869. Works: The Cook; Rue Pirouette in Paris; Coast near Yport; From Normandy; Gust of Wind; Last Windmill on Montmartre (temporarily in Stettin Museum), Still Life (1852), The Wreck (1864), National Gallery, Berlin; Rocky Landscape, Woodland (1854), Landscape with Water, Ravené Gallery, ib.; Market Scene at Rouen, Marine, Lighthouse near Boulogne, Mill on Montmartre, Store-room, Windmill, Winter Landscape, Saardam, Stettin Museum.--Dioskuren (1870), 293; Jordan (1885), ii. 102; Rosenberg, Berl. Malersch., 343.

HOLBEIN, AMBROSIUS, born in Augsburg about 1494 (?), died after 1518. German school; history painter, son and pupil of Hans Holbein the elder, whom he probably assisted in his works, and with his brother, Hans the younger, went to Basle before or in 1515, to which year their first activity there can be traced, and where both were engaged chiefly in designing title-pages. Ambrosius was admitted into the guild “Zum Himmel” in 1517, and acquired the citizenship in 1518, but all trace of him is lost in 1519. Works: Christ as Mediator, Two Bust-portraits of Boys, Two Skulls in Grated Window, Portrait of Jörg Schweiger (?), Basle Museum; Portrait of Young Lady, Ambras Collection, Vienna; do. of Young Man (1518), Hermitage, St. Petersburg.--Allgem. d. Biogr., xii. 724; Woltmann, Holbein u. s. Zeit, i. 101, 110, 133, 202–212; ii. 31, 45, 48, 79, 92, 205; W. & W., ii. 461; Repertorium f. K., i. 251; Zahn’s Jahrbücher, v. 197.

HOLBEIN, EDUARD, born in Berlin in 1807, died there, Feb. 19, 1875. History and genre painter, pupil of Karl Begas, with whose works his first picture in 1836 was ranked. He took his great namesake, Hans Holbein the younger, for his model; became professor at Berlin Academy, where his most famous pupil was Gustav Richter. Works: Aged Pilgrim dying in Sight of Jerusalem (1836); Madonna (1838); Twelve Patriarchs, Royal Chapel, Berlin.--Rosenberg, Berl. Malersch., 69.

HOLBEIN (Holbain), HANS, the elder, born in Augsburg about 1460, died there in 1524. German school; history painter, influenced by Martin Schongauer, if not his pupil at Colmar, and the chief representative of realistic tendency in the school of Suabia; in his later works under the influence of Italian renaissance. Works: Four Altar-panels (1493), Augsburg Cathedral; Madonna Enthroned, do. (1499), Germanic Museum, Nuremberg; Death of the Virgin (1490), Basle Museum; Basilica, S. M. Maggiore (1499), Coronation of the Virgin and Scenes from Passion (1500), Transfiguration (1502), Basilica of St. Paul (1504), four Altar-panels (1512), Augsburg Gallery; Seven Scenes from Passion (1501), Städel Gallery, Frankfort; six others, Museum, ib.; Last Supper, St. Leonard’s, ib.; twelve scenes from Passion (1502?), Donaueschingen Gallery; sixteen panels with Episodes in Life of Mary and Scenes from Passion (1502), Altar of St. Sebastian (1516, masterpiece), Old Pinakothek, Munich; Visitation of the Virgin, National Museum, ib.; Two Altarwings with Saints, Prague Gallery; Christ bearing the Cross (1515), Carlsruhe Gallery; Entombment (attributed to Sigismund H.), Portrait of Young Man (1515, attributed to Hans the younger), Darmstadt Museum; two portraits (1512), Hampton Court Gallery. His brother, Sigismund, who appears in the rate-books of Augsburg, first in 1504, and who moved in 1519 to Berne, where he died in 1540, probably worked conjointly with him on several works.--Allgem. d. Biogr., xii. 713; Cundall, H. Holbein; Förster, ii. 213; Kugler (Crowe), i. 140; Nagler, Mon., iii. 157; Woltmann, Holbein und sein Zeit, i. 41–100; ii. 7, 61; W. & W., ii. 116, 456; Graph. K., i. 110.

HOLBEIN, HANS, the younger, born in Augsburg in 1497, died in London between Oct. 7 and Nov. 29, 1543. German school; history and portrait painter, son and pupil of Hans Holbein the elder. After completing his apprenticeship he went to Basle with his brother, Ambrose, in 1515, served as journeyman under Herbster, Koch, or Dig, matriculated in 1519, when he joined the painters’ guild. Two years before, he decorated the house of Jacob von Hartenstein at Lucerne with frescos no longer extant (copies in Lucerne Library). His frescos in the City Hall at Basle were painted in 1521–22, and The Passion, in the Basle Museum, about the same time. It is possible that Holbein made a short visit to Northern Italy before 1523, when he painted the fine portrait of Erasmus at Longford Castle, which the great humanist sent to Sir Thomas More in 1525 as a specimen of the painter’s ability and as a recommendation to his patronage. Probably in September, 1526, Holbein visited Antwerp to see Quinten Massys, and spent some time there, after which he went to England, where Sir Thomas More lodged him in his own house near London. There he painted the Chancellor and his family (original lost, sketch in Basle Museum), and many fine portraits. From August, 1528, Holbein lived at Basle until 1532, when he returned to England, where, despite the earnest invitations of the magistrates of Basle, he remained, with the exception of a visit in 1538, during the rest of his life. At what time Holbein became painter to Henry VIII. is not known (1536?), but probably not until after the death of Anne Boleyn, whose successor, Lady Jane Seymour, he represented in the family picture of the two Henrys, which was burned at Whitehall in 1698. (Copy at Hampton Court.) In March, 1538, when Holbein is first mentioned as the recipient of a quarterly salary from the king, he was sent to Brussels, and then revisited Basle. In August, 1539, Henry again sent him to Flanders to paint Anne of Cleves (Louvre). The wonderful series of 89 portraits in red chalk and India ink by Holbein in the royal collection at Windsor are in themselves sufficient to stamp him as one of the greatest of all masters in portraiture. As a designer he shines most brightly in the wood cuts of the Dance of Death, executed by Hans Lützelburger, and published at Lyons in 1538 and 1547. Works: Head of the Virgin (1514), do. of a Saint, Christ on Mount of Olives, Taking of Christ, Pilate washing his Hands, Last Supper, Flagellation, Writing Lesson, A School, Portrait of Burgomaster Jacob Meyer and Wife (1516), Basle Museum; Portrait of H. Herbster (1516), Baring Collection, London; Hartenstein House Frescos (1519), Lucerne; Frescos, Town Hall, Basle (1521–30); Designs for glass windows, Adam and Eve (1517), Last Supper, 8 Scenes from Passion, Dead Christ (1521), Christ crowned with Thorns, Mater Dolorosa, Fragments (7) of Frescos in Town Hall, Basle Museum; Birth of Christ and Adoration of Magi, Cathedral, Freiburg in Breisgau; SS. George and Ursula, Altar wings (1522), Carlsruhe Gallery; Madonna and Saints (1522), Solothurn Gallery; Madonna of Burgomaster Meyer (1526), Princess Charles of Hesse, Darmstadt; do., copy with changes, Dresden Gallery; Male Portrait (1515?), Darmstadt Museum; Portrait of B. Amerbach (1519), Basle Museum; do. of Domherr Angerer (1519), and three others, Ferdinandeum, Innsbruck; Portraits of Erasmus, Longford Castle, England (1523), Louvre and (2) Basle Museums, Parma Gallery; Portraits of Man and Wife (1525), Vienna Museum; Lais Corinthiaca (1526), do. as Venus with Cupid, Holbein’s Wife with two Children, Male Portraits (4), Basle Museum; Archbishop Warham (1527), Lambeth House; duplicate, Louvre; Male Portrait, do. (1527), Thomas Godsalve and his Son John (1528), Dresden Gallery; Sir H. Guilford, Windsor Castle; Nicholas Kratzer, and Sir Henry Wyatt, Louvre; Sir Bryan Tuke, Grosvenor House, London; do., Old Pinakothek, Munich; Hans of Antwerp, Goldsmith (1532), Windsor Castle; George Gisze (1532), two others (1533, 1541), Berlin Museum; Artist’s Family, Portrait of a Lady, Male Portraits (3), Cassel Gallery; The Ambassadors (1533), Lord Radnor, Longford Castle; Derick Born (1530), Old Pinakothek, Munich; do. (1533), Windsor; Deryck Tybis (1533), Vienna Museum; Robert Cheseman (1533), Hague Museum; Melanchthon, Edward, Prince of Wales (1538), Hanover Gallery; Henry VIII., miniature, Althorp House; Ambrose of the Steelyard (1533), Brunswick Museum; English Lady and Gentleman (1534), Ambras Collection, Vienna; Lady Vaux (1539), Prague; replica, Hampton Court; Southwell (1538), Uffizi; The Goldsmith Hubert Morrett (1538), Dresden Gallery; Anne of Cleves (1539), Louvre; Duke of Norfolk (1539), Windsor; Male Portraits (1541), Vienna Museum; do. (1542), and Female Portrait, Hague Museum; Portrait of Holbein (1542), Uffizi, Florence; do. of Hieronymus Sulczer (1542), Butts, Pole Carew Collection; Lady Jane Seymour, John Chambers, Female Portrait, Vienna Museum; Family of Count Valkeniers at Prayers, Portrait of a Professor, Historical Society, New York; Male Portraits, Gotha, Königsberg, Madrid, and Weimar Museums, Kunsthalle, Hamburg.--Allgem. d. Biogr., xii. 715; Cundall, Hans Holbein (London, 1879); Dohme, 1^1, xiv. 47; Förster, Denkmale, i. 11; v. 13; vii. 17; do., Gesch., ii. 224; Grimm, Holbein’s Geburtsjahr (Berlin, 1867); Kugler (Crowe), i. 198; Mantz, H. Holbein (Paris, 1879); Nagler, Mon., iii.; Schaefer, iii. 779; Woltmann, Holbein und seine Zeit (Leipsic, 1874–76); W. & W., ii. 462; Wornum, Life and Works (London, 1867); Christl. Kunstbl. (1870), 97; (1871), 177; Cornhill Mag., March, 1860; Edinburgh Review, April, 1867; Gaz. des B. Arts (1860), ix. 60, 270; (1869), i. 15, 366, 425; (1870), iv. 481, 516; (1879), xix. 86; xx. 13; (1880), xxi. 323; xxii. 525; Kunst-Chronik, vii. 206, 271; Zahn’s Jahrbücher (1870), 147; Zeitschr. f. b. K., i. 198; ii. 63; iii. 12; vi. 349; vii. 28, 55; ix. 201; x. 315; xiv. 254; xvi. 99.

HOLFELD, DOMINIQUE HIPPOLYTE, born in Paris, Nov. 22, 1804, died there, Jan. 13, 1872. History painter, pupil of Abel de Pujol and of Hersent. His pictures, though graceful, are uninteresting. Medals: 3d class, 1841; 2d class, 1842. Works: Infant Jesus adored by Angels (1841); Rembrandt as a Child (1842); Parable of the Mustard Seed, Religious and Moral Education (1844); Virgin with Sleeping Infant (1846); Family Prayer (1852); Bread of Heaven (1855); Christ appearing to Disciples at Emmaus (1859); Happy Mother, First Principles of Education (1861); Choristers (1863); In the Name of the Father (1868).--Bellier de la Chavignerie, i. 773; Larousse.

HOLIDAY, HENRY, born in England; contemporary. Genre painter and sculptor. Works: Quiet Family Meal, Yellow Tulips, Breeze in St. George’s Channel (1881); Dante and Beatrice (1883). Mr. Holiday’s pictures have been chiefly exhibited at the Grosvenor Gallery. To the Royal Academy he contributed in 1881 a recumbent statue entitled Sleep; a bas-relief--Nymph and Cupid--in 1882; and in 1884, Jacob’s Ladder.

HOLL, FRANK, born in London, July 4, 1845. Genre and portrait painter, son and pupil of F. Holl, engraver, and student of Royal Academy, where in 1863 he won the gold medal for the best historical painting, The Sacrifice of Abraham. In 1869, for his picture entitled The Lord Gave and the Lord hath Taken Away, he was awarded the two years travelling studentship, and went to Italy. His No Tidings from the Sea (1871) was painted for the Queen. Elected an A.R.A. in 1878, and R.A. in 1883. Works: Village Funeral (1872); Seat in a Railway Station (1873); Deserted (1874); Her First-Born (1876); Gone, Going Home (1877); Newgate--Committed for Trial (1878); Gifts of Fairies, Daughter of the House, Absconded (1879); Home Again (1881); Did you ever kill Anybody, Father? (1884); and many portraits.--Meynell, 167; Art Journal (1876), 9; Meyer, Conv. Lex., xviii. 498.

HOLLAND, JAMES, born at Burslem, England, in 1800, died in London in 1870. Landscape and flower painter; went to London in 1819, and devoted himself to flower painting, but after a visit to Paris in 1831 took up landscape painting. He made many sketching tours on the Continent, and exhibited at the Royal Academy, the Society of Painters in Water Colours, and the Society of British Artists, of the last two of which he was a member. Works: Nymwegen, Near Blackheath, and several in water colours, South Kensington Museum; Port of Genoa, Liverpool Gallery; Interior of Milan Cathedral, Tomb of the Scaligers at Verona, St. Mary’s Chapel at Warwick, Views in Venice (6), Gresham College; Greenwich Hospital, Bridgewater Gallery.

HOLLAND, Sir NATHANIEL DANCE, Bart, born in London in 1734, died at Carnborough House, near Winchester, Oct. 15, 1811. Real name Nathaniel Dance, son of George Dance, architect; took name of Holland on his marriage with a wealthy widow in 1790, was an M. P. for many years, and created a baronet in 1800. Pupil in art of Frank Hayman; spent eight or nine years in Italy, and on his return won success as a painter of portraits and of historical subjects. In 1768 he was one of the foundation members of the Royal Academy. Works: Portraits of Earl Camden, Lord Clive, Arthur Murphy, Lord North, National Portrait Gallery, London.--Redgrave; F. de Conches, 311.

HOLLINS, JOHN, born in Birmingham, June 1, 1798, died in London, March 7, 1855. Subject and portrait painter; went in 1822 to London, where, with the exception of two years spent in Italy (1825–27), he was a constant exhibitor. Elected an A.R.A. in 1842. Work: Lord Tenterden, National Portrait Gallery, London.--Cat. Nat. Port. Gal.

HOLM, PER DANIEL, born at Malingsbo, Dalecarlia, Sept. 11, 1835. Landscape painter, pupil of Nils Anderson and of Stockholm Academy, where in 1862 he received a medal; visited the north of Scandinavia in 1864, and later, Düsseldorf, Munich, Carlsruhe, where he studied under Gude, and Paris. Works: View of Qvickjock in Lapland; Saggatsen in Lapland; From the Mountains of Westmanland (1869), Stockholm Museum.--Müller, 264.

HOLMBERG, AUGUST, born in Munich, Aug. 1, 1851. Genre painter, pupil of the Munich Academy under Wilhelm Diez, visited subsequently Berlin, Dresden, and Vienna, in 1875 Italy, and in 1878 Paris. His genre pieces are well composed and coloured. Works: Huntsman’s Still Life; Windmill in a Storm; Difference of Opinion (1873); Choir in a Church at Florence, Tobacco College of Frederick William I. (1879); The Recovered Monogram (1880).--Müller, 264; Zeitschr. f. b. K., xviii. 403.

HOLSTEYN, CORNELIS, born at Haarlem about 1620. Dutch school; history painter, son and pupil of Pieter (glass painter and engraver, born in Schleswig about 1580, died in Haarlem in 1662); flourished in Amsterdam about 1651, and was dean of the guild at Delft in 1661–62. Works: Triumph of Bacchus; Lycurgus making his Nephew his Heir, Orphan Asylum, Amsterdam; Pyramus and Thisbe, Parable of the Vineyard (1647), Haarlem Museum; Bath-room, Cassel Gallery; Angel commanding St. Philip to baptize Queen Candace’s Chamberlain, Schleissheim Gallery.--Immerzeel, ii. 46; Kramm, iii. 714; Van der Willigen, 179.

HOLY CONVERSATION. See Santa Conversazione.

HOLY FAMILY, Mariotto Albertinelli, Palazzo Pitti, Florence; wood, round, 2 ft. 9 in. diameter. The Virgin kneeling in adoration; Jesus lying on ground, receiving a cross from a kneeling angel; in background, to right, St. Joseph leading the ass from a stable; above, three angels singing from a scroll. Painted about 1503–6. Engraved by S. Martelli.--Gal. du Pal. Pitti, i. Pl. 1.; C. & C., Italy, iii. 486; Meyer, Künst. Lex., 219.

By Federigo Baroccio, National Gallery, London; canvas, H. 3 ft. 9 in. × 3 ft. The Virgin, seated in an apartment, with Jesus in her lap, clasps with her right arm St. John, who holds up a bird in his hand to protect it from a cat, watching it from left-hand corner; behind, at right, St. Joseph. Sometimes called Madonna del Gatto (of the Cat). Painted for Count Antonio Brancaleoni; belonged to Cesarei family of Perugia, and later (1805) to Buchanan and to Rev. W. H. Carr, who bequeathed it in 1831 to the National Gallery. Several old copies. Engraved by C. Cort (1577); A. Cardon; J. F. Leybold.

By Fra Bartolommeo, Palazzo Corsini, Rome; wood, H. 4 ft. 6 in. × 2 ft. 2 in.; signed, dated 1516. The Virgin, seated in a flowery meadow, holds Jesus, who struggles to cast his arms round the little Baptist’s neck; St. Joseph looks on, smiling. A likeness between the Virgin and Raphael’s portrait of Maddalena Doni in the Pitti warrants the assumption that this is the picture which Vasari says was painted for Agnolo Doni. Copy in Musée Fabre, Montpellier.--Vasari, ed. Mil., iv. 183; C. & C., Italy, iii. 468.

By Fra Bartolommeo, Panshanger House, England; wood, H. 3 ft. 5 in. × 4 ft. 3 in. The Virgin seated, holding Jesus, who is taking the reed cross from the infant St. John standing at right; at left, St. Joseph seated, smiling; background, a beautiful landscape with a bright horizon and a palm tree. Painted about 1509, probably for Filippo Salviati. “The colouring,” says Waagen, who considers this the finest picture of the artist, “is of extraordinary warmth and depth.”--C. & C., Italy, iv. 449; Waagen, Treasures, iii. 10.

By Fra Bartolommeo, Palazzo Pitti, Florence; wood, H. 3 ft. 2 in. × 3 ft. The Virgin, seated, holds Jesus, who embraces the infant Baptist kneeling; behind, SS. Elizabeth and Joseph; background, a green curtain. An inverted replica, with changes, of the Holy Family of the Palazzo Corsini. Engraved by G. Rossi.--Gal. du Pal. Pitti, i. Pl. 29; C. & C., Italy, iii. 470.

By Sebastien Bourdon, Louvre; canvas, H. 1 ft. × 10 in. The Virgin, seated, her left arm on a broken column, holds on her knees Jesus, to whom the infant, St. John, kneeling, offers a dove; above, an angel with a crown of flowers. Engraved by Avril père in Musée français.--Larousse, viii. 78.

By Correggio. See Madonna della Cesta.

By Domenichino, Louvre; canvas, H. 1 ft. 2 in. × 1 ft. 7 in. The Virgin, seated on the ground near a spring, at right, catches the water in a shell, while Jesus, whom she holds in her arms, takes fruit from the infant St. John; behind them Joseph unloads the ass. Called also Madonna of the Shell (Vierge à la Coquille). Collection of Louis XVI. Engraved by Müller.--Musée royal, i.; Filhol, ii. Pl. 82; Landon, Vies, Pl. 104.

By Garofalo, Vatican, Rome. The Virgin, with Jesus standing in her lap, is seated in front of ruins; at right, St. Joseph, standing; at left, St. Catherine, kneeling, with palm-branch in hand; in background, a city. Engraved by Gius. Morghen.--Vaticano descritto, vi. Pl. 80.

By Giulio Romano, Louvre; wood, H. 4 ft. 10 in. × 3 ft. 6 in. The Virgin, seated under a tree in a garden, with Jesus on one knee; he has one foot in his cradle, and turns to his mother as if to ask the meaning of the words Ecce Agnus Dei, which are on a scroll held by the infant St. John beside him; behind, at right, St. Joseph leans in meditation on the fragment of an ancient altar. Painted for Cardinal Gonzaga.--Filhol, x. Pl. 662; Ch. Blanc, École romaine.

By Ludwig Knaus, Miss Catherine L. Wolfe, New York; canvas, H. 4 ft. 6 in. × 3 ft. The Virgin, sitting, withdraws the veil from Jesus lying on her knees, while a little angel clasps his hands in adoration beside her; above, cherubs descending from clouds lighted by the moon, and in background, St. Joseph, leading the ass, gazing upward at them. Painted in 1876. Photogravure in Art Treasures of America, i. 120.

By Bernardino Luini, Louvre; wood, H. 1 ft. 8 in. × 1 ft. 6 in. The Virgin, half-length, sustains Jesus, who, standing on a pedestal, has his arm around her neck; behind her, to right, is St. Joseph, leaning on a staff. Carefully modelled and delicately coloured.--Villot, Cat. Louvre.

By Michelangelo, Tribune of the Uffizi, Florence; round, painted in tempera. The Virgin, kneeling, raises Jesus over her right shoulder and presents him to St. Joseph behind her. In background, various nude figures, upright, recumbent, and seated. Painted in 1502–4 for Agnolo Doni. The only easel picture by Michelangelo the authenticity of which has never been doubted.--Vasari, ed. Mil., vii. 158; Lasinio, i. Pl. 43; Larousse, viii. 77.

By Murillo, Hermitage, St. Petersburg; canvas, H. 9 in. × 7 in. St. Joseph standing with Jesus in his arms; the Child stretches his arms toward the Virgin, who, seated on left near a basket, extends her arms to receive him; in background, arches and carpenter’s tools; in foreground, a basket of tools. Duc de Tallard sale (1776), to M. de Thiers, 802 livres. Engraved by J. B. Tilliard.--Curtis, 172; Hermitage Cat.

By Murillo, Louvre; canvas, H. 7 ft. 11 in. × 6 ft. 3 in. The Virgin, seated on a hillock, holds Jesus standing in her lap; he receives a reed cross from St. John, who stands beside them, supported by St. Elizabeth, kneeling; above, the Father and the Dove, surrounded by cherubs; in foreground, a lamb. Sometimes called Vierge de Seville. Painted about 1670; in Collection of Louis XVI.; valued, inventory of 1816, 60,000 fr. Engraved by Boilly, Allais; lithographed by Weber, A. Demoine, A. Bry, A. Maurin, and others.--Ch. Blanc, École espagnole; Curtis, 180.

By Murillo, Metropolitan Museum, New York; canvas, 6 ft. 8 in. × 5 ft. 1 in. The Virgin, seated, on right, extends her hands to receive the Child, whom St. Joseph, standing, holds towards her; at left of Virgin, a white dog lying on floor beside a basket of linen; at left, a curtain. Bought about 1835 by Joshua Coit from Convent of Buena Muerte, Peru; sold in 1843 to Henry Brevoort, New York, for $1,200; presented to Museum in 1874 by John Jacob Astor Bristed.--Curtis, 174.

By Murillo, formerly at Leigh Court, Somerset; canvas, H. 3 ft. 6 in. × 3 ft. 2 in. The Virgin sitting, with Jesus asleep on her lap; on right, St. Joseph standing under a tree; both look at the Child. Calonne sale (1795), £535 10s.; Henry Hope sale (1816), £320 5s.; Leigh Court sale (1884), to Messrs. Agnew, London, for £3,150. Engraved by J. Heath.--Curtis, 174; British Gallery of Engraving (London, 1807); Waagen, Treasures, iii. 184.

By Murillo, National Gallery, London; canvas, H. 9 ft. 6 in. × 6 ft. 10 in. Infant Jesus, standing on a ruined column in centre, gives one hand to Virgin, seated on his right, the other to St. Joseph, who kneels on his left, holding lilies; above, the Father and the Dove, with three cherubs on each side. Formerly belonged to Marqués del Pedroso; taken to England about 1810; bought for National Gallery, in 1837, from T. B. H. Owen, with Brazen Serpent of Rubens, for £7,356. Engraved by Bridoux; C. McRae, the Father omitted.--Palomino, iii. 422; C. Bermudez, iv. 278; Buchanan, Memoirs, ii. 202; Edin. Review (No. 173), 208; Curtis, 170.

By Murillo, Duke of Rutland, Belvoir Castle, Leicestershire; canvas, figures life-size. The Virgin, seated, holding Jesus, who is embraced by infant St. John standing before them; behind, St. Joseph standing; on right, a lamb; background, landscape. Carried to England about 1729 by Colonel William Stanhope (Lord Harrington), on returning from his embassy to Spain. Considered by Waagen “one of the finest by the master in all England.”--Waagen, Treasures, iii. 402; Curtis, 178.

By Parmigianino, Louvre; wood, H. 1 ft. 4 in. × 1 ft. 1 in. The Virgin, seated in a rocky landscape, with Jesus on her knees; the latter embraces the infant St. John, who is standing on a cradle; behind, to right, SS. Joseph and Elizabeth. Collection of Louis XIV. Engraved by Blomaert.--Villot, Cat. Louvre; Filhol, ii. Pl. 121; Landon, Musée, i. Pl. 43.

By Sebastian del Piombo, Baring Collection, London; wood, H. 3 ft. 2 in. × 3 ft. 6 in. A donor kneels before the Virgin, who rests one hand on his shoulder, while with the other she holds on her lap Jesus, who points to John Baptist with his cross, to the left; to the right, St. Joseph asleep. Painted about 1512. Formerly in the Stratton Collection.--C. & C., N. Italy, ii. 324; Waagen, Treasures, ii. 172.

By Raphael, Louvre; wood, H. 1 ft. 3 in. × 11 in. (La petite Sainte Famille). Jesus, standing in his cradle, leans across the Virgin’s knees, and caresses the cheeks of St. John, whom St. Elizabeth, kneeling, presents to him; background, landscape with ruins. Painted in Rome about 1517–18; given by Raphael to Adrian Gouffier, Cardinal de Boissy, papal legate in France in 1519; passed to Duc de Rouanez, and bought finally by Louis XIV. Engraved by Fr. Poilly; P. Drevet; W. de Gutwein; J. B. L. Massard; S. Simonneau; A B. Desnoyers; and others. Probably painted by Giulio Romano, after Raphael’s design.--Passavant, ii. 2, 63; Felibien, ii. 335; Gruyer, Vierges de Raphael, iii. 362; Cab. Crozat, i. Pl. 17; Landon, Musée, ii. Pl. 5; Villot, Louvre; Filhol, i. Pl. 56.

By Rembrandt, Hermitage, St. Petersburg; canvas, H. 2 ft. 2¾ in. × 3 ft. 4½ in.; signed, dated 1645. The Virgin, seated in a rustic apartment, dressed in a red robe and dark-coloured skirt, holding a large open book on her knees, is raising the coverlet of a cradle in which Jesus lies asleep; a fire, over which is a pot, burns on a hearth near her; in background, St. Joseph chopping wood; above, a group of angels hovering.--Smith, vii. 29.

By Sir Joshua Reynolds, National Gallery, London; canvas, H. 6 ft. 5 in. × 4 ft. 9 in. The Virgin, holding the infant Christ, and Joseph seated at base of a stone pedestal under a tree; at left, infant St. John with standard of the lamb; background, a landscape. Painted for Mr. Macklin, who sold it to Lord Gwydyr; purchased at his sale (1828) and presented to National Gallery; copy by J. R. Powell at Somerley, seat of Earl of Normanton, which Waagen mistook for a genuine Sir Joshua. Engraved by W. Sharp (1792); G. Presbury in Jones’s National Gallery.--Cat. Nat. Gal.; Eng. Painters of Georgian Era, 4; Art Journal (1860), 359.

By Rubens, Blenheim Palace. See Return from Egypt.

By Rubens, Hermitage, St. Petersburg; wood, H. 9½ in. × 13½ in. The Virgin seated on the ground, holding Jesus, who is caressing a lamb, across the neck of which St. John is standing; behind, St. Elizabeth, standing. Engraved by Earlom. Formerly in Houghton Gallery.--Smith, ii. 156.

By Rubens, Hertford House, London; wood, H. 4 ft. 2 in. × 3 ft. 1 in. Virgin and Child, with SS. Joseph, John, and Elizabeth. Formerly one of chief ornaments of the Belvedere Gallery, Vienna; presented in 1784 by Emperor Joseph to M. Burtin, of Brussels; afterward in Lapeyrière Collection, whence sold for 2,500 guineas; bought by Lord Hertford for 3,000 guineas.--Waagen, Treasures, ii. 157.

By Rubens, Palazzo Pitti, Florence; wood, H. 2 ft. 7 in. × 3 ft. 10 in. Jesus, lying in a cradle, caresses St. John, who stands behind it; the Virgin, in scarlet vest and blue mantle, is seated near, with her hand on the cover of the cradle; at her left, St. Elizabeth; behind her, St. Joseph. Taken to Paris by French; returned in 1815. Engraved by Vosterman; Langlois; Paradisi; C. Mogalli.--Musée français; Smith, ii. 143; Filhol, ii. Pl. 140; Gal. du Pal. Pitti, iv. Pl. 87.

By Rubens, Vienna Museum; wood, H. 7 ft. 4 in. × 11 ft. The Virgin, in a scarlet vest and blue mantle, is seated at the foot of a tree, with Jesus in her arms; before them, St. John held by his mother Elizabeth, at whose left stands Zachariah offering the Saviour a branch of fruit. Painted on covers of altarpiece of St. Ildefonso. Engraved by Deroy.--Smith, ii. 92.

By Rubens, Windsor Castle; canvas, H. 8 ft. × 8 ft. The Virgin, seated at left, supports Infant Jesus standing in her lap; Infant St. John stretches out his arms towards the Saviour, before whom St. John of Assisi bows in adoration; behind the Saviour St. Elizabeth, and at left Joseph. Replica (H. 5 ft. 8 in. × 6 ft. 7 in.), Leigh Court; at sale (1884), bought in at 5,000 guineas.--Waagen, Treasures, ii. 435; iii. 182; Smith, ii. 251.

By Andrea del Sarto, Hermitage, St. Petersburg. Autotype by Ad. Braun & Co., Paris.

By Andrea del Sarto, Louvre; wood, H. 4 ft. 7 in. × 3 ft. 5 in. The Virgin, seated on the ground, holds Jesus, who turns his head toward St. Elizabeth; the latter supports the infant St. John, who stands with his right hand raised towards heaven; behind the Virgin, two angels. From collection of Francis I. Old copy in Vienna Museum.--Landon, Musée, vi. Pl. 67; Villot, Cat. Louvre.

By Andrea del Sarto, National Gallery, London; wood, H. 3 ft. 6 in. × 2 ft. 8 in. The Virgin seated, with the Child on her knees; Elizabeth with infant St. John seated at her right hand. Formerly in Palazzo Aldobrandino, Rome; taken to England in 1806, and passed through hands of Mr. Irvine and Mr. Buchanan to Rev. W. H. Carr, who bequeathed it in 1831 to the National Gallery.--Réveil, iv. 254.

By Andrea del Sarto, Palazzo Pitti, Florence; wood, H. 4 ft. 1 in. × 3 ft. 3 in. The Virgin, kneeling, looks at Jesus, who smiles as he lies before her; behind him infant St. John standing. St. Joseph, to left, leans his head on his hand. Landscape background. Painted about 1521 for Zanobi Bracci. Engraved by Paradisi.--C. & C., Italy, iii. 576; Vasari, ed. Mil., v. 35; Gal. du Pal. Pitti, ii. Pl. 117.

By Andrea del Sarto, Palazzo Pitti, Florence; wood, H. 4 ft. 6 in. × 3 ft. 3 in. Jesus, astride on the knee of the Virgin, who sits on the ground, turns to infant Baptist, supported by St. Elizabeth; in foreground a reed cross. “Perfectly handled in Andrea’s fused transparent manner” (C. & C.). Painted about 1529 for Ottaviano de’ Medici. Ancient copy in Dulwich Gallery, St. Joseph being added. This figure, different in style, recalls the manner of Vasari, Andrea’s scholar. Engraved by Guzzi.--C. & C., Italy, iii. 576; Vasari, ed. Mil., v. 51; Gal. du Pal. Pitti, iv. Pl. 114; Richter, Cat. Dulwich Gal., 151.

By Girolamo Savoldo, Turin Gallery; canvas, H. 3 ft. × 4 ft. 6 in.; signed, dated 1527. The Virgin, with hands joined, behind a cradle or cushion on which Jesus is lying; at left a donor--a man in a furred cloak--lifting a cloth from the waking Child; at right, St. Francis, in prayer. Replica, long attributed to Pordenone, at Hampton Court, in which a second donor, a woman, is substituted for St. Francis.--C. & C., N. Italy, ii. 427; Law, Hist. Cat. Hampton Court, 43.

By Andrea Solario, Casa Poldi, Milan; wood, figures one-fifth life-size; signed, dated 1515. The Virgin, sitting, holding Jesus, to whom Joseph is presenting fruit; in background, the ass in a glade.--C. & C., N. Italy, ii. 59.

By Titian, Louvre; canvas, H. 2 ft. 8 in. × 3 ft. 6 in. The Virgin, seated under a tree to the left, holds Jesus on her lap; St. John coming forward with his lamb and St. Joseph looking on; in distance a servant leads the ox and ass, and two angels in the air carry the cross; landscape background. Painted in 1530; belonged to Cardinal Mazarin, bought of his heirs for Louis XIV. Replica of Titian’s time in Escorial; another from Orleans Gallery, now in Holford Gallery, London; engraved by Teniers, considered by Waagen and Mündler superior to that in Louvre; others in Royal Institution, Liverpool, and Modena Gallery; later adaptations in Stockholm and Berlin Galleries.--C. & C., Titian, i. 341; Vasari, ed. Mil., vii. 429; Waagen, Treasures, ii. 194; Mündler, Essai, 207; Ch. Blanc, École vénitienne.

By Paolo Veronese, Uffizi, Florence; canvas, figures life-size, half-length. The Virgin seated, with Jesus asleep in her lap; at right, infant St. John kissing the foot of the child; behind him, Joseph restraining him with one hand; at left, St. Catherine, making a gesture as if of silence. Bought in 1654 by Cardinal Leopoldo de’ Medici, from collection of Paolo del Sera, Venice; placed in Uffizi in 1798.--Lasinio, Gal. de Florence, i. Pl. 71; Ridolfi, Marav., i. 325; Molini, Gal. di Firenze, ii. 85; Soc. Ed. and Paris, Gal. di Firenze, Pl. 83.

Attributed to Leonardo da Vinci, Hermitage, St. Petersburg; wood, H. 1 ft. 8 in. × 1 ft. 3 in. Composition similar to the Madonna of the Bas-relief, but infant St. John is omitted, and a young woman reading takes the place of Zacharias. This young woman is commonly called St. Catherine; it is probably a portrait of the sister-in-law of Leo X., who became the wife of Giulio de’ Medici in 1518. Painted after 1490; belonged to Dukes of Mantua, and was lost when their palace was pillaged by the Germans. About 1770–77 it came into possession of Abbé Salvadori, secretary of Count Firmian, then Governor of Mantua. He concealed it, lest he should have to return it to the palace, and after his death it was sold by his heirs to agents of Catherine II.--Heaton, 232; Rigollot, Hist. des Arts, etc., i. 272; Kugler, ii. 283; Gal. de l’Hermitage; Vasari, ed. Mil., iv. 63.

HOLY FAMILY--DEL BACINO, or DELLA CATINA (of the Basin), Giulio Romano, Dresden Gallery; wood, H. 5 ft. 4 in. × 4 ft. The Virgin, three-quarters length, standing, holding Jesus, who stands in a basin, into which the infant St. John is pouring water from a vase; at left, St. Elizabeth with a towel; at right, in background, head of St. Joseph. Painted for Duke Federigo of Mantua, who gave it to his mistress, Isabella Buschetta; purchased from Modena by Augustus III. Engraved by M. Ferry; G. G. Hipart.--Vasari, ed. Mil., v. 545; Hübner, Dresden Gallery, i. 2; Morelli, 212; W. & W., ii. 677.

HOLY FAMILY WITH THE BEARDLESS JOSEPH (Joseph imberbe), Raphael, Hermitage, St. Petersburg; wood, transferred to canvas, H. 2 ft. 3 in. × 1 ft. 9¾ in. Figures half-length. The Virgin seated in a marble hall, with Jesus on her knee; St. Joseph standing near, resting both hands upon a staff; on the right, a landscape through an arched window. Painted in 1506 probably for Guidobaldo da Montefeltro, though C. & C. think it cannot be the picture of the Urbino inventory, but may be the second one painted for Taddeo Taddei, said to have belonged in 17th century to Duc d’Angoulême in Paris; sold to one Barroy, and finally came into the Crozat Collection; bought of Crozat by Empress Catherine. Engraved by J. Chereau; C. W. Ketterlinus; A. Pistchalkine.--Vasari, ed. Mil., iv. 322; Passavant, ii. 44; C. & C., Raphael, i. 284; Gaz. des B. Arts, xvii. (1864), 317; xix. (1879), 187; Cab. Crozat, i. Pl. 30; Gruyer, Vierges de Raphael, iii. 272; Descr. de l’Ermitage, Pl. 1; Réveil, xi. 769.

HOLY FAMILY, CANIGIANI (della Casa Canigiani), Raphael, Munich Gallery; wood, H. 4 ft. × 3 ft. 3 in.; signed. The Virgin, seated in a meadow at right, with a book in her left hand, supports Jesus with the other; he, resting upon her knee, with one foot on the ground, reaches toward the infant St. John, who is sustained at left by St. Elizabeth, kneeling; behind, St. Joseph, standing, leaning on his staff, completes the pyramidal group; background, a landscape. Painted about 1506 for Domenico Canigiani, of Florence; passed into hands of the Medici, and given by Cosmo III. to his daughter, Anna Maria Luisa, on her marriage in 1690 with Johann Wilhelm, Elector Palatine; transferred to Munich from Düsseldorf Gallery, whence sometimes called Düsseldorf Madonna. Much repainted; the angels in the sky were so much injured by a restorer named Colin, that Krahe, director, caused them to be painted out. Sketches in Albertina Collection, Vienna, and in Duc d’Aumale’s Collection, Chantilly. Copy in Corsini Gallery, Florence, formerly in Casa Rinuccini, Florence; probably by a disciple of Raphael, though landscape looks like the work of a Fleming. Another copy in sacristy of S. Frediano, Florence. Engraved by Bonasone, René Boirin, Calendi, Prestel, Cossé, K. Russ, Carl Hess (1804), S. Amsler (1836).--Vasari, ed. Mil., iv. 326; Passavant, ii. 53; Müntz, 191; C. & C., Raphael, i. 294; Gruyer, Vierges de Raphael, iii. 282; Kugler (Eastlake), ii. 420.

HOLY FAMILY--DEL CORDERO (of the Lamb), Raphael, Madrid Museum; wood, H. 11½ in. × 8 in.; signed, dated 1507. The Virgin, half kneeling, holds Jesus on a lamb; St. Joseph, standing and leaning on his staff, looks on; background, landscape with castle on a hill and church on low ground, with flight into Egypt, very small figures. Painted in Florence; long unnoticed in Oratorio of the Escorial until one day Don Sebastian, the Infante, examining it, was surprised to find Raphael’s signature. A fine copy of Raphael’s time sold in 1840 by Signor Baldeschi, of Rome, for 12,000 scudi, to Count Castelbarco, of Milan, who sold his collection in Paris in 1870. Many other copies. Engraved by R. Morghen; Sadeler.--C. & C., Raphael, i. 337; Passavant, ii. 55; Müntz, 188; Gruyer, Vierges de Raphael, iii. 296; Madrazo, 184.

HOLY FAMILY--DEL DIVINO AMORE (of Divine Love), attributed to Raphael, but probably by Giulio Romano, Naples Museum; wood, H. 1 ft. 11 in. × 1 ft. 7 in. The Virgin sitting with clasped hands; Jesus on her lap, with right hand raised as if blessing St. John, who kneels, holding a cross; behind is St. Elizabeth seated, and in the background Joseph. Painted about 1513 for Leonello Pio da Carpi; in possession of Cardinal Ridolfo Pio da Carpi in 1558; thence passed to Farnese family and was taken to Parma, whence carried to Naples by King Ferdinand I.; in 1805, on the approach of the French, Queen Caroline took it with her to Palermo, Vienna, and Constantinople, and finally brought it back to Naples. Original sketch in Naples Museum. Engraved by Marc Antonio, with variations, from an original sketch. Passavant mentions many copies, one in St. Petersburg attributed by Waagen to Raffaello dal Colle, though others believe it to be the original; but Kugler thinks the Naples picture a genuine Raphael.--Vasari, ed. Mil., iv. 348; Passavant, ii. 121; Gruyer, Vierges de Raphael, iii. 323; Kugler (Eastlake), ii. 375.

HOLY FAMILY OF THE DOG. See Holy Family del Pajarito.

HOLY FAMILY OF FRANCIS I., Raphael, Louvre; wood, transferred to canvas, H. 6 ft. 6 in. × 4 ft. 7 in.; signed, dated 1518. The Virgin, bending forward, is raising Jesus from the cradle; at left, SS. Elizabeth and John kneeling; on right, behind the Virgin, Joseph in contemplation; on left, two angels, one with crossed arms, the other scattering flowers. Painted in Rome for Lorenzo de’ Medici, who presented it, with the large St. Michael of the Louvre, to Francis I. of France, in hope of gaining his support in his pretensions to the Duchy of Urbino. Much of it painted by Giulio Romano. Many copies. Engraved by G. Edelinck; Virg. Solis; Richomme; G. Rousselet; P. Drevet; J. Chereau; Poilly.--Vasari, ed. Mil., iv. 389; v. 525; Gruyer, Vierges de Raphael, iii. 393; Passavant, ii. 257; Filhol, x. Pl. 709; Landon, Musée, i. Pl. 31; Klas. der Malerei, i. Pl. 34; Musée royal, ii.; Cab. Crozat, i. Pl. 5.

HOLY FAMILY--DEL LAGARTO, Raphael (?), Madrid Museum; wood, H. 4 ft. 9 in. × 3 ft. 8 in. The Virgin seated under an oak, with one arm resting on an antique altar decorated with bas-reliefs, sustains Jesus on her knees with the other; he looks up into her face and bends forward to put his arm round St. John, who stands near offering him a scroll inscribed “Ecce Agnus Dei;” each child rests one foot on a cradle; on right, St. Joseph, leaning upon the altar. Probably painted about 1517 by Fr. Penni after a design by Raphael. In Royal Alcazar, Madrid, time Charles II.; removed by Philip V. to Palace of S. Ildefonso, thence by Charles III. to new Palace. Taken to Paris; returned to Madrid in 1822. Many copies: one by Giulio Romano in Palazzo Pitti, Florence, has a lizard in foreground, whence called Madonna della Lucertola; another, attributed to same, at Hampton Court, without lizard, called M. della Quercia (of the Oak), a name applied sometimes also to the Madrid example. Engraved by G. Bonasone, Diana Mantovana, Ag. Carracci (etching), Carattoli, and others.--Gruyer, Vierges de Raphael, iii. 382; Passavant, ii. 249; Madrazo, 194.

HOLY FAMILY OF THE LAMB. See Holy Family del Cordero.

HOLY FAMILY OF LORETO, Raphael, original lost; figure to knees, life-size. Virgin, standing behind couch of Jesus, lifts the veil which covers him; St. Joseph, leaning on a staff, behind in contemplation. Painted in Rome about 1512–13 by order of Cardinal Riario for S. M. del Popolo; supposed to have been given in 1717 to the shrine of Loreto, whence its present name. It disappeared at the close of the last century, and is only known now through its many copies. Discovery of original often announced, but without good evidence. Poor copy in Louvre; better example lately placed in South Kensington Museum by Dr. Axell Lamm, of Stockholm. This is probably the copy mentioned by Passavant as “peu remarquable,” in the possession of the sculptor Bystroem at Stockholm. Engraved by Michele Lucchese (1553); Paulus Caronni.--Vasari, ed. Mil., iv. 339; Passavant, ii. 100; Müntz, 375; Gruyer, Vierges de Raphael, iii. 310; Springer (Dohme 2ii.), 191; Filhol, iv. Pl. 230.

HOLY FAMILY OF NAPLES. See Holy Family del Divino Amore.

HOLY FAMILY OF THE OAK. See Holy Family--del Lagarto.

HOLY FAMILY--DEL PAJARITO (of the Bird), Murillo, Madrid Museum; canvas, H. 4 ft. 9 in. × 6 ft. 2 in. St. Joseph, seated in a room, supports Jesus, who stands at his right holding a goldfinch, with which he amuses a dog sitting before him; on left, the Virgin looking on while winding yarn from a reel. Called also Sacra Familia del Perrito (of the Dog). From Palace of S. Ildefonso; carried by the French to Paris, where injured by cleaning and repairing. Engraved by J. A. S. Carmona; B. Gallart; etched by B. Maura; lithographed by L. Zoellner; A. Lemoine; J. Vallejo.--Curtis, 172; Madrazo, 466.

HOLY FAMILY OF THE PALM (Vierge au Palmier), Raphael, Bridgewater House, London; wood, transferred to canvas; round, 3 ft. 4 in. diameter. The Virgin, seated under a palm, holds Jesus astride of her knee by means of her veil, one end of which is swathed around his body; St. Joseph, on one knee, offers flowers to the child, who stretches out both hands to receive them. Probably the second of two painted in Florence in 1506 for Taddeo Taddei. Belonged before 1680 to Countess de Chiverni in Paris, then to Marquise d’Aumont, who sold it for 5,000 livres to M. de la Noue; from his collection passed to President Tambonneau, and thence to the Orleans collection, at the sale of which (1798) bought by Earl of Bridgewater for £1,200. Two vertical splits in the panel have necessitated repainting. Drawing in the Louvre. Copied by Philippe de Champagne for the Abbey of Port Royal. Engraved by E. Rousselet (1656), Jean Reymond, Felix Massard, and Achille Martinet (1844).--Vasari, ed. Mil., iv. 321; Passavant, ii. 38; Müntz, 188; C. & C., Raphael, i. 285; Gower, Hist. Gal. of England (London, 1881); Felibien, Entretiens, i. 228; Gruyer, Vierges de Raphael, iii. 259; Waagen, Treasures, ii. 26; Cab. Crozat, i. Pl. 23.

HOLY FAMILY--LA PERLA (The Pearl), Raphael, Madrid Museum; wood, transferred to canvas, H. 4 ft. 9 in. × 3 ft. 10 in. The Virgin, sitting near a cradle, holding Jesus on her knees; he has one foot on the cradle, and is reaching for fruits which St. John, dressed in a sheep skin, presents him; on right, St. Elizabeth kneeling; in background, St. Joseph among ruins. Painted about 1517 for Federigo II., Gonzaga, Duke of Mantua, according to Passavant, but probably identical with the Nativity described by Vasari as painted for Bishop Lodovico da Canossa; passed from Canossa family, Verona, to Duke of Mantua, and sold in 1628 to Charles I. of England; bought after Charles’s death, for £2,000, by Don Alonzo de Cardeñas, Spanish Ambassador, for Philip IV. of Spain, who is said to have exclaimed when he saw it: “This is the pearl among my pictures!” Carried in 1813 to Paris, where transferred to canvas; returned to Madrid in 1822. Many copies. Engraved by Gio. Baptista Franco, L. Vorsterman, and others. The M. della Gatta, by Giulio Romano, Naples Museum, is a repetition of the Perla, with a change of accessories; derives its name from the cat (gatta) crouching at St. Elizabeth’s feet. Engraved by G. B. Franco; L. Vorsterman. Giulio Romano had perhaps some hand in painting the Perla.--Gruyer, Vierges de Raphael, iii. 348; Passavant, ii. 250; Kugler (Eastlake), ii. 375; Vasari, ed. Mil., iv. 351; Müntz, 513; Springer, 351; Gaz. des B. Arts, xviii. (1878), 211; Madrazo, 192.

HOLY FAMILY WITH SAINTS, Bagnacavallo, Bologna Gallery; wood, H. 6 ft. 2 in. × 4 ft. 5 in. The Virgin, seated; Jesus, standing in his cradle, leans across her lap to reach flowers offered by St. Joseph; behind, standing, SS. Benedict, Mary Magdalen, and Paul; in background, the nativity. Formerly in S. M. Maddalena, Bologna. Engraved by G. Asioli.--Pinac. di Bologna, Pl. 16.

HOLY FAMILY WITH ST. ZACHARIAS. See Madonna with Cherries.

HOLZER, JOHANN EVANGELIST, born at Burgeis, Tyrol, in 1709, died at Clemenswerth, Hanover, July 21, 1740. German school; history and portrait painter, pupil at Meran of Nicholaas Auer; went afterwards to Augsburg, where he worked conjointly with Johann Geo. Bergmüller, and later independently in oil and fresco. Works: Finding of the Cross, Sketch to Mythological Fresco Painting in Augsburg, Faith, Hope and Love, Emperor Heraclius divesting himself of the Purple, Artist’s Portrait, Ferdinandeum, Innsbruck; Ecce Homo; Peasant Wedding; Two Altarpieces, Dominican Church, Augsburg; Fall of Angels, Jesuit Church, ib.; Portrait of Elector Clemens of Cologne (1740).--Allgem. d. Biogr., xiii. 27; Wurzbach, ix. 248.

HOLZER, JOSEF, born in Vienna, March 20, 1824, died there, Jan. 17, 1876. Landscape painter, pupil of the Vienna Academy, first under Klieber, then under Thomas Ender and Franz Steinfeld; travelled (1846) in Germany, Switzerland, and Belgium, and went in 1856 for three years to Munich. His landscapes show deep feeling for nature and poetical sentiment, delicate treatment and good drawing, but somewhat dull and hard colouring. Member of the Vienna and Venice Academies. Works: Quiet Wood-Nook, Emperor of Austria; Stag-Hunt; In the Wiener Wald; View in the Ramsau; In the Beech-Grove; View in Carpathian Mountains (2) (1854); Wood Landscape (1859); Landscape with Oaks, Vienna Museum.--Kunst-Chronik, xi. 833; Wurzbach, ix. 250.

HOLZHAB, ADOLF, born in Zürich in 1835. Architecture and landscape painter, pupil of Düsseldorf Academy under Gude and Pulian; travelled through the Rhine countries, Southern Germany, Belgium, Holland, France, and Italy. Works: View near Tangermünde, Säg Alp on Reichenbach, Mediæval Town on North Sea, Zürich Gallery; Costumes in Switzerland; Ruin of Convent in Black Forest; Town of Leuk and the Gemmi; The Wetterhorn.--Müller, 265.

HOMER, APOTHEOSIS OF, Dominique Ingres, Louvre, Paris; canvas, H. 12 ft. 8 in. × 16 ft. 10 in.; signed, dated 1827. Homer, seated, with figures representing the Iliad and the Odyssey at his feet, is crowned by Fame, and receives the homage of all the great men of Greece, of Rome, and of modern times. Painted for a ceiling of the Musée Charles X., Louvre, but replaced now by a copy. Paris Exposition, 1855; afterwards in Luxembourg. Engraved by A. Martinet. Original sketch also in Louvre.--Villot, Cat. Louvre; Ch. Blanc, Life, 91; Larousse, i. 497.

HOMER AND THE GREEKS, Wilhelm von Kaulbach, New Museum, Berlin; mural painting, staircase hall. Homer, in a boat steered by the Cumæan Sibyl, approaches the shores of Greece while Thetis and the Nereids rise from the sea to listen to his song; on the shore are gathered the great men of Greece--Orpheus in the centre, then Hesiod, Æschylus, Sophocles, Euripides, Aristophanes, and Pindar; Phidias, and other sculptors and painters; the prophet Bacis, and Solon, Pericles, and Alcibiades, while from forest and field the people approach to partake of the new culture.

HOMER AND HIS GUIDE, Adolphe Bouguereau, Mrs. A. T. Stewart, New York; canvas. The blind bard, led by a boyish guide, is attacked by dogs set on by rude Ionian shepherds; in the background, the curs rush on in full cry, but one, in the foreground, which has reached the poet, has come under his influence, and fawns upon him in submission. Salon, 1874.--Art Treas. of Amer., i. 44.

HOMER, WINSLOW, born in Boston, Mass., Feb. 24, 1836. Genre painter, pupil of the National Academy and of F. Rondel. During the civil war sketched for Harper’s and other periodicals, and also painted works in oil and water-colours. Elected an A.N.A. in 1864, and N.A. in 1865. Member of Society of Painters in Water Colours. Has visited Europe, and in 1884–5 made a sketching tour in the West Indies. Studio in New York. Works in oil: Prisoners from the Front; Cotton Pickers; Home, Sweet Home; Zouaves Pitching Quoits; Bright Side; As You Like It; Milking-Time; In the Field; Snap the Whip (1876); Rab and the Girls, Breezing Up, Charles Stewart Smith, New York; Sundown, Upland Cotton (1879); Visit from the Old Mistress, Sunday Morning (1880); Coming Away of the Gale (1883); Uncle Ned’s Happy Family, Life-Line (1884). Water-colours: Fly-Fishing; Gardener’s Daughter; After the Bath; In the Garden; Manchester Coast; Launching of a Boat, Wrecking of a Vessel (1884).--Sheldon, 25.

HOMME AU GANT (Man with a Glove), Titian, Louvre; canvas, H. 3 ft. 4 in. × 2 ft. 11 in.; signed. A young man, dressed in black, holding a glove in left hand. A noble portrait of Titian’s middle period. Copy in Brunswick Gallery. Belonged to Louis XIV.--C. & C., Titian, ii. 421.

HONDECOETER, GILLIS D’, born at Antwerp, died at Amsterdam (?) after 1637. Flemish school; landscape and bird painter, pupil at Utrecht of Roelant Savery, and at Amsterdam of David Vinckeboons; a descendant of the Brabantine Marquises of Westerloo. At first painted portraits; removed to Amsterdam, where he lived already in 1615, and contracted a second marriage in 1628. Works: Mountainous Landscape, Berlin Museum; do. (1609), Schleissheim Gallery; Bird Concert, Cassel Gallery; do. (1620), Fürstenberg Gallery, Donaueschingen; Dead Birds (1655? attributed), Rotterdam Museum.--Allgem. d. Biogr., xiii. 67; Kramm, iii. 717; Meyer, Gem. köngl. Mus., 209.

HONDECOETER, MELCHIOR D’, born in Utrecht in 1636, died in Amsterdam, April 3, 1695. Dutch school; animal painter, son and pupil of Gysbert H., and of his uncle, Jan Baptista Weenix. Painted birds with singular truthfulness, and had a poetic feeling for their varied habits. In 1659–63 member of Hague guild; in 1688 took the freedom of Amsterdam. Works: Birds in a Park, White Turkey, Peacock and Turkey, Louvre; Crow stripped of Borrowed Feathers (1671), Menagerie of Prince William III. at Loo, two others, Hague Museum; Floating Feather, Hen defending Chickens, Parrots and Other Birds, Dead Birds, Birds and Hare, four others, Amsterdam Museum; Peacock and Poultry in a Park (1672), Cock Crowing, Still Life, Brussels Museum; Foreign Water-Fowl, Berlin Museum; Noah’s Ark, Vessel with Fish (1661), Brunswick Museum; Poultry Yard (1668), Cock-Fight, do. (1686), Carlsruhe Gallery; White Peacock and other Fancy Birds, Cock-Fights (2), Cassel Gallery; Chickens, do. and Cock defying Bird of Prey, Bird Concert, Dead Game-Birds by a Gun, Dresden Museum; Domestic Poultry, Städel Gallery, Frankfort; do., Cologne, Gotha (3), Hanover, Leipsic, Stuttgart (3), Vienna (2) Museums, Palazzo Pitti, Florence, Venice Academy, Copenhagen and Oldenburg Galleries, National Gallery, London (2), Liverpool Institution, Leuchtenberg Gallery, St. Petersburg; Cock-Fight, Cock and Hen defending Chickens against Turkey, Barn Yard, Old Pinakothek, Munich; Water-Fowls (2), Dead Game and Hunting Implements (2), Bird Park, Schleissheim Gallery; Cock-Fight (1668), Hen Family, Turkish Ducks, Dead Poultry (1678), Poultry Yard (1681), Schwerin Gallery; Poultry Yard, Pelican, Cassowary, etc., Dead Game, Hermitage, St. Petersburg.--Allgem. d. Biogr., xiii. 67; Burger, i. 161, 280; Immerzeel, ii. 47; Kramm, iii. 717; Kugler (Crowe), ii. 457; De Stuers, 50.

HONDIUS, ABRAHAM, born in Rotterdam in 1638, died in London in 1695. Dutch school; animal and genre painter; went early to London, where he painted bear and boar hunts, conflagrations, and nocturnal gatherings by torchlight. The truthfulness, boldness, and vigour of this master would give him a high place were his drawing correct and his colouring more harmonious. Works: Sow defending her Young, Rotterdam Museum; Christ as Gardener (1662), Oldenburg Gallery; Nocturnal Carnival Scene in Rome (1660), Dogs starting Swan (1670), do. chasing Water-Fowl (2), Bear-hunts (2), Schwerin Gallery; Boar-hunt (1661), Dresden Museum; Wounded Heron pursued by Dogs, Avignon Museum; Starting for the Chase, Uffizi, Florence; Wild Boar attacked by Dogs, Bear do., Rotterdam Museum; Swan attacked by Dogs, Glasgow Gallery; Party of Ladies and Officers (1668), Guard-House, Bear-Hunt, Stag-Hunt, Hermitage, St. Petersburg; Boar-Hunt, New York Museum.--Allgem. d. Biogr., xiii. 69; Kugler (Crowe), ii. 455; Burger, ii. 313; Immerzeel, ii. 48.

HÖNINGHAUS, ADOLF, born at Crefeld, Rhenish Prussia, in 1811. Landscape painter, pupil of Düsseldorf Academy under Schirmer; went in 1843 to Italy, where he studied from nature four years; removed to Dresden in 1853. Works: View of Terracina (1851), Düsseldorf Gallery; St. Peter’s and the Vatican (1852), Cologne Museum.--Müller, 265.

HONORIUS, Jean Paul Laurens, D. O. Mills, New York; canvas, H. 6 ft. × 4 ft. The Emperor Honorius, son of Theodosius the Great, who became Emperor of the West on the death of his father, A.D. 395. Represented crowned, in a purple robe, seated upon a throne, with the sword of state in his right hand, and his left hand resting on the globe crested with Victory. Salon, 1880.--Art Treas. of Amer., ii. 110.

HONTHORST, GERARD VAN, born at Utrecht, Nov. 4, 1590, died there, April 27, 1656. Dutch school; history, genre, and portrait painter, pupil of Abraham Bloemart, but spent several years in Rome, where he studied the pictures of Caravaggio, and found a patron in the Marchese Giustiniani. As he painted many night scenes lighted by torches or candles, he was surnamed Gherardo dalle Notti. After his return he worked (1619–20) at the court of King Frederic in Prague, later for Charles I. in England, where in 1628 he executed portraits and historical paintings for the Banqueting Hall, Whitehall. He was free of the Utrecht guild in 1623, and at The Hague in 1637. In 1645–50 he worked chiefly for the princes of Orange, but also painted a series of pictures from Danish history for the King of Denmark, and in his later years a number of portraits for Frederick William, Elector of Brandenburg. His early pictures are preferable to those painted after his journey to Italy (1612–15), where he imitated Caravaggio and Correggio in his night pieces, Rubens in his historical paintings, and Mierevelt in his portraits. He worked very rapidly. His numerous works are markedly realistic, show skilful arrangement, good drawing, and powerful chiaroscuro, but they are deficient in elevation. Works: Lute-Player (1614), Concert (1624), Pilate washing his Hands, Young Shepherd, Triumph of Silenus, Man tuning Mandoline, two portraits, Louvre; St. Mary Magdalen, Bordeaux Museum; Soldier sleeping on a Drum, Aremberg Gallery, Brussels; Portrait of Stadhouder Willem II., Portraits of two young Princesses (1653), do. of Frederic William I. Elector of Brandenburg and Louise Henriette of Nassau, do. of Prince Frederik Hendrik and Wife, Nude Child plucking Pears, Hague Museum; Merry Musician, Portrait of Princess Amalia van Solms (1650), do. of Prince Frederik Hendrik, do. of Prince Willem II (2), Museum, Amsterdam; Maria de’ Medici (1638), New Town Hall, ib.; Tête-à-tête, Soldier--Male Portrait (1647), Rotterdam Museum; Singer, Haarlem Museum; Flea-hunt by Candlelight, Basle Museum; Liberation of Peter, Esau selling his Birthright, Backgammon (1624), Berlin Museum; Boy with Flute, Musical Party, four others, Brunswick Museum; Man with Wine-Glass, Carlsruhe Gallery; Old Woman weighing Money, St. Cecilia at the Organ with Angels Accompanying, Satyr and Old Woman, Magdalen Penitent, Musical Entertainment, Cassel Gallery; Nativity, Cologne Museum; Queen Margaret and King Albrecht (1690), Family Concert, Rich Old Man with his Son, Diana adorned by her Nymphs (1650), Female Portrait, Copenhagen Gallery; Christ with Nicodemus at Night, Portrait of Princess Sophie of the Palatinate, Lute-Player Singing, Male Portrait, Female do. (1641), Darmstadt Museum; Dentist (1622), Old Woman with Coin, do. with Candle, Female Portrait (?), Dresden Museum; Peter’s Denial, Peter Penitent, Woman Undressing, Burial of St. Sebastian (?), Gotha Museum; Deliverance of St. Peter, Cimon and Pera, Prodigal Son, do. (1623), Christ in the Temple (?), Ceres seeking her Daughter Proserpine, Old Pinakothek, Munich; Dutch Tavern Scene, Oldenburg Gallery; Flute-Player, Schwerin Gallery; Portrait of a Princess (1652), Weimar Museum; Christ before Caiaphas, Peter’s Denial, Woman Spinning, The Concert, Old Woman in Prayer, Man with Wine-Glass, Guitar-Player, Girl adorning Herself, Palatine Charles Louis, Prince Rupert of the Palatinate, Hermitage, St. Petersburg; Old Man Reading, National Gallery, Pesth; Christ before Pilate, St. Jerome, Boy with Dog, Vienna Museum; Supper Party (2), Fortune-Teller, Holy Family, Adoration of Shepherds, Artist’s Portrait, Uffizi, Florence; Lot and his Daughters, Borghese Palace, Rome; Incredulity of St. Thomas, Madrid Museum; Christ before Pilate, Stafford House, London; Duke of Buckingham and Family, Hampton Court Palace; Elector-Palatine Frederick as King of Bohemia, His Queen, Charles I., Prince Rupert, Artist’s Portrait, Combe Abbey (Earl of Craven); Countess of Bedford, Woburn Abbey; Music Lesson, Sealing the Letter, Historical Society, New York; Conflagration, Pennsylvania Academy, Philadelphia; Ceres transforming a Boy into a Lizard, Munich Gallery; Dentist, Dresden Gallery.--Allgem. d. Biogr., xiii. 94; Gower, Figure Painters, 5, 81; Burger, Musées, i. 63; ii. 200; Kugler (Crowe), ii. 347; Immerzeel, ii. 50; Kramm, iii. 723; Riegel, Beiträge, ii. 172; Sandrart, ii. 303.

HONTHORST, GUILLIAM (Willem), born at Utrecht in 1604, died there in 1666. Dutch school; history and portrait painter, brother of Gerard H., pupil of Bloemart; accompanied the Princess Louisa Henrietta of Orange, wife of the Great Elector, to Berlin in 1650, and returned to Holland in 1664. The portraits by him, mostly preserved in the Prussian royal residences, resemble those of his brother, but are smoother and colder in tone. Works: Portrait of William II. of Orange (1647) and his Wife, and of Amalie von Solms, Berlin Museum; Portraits of two Countesses of Nassau, Gotha Museum; Prince Frederik Hendrik of Orange (1647), William II., Three little Sisters, Schwerin Gallery; Portrait of Mary of Orange, Rotterdam Museum; Portraits of William II. (2), Amsterdam Museum.--Kramm, iii. 728; Schlie, 280.

HOOCH (Hooghe), PIETER DE, born in Rotterdam, baptized probably Dec. 12, 1632, died in Haarlem (?) in 1681. Dutch school genre painter, formed himself under the influence of Karel Fabritius and Rembrandt; worked at Delft, where he entered the guild in 1655, perhaps also at Haarlem. One of the most original artists of the Dutch school; painted domestic scenes, especially in the open air, and is considered the best painter of clear sunlight. His prevailing local colour is red, repeated with great delicacy in various planes of distance. Works: Court of Dutch House (1658), Courtyard of do. (1665), Interior of do., National Gallery, London; A Courtyard, Card-Players (1658), Buckingham Palace; Woman and Child, Lord Ashburton; Door of Ale-House, Lord Overstone, London; Lady and Gentleman at Cards, Dutch Interior (2), Louvre; Artist’s Portrait (1651), The Cellar, Couple engaged in Music, The Letter (1670), Woman combing Girl’s Hair, Married Couple before Country House, Mother and Child, Amsterdam Museum; Dutch Interior, Rotterdam Museum; do., Lille, Berlin, Darmstadt, Nuremberg Museums, Carlsruhe, Cassel, and Schleissheim Galleries, Städel Gallery, Frankfort, Kunsthalle, Hamburg, Old Pinakothek, Munich; Minuet, Family Concert, Domestic Scene, Copenhagen Gallery; Lace-Maker, Lady and Cook-Maid, Lady and Cavalier Singing and Playing, Hermitage, St. Petersburg; The Letter, Leuchtenberg Gallery, ib.; Consultation, formerly Narischkine Collection, ib.; Painter in his Studio, Czernin Gallery, Vienna.--Burger, Musées, i. 98; ii. 56; Dohme, 1ii.; Gower, Figure Painters, 69; Havard, A. & A. holl., iii. 61; Immerzeel, ii. 51; Kramm, iii. 732; Kugler (Crowe), ii. 385.

HOOGSTRATEN, JAN VAN, born at Dordrecht about 1625, died in Vienna in 1654. Dutch school; history and genre painter, brother and pupil of Samuel, with whom he travelled and worked at the imperial court in Vienna. Work, Two Women with Pipe and Pitcher, Vienna Museum.--Immerzeel, ii. 53.

HOOGSTRATEN, SAMUEL VAN, born at Dordrecht in 1627 (?), died there, Oct. 19, 1678. Dutch school; son and pupil of Dirk H., and in 1640 entered school of Rembrandt. Painted at first chiefly portraits at The Hague and Dordrecht, later painted landscapes, marines, animals, and still-life. Resembled Pieter de Hooch in the light and cool tone of his pictures. In 1651 he went to Vienna, Rome, and London, finding admirers everywhere. He also wrote a book, called “Introduction to the High Art School.” Works: Portrait of Matheus van den Broucke, Sick Girl, Amsterdam Museum; Lady walking in Court-Yard, Hague Museum; Male Portrait (1651), Berlin Museum; Old Jew (1653), Inner Court of Imperial Castle (1652), Vienna Museum.--Allgem. d. Biogr., xiii. 99; Burger, Musées, i. 222; ii. 51; Kugler (Crowe), ii.; Immerzeel, ii. 53; Kramm, iii. 739; Stuers, 54; Kunst-Chronik (1865), 60.

HOOK, JAMES CLARKE, born in London, Nov. 21, 1819. History, marine, and genre painter, pupil of Royal Academy in 1836; exhibited first picture, The Hard Task, in 1839; won in 1845 gold medal for best historical picture, Finding of the Body of Harold, and in 1846 the travelling studentship by his Rizpah, and went to Italy. Painted at first principally Italian subjects, but in 1854 began his series of “English pastorals” which have brought him fame. Elected an A.R.A. in 1850, and R.A. in 1860. He has since visited Brittany, Norway, and Holland in search of subjects. Works: Rest by the Wayside (1854); Birthplace of the Streamlet (1855); Passing Cloud, Welcome Bonny Boat (1856); Widow’s Son going to Sea, Signal on the Horizon (1857); Gathering Eggs (1858); Luff Boy! (1859); Whose Bread is on the Waters, Oh! Well for the Sailor Lad, Stand Clear (1860); Sea Urchins (1861); Breton Fishermen’s Wives, Mackerel Take (1865); Mother Carey’s Chickens (1867); Morning after a Gale (1868); Fish from the Doggerbank (1870); Market Girls at a Fjord (1871); Jolly as a Sand-Boy (1872); Jetsam and Flotsam, Kelp Burners--Shetland (1874); Hearts of Oak (1875); Seaside Ducks, Crabbers (1876); Word from the Missing (1877); Coral Fisher (1878); Tanning Nets, Mushroom Gatherers (1879); Diamond Merchants (1881); Devon Harvest Cart, Caller Herrin’ (1882); Catching a Mermaid, Surrey Stream, Wily Angler (1883); Wild Harbourage, Mirror of the Sea-Mew, Catching Sand-Launce (1884). His son, Bryan Hook, was awarded the Turner gold medal and scholarship at the Royal Academy in 1882.--Meynell, 160; Art Journal (1856), 41; Portfolio (1871), 181.

HOPFGARTEN, AUGUST, born in Berlin, March 17, 1807. History painter, pupil of Ruscheweyh, then of Berlin Academy under Dähling, Niedlich, and Wach; won a prize in 1825, studied in Rome (1827–32), then decorated two ducal chapels in Wiesbaden, and in 1835 returned to Berlin, where in 1854 he became professor and member of the Academy. Works: Raphael finding Model for Madonna della Sedia; Dressing the Bride; Girls feeding Swans; Finding of Moses; Boaz and Ruth; Saracen Robbers; Tasso and Leonora of Este (1839), Female Head, National Gallery, Berlin; Roses of St. Elizabeth, Thorwaldsen Museum, Copenhagen; Youth of Bacchus (1865), Königsberg Museum. Fresco: Coming of the Holy Ghost, Chapel of Royal Palace, Berlin.--Cotta’s Kunstbl. (1834), 170; Kunstbl. (1854), 401; Müller, 266; Rosenberg, Berl. Malersch., 31.

HOP GARDENS OF ENGLAND, Cecil Lawson, private gallery, England; canvas, H. 5 ft. × 7 ft. Scene in neighbourhood of Wrotham, Kent, in September, when the hops are ripe and ready for picking. The small circular buildings at left are the oasts, or kilns, for drying the hops over heated flues. The machine in the foreground is an instrument for clearing the weeds between the rows. Painted in 1874; rejected by Royal Academy, 1875; Grosvenor Gallery, 1879. Engraved by J. Sadeler; etched by Hubert Herkomer.--Art Journal (1880), 4; Gosse, Cecil Lawson, 24.

HOPPNER, JOHN, born at Whitechapel, London, April 4, 1758, died there, Jan. 23, 1810. When young was a chorister in the Royal Chapel, but in 1775 became a pupil of Royal Academy, and, by the patronage of the Prince of Wales, became a fashionable portrait painter, finding a rival only in Lawrence. The Prince, the Duke and Duchess of York, and many other notable personages were among his sitters. Became in 1793 an A.R.A, and in 1795 R.A. Published, in 1803, “A Select Series of Portraits of Ladies of Rank and Fashion,” painted by him. Works: William Pitt, “Gentleman” Smith the Actor, Countess of Oxford, National Gallery; others in National Portrait Gallery, and at Hampton Court.--Redgrave; F. de Conches, 359, 370; Ch. Blanc, École anglaise; Sandby, i. 308; Bygone Beauties, eng. by Wilner after Hoppner (London, 1883); Art Journal (1886), 54.

HORATII, OATH OF THE, Louis David, Louvre, Paris; canvas, H. 10 ft. 10 in. × 14 ft.; signed, dated Rome, 1784. The three brothers, their hands extended towards their father, receive from him the arms with which they are to contend with the three Curiatii (Livy, i. 24–5). Camilla, the betrothed of one of the Curiatii, overcome with grief, leans her head upon the shoulder of Sabina, wife of the eldest of the Horatii, while the mother of the Horatii embraces her two grandchildren in the background. Salon, 1785. Sketch, with changes, in Louvre. Engraved by Morel.--Landon, Musée, vii. Pl. 61.

HORCICKA, FRANZ, born in Prague, June 29, 1776, died there, April 5, 1856. History and portrait painter, pupil from 1786 of Ludwig Kohl, and from 1800 of Bergler in the Academy. At Prague he was the first portrait painter of the day until Jacob Ginzel supplanted him in 1822. Invented a valuable way of restoring pictures, and in 1811 started the first public art exhibition in Prague. Works: St. Wenceslaus destroying the Idol Swantovit; St. Albert blessing the Country, St. George and the Dragon; Holy Trinity; Portraits of Ignatius Cornova, of the Mathematician Gerstner, of Abbé Dobrowsky, of the Philosopher Bolzano, the Historian Pelzel, the Physiologist Purkyne.--Allgem. deutsche Biogr., xiii. 125.

HOREBOUT (Hoorenbout, Horebault, Hornebold), GERARD, born in Ghent(?) about 1480, died in London in 1540. Flemish school; history painter, supposed pupil of Memling, and one of the great masters of the old Flemish school, excelling especially as a painter of miniatures, of which the famous breviary of Charles V. may be taken as an example. He was in Ghent in 1510–11, worked for the Princess Margaret of Austria in 1516–21, and Albrecht Dürer knew him in the latter year at Antwerp. Having afterwards gone to England, he was appointed painter to Henry VIII. Works: Double Diptych (attributed to Memling), Antwerp Museum; Madonna Enthroned(?), Darmstadt Museum; Madonna, Christ taking Leave of his Mother, Prayer Book with Miniatures, National Museum, Munich; Hortulus Animæ, and several Codices, Imperial Library, Vienna; Psalter and Officium in three Folio Volumes, Vatican, Rome.--Immerzeel, ii. 55; Kramm, iii. 747; Michiels, vi., 406; Nagler, Mon., ii. 37.

HOREMANS, JAN JOZEF, the elder, born at Antwerp, baptized Nov. 16, 1682, died there, Aug. 7, 1759. Flemish school; genre painter, first instructed by the sculptor Michiel van der Voort, then pupil of Jan van Pee; master of the guild in 1706. His pictures were skilfully composed, but heavy and untruthful in colouring. Works: Admission of an Abbot into Fencing Company, Antwerp Museum; Musical Company (1715), Brunswick Museum; Company around Table, Lady making Dog Dance, Dutch Peasant Room, Company of Peasants, Interior of Gardener’s Dwelling, Cassel Gallery; Peasants’ Frolic in a Tavern, Brawl in a Tavern, Darmstadt Museum; Tavern Scenes (2), Copy after Hogarth’s Harlot’s; Progress, Historical Society, New York; Shoemaker in his Shop, Mother by a Cradle Sewing, Dresden Museum; Peasant Family at Table (2), Hanover Gallery; Village School, Shoemaker’s Shop (1712), Vienna Museum; Shoemaker’s Family, Tea Seller, Card Players, Saying Grace, Uffizi, Florence; Tavern Scenes (2), Historical Society, New York; Country School, Pennsylvania Academy, Philadelphia.--Kramm, iii. 748; Rooses (Reber), 449; Van den Branden, 1189.

HOREMANS, JAN JOZEF, the younger, born at Antwerp, Jan. 15, 1714, died after 1790. Flemish school; genre painter, son and pupil of Jan Jozef the elder; entered the guild in 1767. Subjects similar to those of his father, but drawn from a higher grade of society. Works: Antwerp Family at Table (1758), Cavalier and two Ladies in a Landscape, Theodor van Lerius, Antwerp; Signing the Marriage Contract (1767), Werbrouck Family (1785), P. J. Taeymans, ib.; Reading the Marriage Contract (1768), Flemish Kirmess, A. Verachtert, ib.; Fish Market, Spring, Summer, Autumn, Winter, Landlord and his Tenant, Horse Pond, Returning from the Hunt, New York Museum.--Kramm, iii. 749; Van den Branden, 1191.

HOREMANS, PEETER JACOB, born at Antwerp, baptized Oct. 26, 1700, died in Munich in 1776. Flemish school; genre and portrait painter, brother and pupil of Jan Jozef the elder; went in 1725 to Munich, where two years later he was made court painter to Elector Charles Albrecht (Emperor Charles VII.). Works: Fruit-piece (1768), Augsburg Gallery; Woman and two Children, Brunswick Museum; Violin Player, Provinzial Museum, Hanover; Fruit-pieces (2) (1766), Male Portrait, Female do. (2), Germanic Museum, Nuremberg; Artist’s Portrait, Sculptor Grooft (1766), Male Portraits (2) (1774), Emperor Charles VII., Duchess Maria Anna, Duchess Theresa Benedicta, Duke Clemens August (1743), Duke Johann Theodor (1743), Duchess Maria Anna Caroline (1738), Duke Ferdinand Maria Innocenz (1735), Duke Maximilian Franz de Paula (1738), Electress Therese Kunigunde, Electress Maria Anna, Elector Max Emanuel, Empress Marie Amalie, Duchess Marie Antonie (1742), Schleissheim Gallery; Peasant Kitchen, Children’s School, Bowlers, Game at Draughts, Tavern Scenes (2), Uffizi, Florence.--Kramm, iii. 749; Repertorium f. K., ii. 425; Riegel, Beiträge, ii. 141; Van den Branden, 1192.

HORNEMANN, FRIEDRICH ADOLF, born at Hanover, May 19, 1813. Genre painter, pupil of Munich Academy under Cornelius, whom he assisted in the fresco paintings in the Ludwigskirche; lived then for several years in Paris and Hamburg; visited Southern Russia in 1855, became honorary member of St. Petersburg Academy, and in 1867 settled in Düsseldorf. Works: Père David (1856), Children teasing Magpie (1857), A Cardinal (1858), Russian Officers in Circassian Captivity (1859), Kunsthalle, Hamburg; Wedding Banquet; Wandering Musicians; Morning Greeting; Vaccination in the Country (1868); Return of Landwehrman; Grandmother’s Birthday; Forgive my Sin (1875); Thou my Love, A Monk, Rural Dance (1880).--Müller, 266.

HORNUNG, JOSEF, born in Geneva in 1792, died there, Feb. 3, 1870. History painter, instructed by a painter of the classical French school; tried first landscape painting, but, by advice of Toepffer the elder, turned to genre, and soon made a name, especially in France, with his scenes from Savoyard life; finally took up historical subjects, which he treated with a profound knowledge of the spirit and conditions of the 16th century. Works: Feasting Savoyards; Merry Shoemaker; Little Chimney Sweep; Last Moments of Calvin (1835), Catherine de’ Medici receiving Coligny’s Head, Prisoner, Study for Head of Coligny, Musée Rath, Geneva; Savoyard (1843), Kunsthalle, Hamburg; Last Visit of Farel to Calvin; Calvin working on Fortifications of Geneva; Servetus led to Execution; Fromment’s Sermon on the Molard; Beza reading Bible before Joanna d’Albret; Morning after St. Bartholomew’s Night; Luther at Worms.--Illust. Zeitg., March 18, 1865.

HORNY, FRANZ, born in Weimar in 1797, died in Olevano in 1819. Pupil of Johann Heinrich Meyer in Weimar, and Joseph Anton Koch at Rome in 1816. Commissioned to paint fruit and flower decorations in fresco about the Dante frescos of Cornelius at the Villa Massimi. He was an artist of great promise, whose career was cut short by an early death.--Riegel, 337; Seubert, ii. 254.

HOROSCOPE, Giorgione (?), Dresden Gallery; wood, H. 4 ft. 5 in. × 3 ft. An old man in Oriental costume, with a disc and compass in his hand, sits at a marble table in front of a ruined building; to the left, a woman lying on the ground, playing with a naked child, while a man in armour stands by; background, a landscape, with warriors reposing under a tree. Looks as if it might have been painted by Girolamo Pennacchi. Formerly in Palazzo Manfrini, Venice.--C. & C., N. Italy, ii. 153.

HOROWITZ, LEOPOLD, born at Rozgony, Hungary, in 1839. Portrait and genre painter, pupil of Vienna Academy under Meyer, Wurzinger, and Geiger; won first prize and went in 1860 to Paris, where he remained eight years, acquiring considerable reputation; moved in 1868 to Warsaw to study Polish and Jewish life, which he has since treated in a number of successful pictures. Works: Mourning of the Jews over Jerusalem; Polish Tutor; Harmless War; The First-Born (1885).--Allgem. K. C., ix. 664; Müller, 266.

HORSCHELT, THEODOR, born in Munich, March 16, 1829, died there, April 3, 1871. Battle painter, pupil of Munich Academy under Anschütz, and of Albrecht Adam; painted first hunting scenes and horses, visited Spain and Algiers in 1853, and in 1858 went to the Caucasus and took part in the Russian expedition. In 1863 returned to Munich via Moscow and St. Petersburg, and painted many military scenes in oils and water-colours. In 1870 he made sketches during the siege of Strasburg. Member of St. Petersburg Academy in 1860, of the Vienna Academy in 1868, honorary member of the Munich Academy in 1865; first prize in Paris in 1867, gold medal in Munich in 1869; military decorations in 1858–59, for his campaigns in the Caucasus. Works: Poacher (1850); Halt before Algiers (1854); Caravan in the Desert; Seizure of Shamyl; Taking of Earthwork on Mount Gunib; Cossacks returning from a Razzia; Russian Artillery in the Tschetschina; Flight of Lesghian Horsemen; Street in Tiflis; Attack of Circassians.--Allgem. d. Biogr., xiii. 160; Allgem. Zeitg., April 18, 1871; Beilage, 108; Kunst-Chronik, vi. 115; Münchner Propyläen (1869), 798; Regnet, M. K., i. 195; Theod. Horschelt, Life and Works (Munich, 1876).

HORSE FAIR (Marché aux Chevaux), A. T. Stewart Collection, New York; canvas, H. 8 ft. × 15 ft. 7½ in. A drove of horses, of various colours and sizes, some with riders, and some led by men, trotting to right; in background, left, the dome of the Invalides in distance; at right, an avenue of trees with spectators. A masterpiece; cost eighteen months’ labor. Salon, 1853; sold to Gambart & Co., London, for 40,000 francs, and exhibited in London and in Manchester in 1856; purchased in 1857 for about $6,000 by Wm. P. Wright, Weehawken, New Jersey, and exhibited in New York in October of that year; thence passed to Mr. Stewart. Engraved, when in Gambart’s possession, by Thomas Landseer, for whose use the artist painted a reduced copy (H. 3 ft. 11 in. × 8 ft. 2½ in.), with some changes in details. This copy passed to Jacob Bell, who bequeathed it in 1859 to the National Gallery, London. Mlle. Bonheur, preferring to be represented by a better work, painted a third Horse Fair, which she offered to the National Gallery in place of the hastily executed sketch bequeathed by Mr. Bell, but the trustees deciding that they had no power to make the exchange, she contented herself with retouching the Bell picture. The third picture was sold lately in London. A fourth replica in small (water-colour), with changes, is owned by C. F. H. Bolckow, Middleborough, England.--Harper’s Weekly (1857), 645; London Times, April 27, 1865, 12.

HORSLEY, JOHN CALLCOTT, born at Brompton, Jan. 29, 1817. Genre painter, pupil of Royal Academy; first exhibited work, Rent Day at Haddon Hall (1837). He received prizes in the Westminster Hall Competition in 1843, and painted the Spirit of Prayer, in the House of Lords, and Satan touched by Ithuriel’s Spear, in the Poets’ Hall of the Palace of Westminster. Elected an A.R.A. in 1855, and R.A. in 1866. Works: Pride of the Village (1839), in National Gallery; Malvolio i’ the Sun (1849); Hospitality (1850); Madrigal (1852); Lady Jane Grey and Roger Ascham (1853); Morning of St. Valentine (1863); Waiting for an Answer, A Pleasant Corner (1866); Gaoler’s Daughter (1869); Old Folk and Young Folk (1870); Stolen Glances (1873); Page in Waiting, Waiting Maid (1875); Under Lock and Key (1876); Fashions Change (1877); Salute, Cupboard Love (1878); A Trespasser (1879); Leading Strings, Le Jour des Morts (1880); Château Gardens at Fontainebleau (1881); A Merry Chase (1882); Wedding Rings (1883); Hide and Seek (1884).--Art Journal (1857), 181; Sandby, ii. 335.

HORST, G., flourished about 1640–50. Dutch school; history painter, follower, perhaps pupil, of Rembrandt in his zenith. Works: Isaac blessing Jacob, Continence of Scipio, Berlin Museum.--Meyer, Gemälde der köngl. Mus., 214.

HORST, NICOLAAS VAN DER, born at Antwerp about 1598, died at Brussels in 1646. Flemish school; history and portrait painter, pupil of Rubens, travelled extensively in Germany, France, and Italy, and settled at Brussels, where he became engraver to Archduke Albrecht, and the Infanta Clara Eugenia. The only known painting by him is Jephtha’s Daughter in the Berlin Museum, but it is not exhibited at present.--Rooses (Reber), 325; Van den Branden, 800.

HOSEMANN, THEODOR, born at Brandenburg, Sept. 24, 1807, died in Berlin, Oct. 15, 1875. Genre painter and illustrator, pupil of the Düsseldorf Academy; employed at an early age in the lithographic institute of Amz & Winckelmann, with whom he went to Berlin, where he acquired great fame as an illustrator of books. His little genre pieces in oil and water-colour are equally excellent, though few in number. In 1857 became professor in the Berlin Academy. Works: Shoemaker’s Apprentices; School-Girls; Sub-Officers; Milkmaid; Sand-Carters; Labourer Politicians; Boy playing Violin, Peasant Girls and Lads, Ravené Gallery, Berlin; Horse-Dealers, Hour of Rest, Rural Scene, Host and Guests, Stettin Museum.--Allgem. d. Biogr., xiii. 180; Dioskuren (1860), 397; Kunst-Chronik, xi. 90; Illustr. Zeitg. (1875), ii. 483; Rosenberg, Berl. Malersch., 171.

HOSKINS, JOHN, died in London in February, 1664. Painted first in oil, but afterwards devoted himself to miniature, in which he excelled. Painted Charles I., his queen, and many of the nobility. His nephews, Alexander and Samuel Cooper, were his pupils. His Prince Rupert, painted on card (3 in. × 2¼ in.) is in the National Portrait Gallery, London.--Redgrave.

HOSTEIN, ÉDOUARD JEAN MARIE, born in Pléhédel (Côtes-du-Nord), Sept. 30, 1804. Landscape painter. A once admired but now forgotten painter of views from the northwestern coast of France, the Rhine, Switzerland, and Italy. Medals: 3d class, 1835; 2d class, 1837; 1st class, 1841; L. of Honour, 1845. Works: Fishing Vessels at Grandville, Valley of Ile-Adam (1835); The Meuse, Abbey of Val-Dieu (1837); Forest of Saverne (1838), Lyons Museum; View on Lake of Geneva (1840), Amiens Museum; Fir-Trees of the Black Forest, Ruins at Baden-Baden, Lake Nemi, Cottage at Touque (1840); Valley of the Saône (1844), Avignon Museum; Forest of Compiègne, Valley of Pierrefonds, Camp of St. Maur, Plain of Ariccia, Girls bathing in a River (1834 to 1853); The Seine (1855); Toulon, Pine Woods (1857); Versailles (1859); Entry of Charles VII. into Acquapendente, 1494, Versailles Museum.--Bellier, i. 776.

HOUASSE, MICHEL ANGE, called Hovas, born in Paris in 1680, died at Arpajon (Seine-et-Oise), Sept. 30, 1730. French school; history and landscape painter, son and pupil of Réné Antoine H. Called to Spain by Philip V., he painted many historical pictures, landscapes, and portraits. Member of Paris Academy, 1707. Works: Two Bacchanals, Holy Family, View of Monastery of San Lorenzo, two portraits, Madrid Museum.--Bellier, i. 777.

HOUASSE, RÉNÉ ANTOINE, born in Paris in 1645, died there, May 27, 1710. French school; genre and history painter, pupil and imitator of Lebrun. Member of Academy, 1673; professor, 1680; director of French school of art in Rome from 1698 to 1704; then rector and treasurer of the Academy in Paris. Called to Spain by Charles II., he executed important works there, and returned in 1692. Works: The Virgin’s Journey; ceilings in Versailles Museum; Artist’s Portrait (1687), Grenoble Museum; Female Portrait, Madrid Museum.--Bellier, i. 777; Jal, 687; Gaz. des B. Arts (1860), vii. 174; (1864), xvi. 465.

HOUBRAKEN, ARNOLD, born in Dordrecht in 1660, died in Amsterdam in 1719. Dutch school; pupil of Samuel von Hoogstraten, and perhaps of Jacques le Vecq; fellow-scholar of the first under Rembrandt, about whom he published many absurd stories. Works: Female Model Posing, Amsterdam Museum; Ecce Homo, Copenhagen Gallery; Virginia’s Body brought to Rome, Schleissheim Gallery; Male Portrait, Städel Gallery, Frankfort.--Allgem. d. Biogr., xiii. 209; Burger, Musées, i. 53; Immerzeel, ii. 56; Kramm, iii. 753.

HOUEL, JEAN, born at Rouen in 1735, died in Paris, Nov. 13, 1813. Landscape painter and engraver, pupil of Descamps, Lemire, and Casanova. Is best known as an engraver of Italian subjects. Works: Coast of St. Catherine from Pré-aux-Loups; View of a Cave at Dieppedalle; Gargantua’s Seat near Duclair; Hill of St. Catherine, View of the Old Porte Cauchoise in Paris, since demolished, Rouen Museum; Landscape with Figures, Angers Museum.--Bellier, i. 779; Larousse.

HOUZÉ, FLORENTIN, born at Tournay in 1812. History and genre painter, pupil at Liège of Hennequin, and of Antwerp Academy under Nicaise de Keyser, then studied in Paris, and returned to Tournay in 1844; received a medal in 1842; lives in Brussels. He paints also good portraits. Works: Last Moments of Lord Percy (1839); Entering the Convent (1846); St. Vincent de Paula and the Inundated; St. Charles Borromeo with People infected by the Plague, St. Augustine healing a Sick Man; Cardinal’s Visit to Hospital, Tournay Museum; Crucifixion; Return from Masked Ball; Italian Beggars.--Journal des B. Arts (1860), 143; Müller, 267.

HOVE, BARTHOLOMEUS JOHANNES VAN, born at The Hague, Oct. 28, 1790, died in 1880. Painter of city views and church interiors, pupil of Breckenheimer; medal, 1842. Member of Amsterdam Academy and several others; won great reputation and several medals from art associations, and received costly presents from several potentates. Subsequently was theatre painter at The Hague. Professor at Hague Academy. Order of Oaken Crown, 1847. Works: View of Musée Royal at The Hague, City Views (2), Amsterdam Museum; Dutch City by Moonlight, Ghent Museum; do., Rotterdam Museum; City on a River, Kunsthalle, Hamburg.--Immerzeel, ii. 59; Kramm, iii. 760; vii. 86.

HOVE, HUBERTUS VAN, born at The Hague in 1814, died at Antwerp in 1865. Architecture and landscape painter, son and pupil of preceding, and pupil of Hendrik van de Sande Backhuyzen; settled at Antwerp. Gold medal, 1852; Order of Leopold, 1857. Painted afterwards also good kitchen-pieces. Works: View on Sea-Shore, Rotterdam Museum; Fishing Expedition, Museum Fodor, Amsterdam; Interior, Kunsthalle, Hamburg; Chamber in City Hall at Amsterdam (1837), Leipsic Museum; Vestibule, New Pinakothek, Munich; Kitchen Interior, Historical Society, New York.--Immerzeel, ii. 60; Kramm, iii. 760.

HOVE, VICTOR VAN, born at Renaix, East Flanders, in 1825. Genre painter, was at first a sculptor. His affecting scenes from popular life are painted in a pleasing manner. Order of Leopold, medals in Paris (1863) and Vienna (1873). Works: Orphans going to Church (1863); Protestant Girl’s Sunday (1864); On Way to School (1865); Fisherman’s Return on Coast of Flanders; The Present; Sunday Morning in Holland (1869).--Jour. des B. Arts (1860), 158; Müller, 268.

HÖVEMEYER, AUGUST, born at Bückeburg, Oldenburg, Sept. 23, 1824, died in Munich, Jan. 13, 1878. History painter, pupil of the Munich Academy under Kaulbach and Schwind, but formed himself chiefly after the works of Genelli, and was one of the last representatives of the school of Cornelius. In 1856–58 he was employed upon extensive fresco paintings in Würzburg, Berne, and Leipsic. In 1864–65 visited Italy, where he copied Raphael’s School of Athens, and Titian’s Venus; worked in 1867–69 in Stuttgart and Munich, and executed in 1872–74 ten large compositions in oil and fresco for the Railroad Directors’ building in Ludwigshafen. Works: Allegorical Figures (1851), Royal Villa, Berchtesgaden; Expulsion from Paradise (1854); Christmas Night, Start for the Alp (1855). Frescos: Allegories in the Railway Station at Würzburg (1856); in the Federal Palace, Berne (1856–57); Eight compositions from Cupid and Psyche (1858), Leipsic Museum; The Flood, 1860 (cartoon); Three historical pictures (1863), National Museum, Munich; Prometheus (1866), in America; six ceiling paintings in oil, and four Allegories in fresco (1872–74), Ludwigshafen.--Allgem. d. Biogr., xiii. 215; Jour. des B. Arts, Jan. 15, 1863; Kunst-Chronik, xiii. 302; Meyer, Conv. Lex., xvii. 454.

HOVENDEN, THOMAS, born at Dunmanway, Ireland, in 1840. Genre painter, pupil of the School of Design, Cork, and of the National Academy, New York, in 1863. Visited Paris in 1874, and studied six years under Cabanel, and at the École des Beaux Arts. Elected N.A. in 1882. Studio in Plymouth Meeting, Pa. Works: Two Lilies (1874); Brittany Woman Spinning, Pleasant News, Image-Seller (1876); Thinking of Somebody, News from the Conscript (1877); Loyalist Peasant Soldier of La Vendée--1793 (1878); Breton Interior--1793 (1878), G. A. Drummond, Baltimore; Challenge (1879); Dat ’Possum smell pow’ful Good (1881), Chloe and Sam (1882), T. B. Clarke, New York; Elaine (1882); In from the Meadows, Village Blacksmith (1883); Who shall eat the Fruit thereof? John Brown (1884); Taking his Ease (1885).--Sheldon, 189.

HOWARD, GEORGE, born in England; contemporary. Landscape and portrait painter. Exhibits chiefly at Grosvenor Gallery. Works: Pine Wood near Pisa, San Gimignano, Near the Torre dei Riccardi (1877); Rest in the Perjola, Path among Olives, Olive-Gathering on the Riviera (1878); Crab-Fishers, Venetian Archway (1879); Banks of Irthing--Cumberland, Walled Garden--Naworth (1880); Curlew’s Pool, Autumn Twilight, By the Beck, Start Point--South Devon (1881); Path under the Olives--Bordighera (1882); Vale of Mentone, Autumn in the Old Garden (1883); Walls of Rome from Villa Medici, Rookery in Spring (1884); The Gatehouse--Naworth (1885).

HOWARD, HENRY, born in London, Jan. 31, 1769, died at Oxford, Oct. 5, 1847. History and portrait painter, pupil of Philip Reinagle and of the Royal Academy (1788), where in 1790 he won the two first medals of the year. Studied in 1791–94 in Italy, and afterwards contributed many subject pictures and portraits to the Academy; became an A.R.A. in 1801, R.A. in 1808, secretary in 1811, and professor of painting in 1833. Though distinguished by Academy honours, the promise of his youth was not fulfilled; his works are graceful and pretty, but his style is feeble. His Flower Girl, a portrait of his own daughter, is in the National Gallery, London.--Redgrave; F. de Conches, 435; Frank Howard, Memoir (1848); Sandby, i. 329.

HOWLAND, ALFRED C., born in Walpole, N. H., Feb. 12, 1838. Genre and landscape painter, pupil of Schultz and of Eppindale in Boston; in 1860 visited Europe, and studied five years, in Düsseldorf under Professor Flann, and in Paris under Lambinet. Elected an A.N.A. in 1874, and N.A. in 1882. Studio in New York. Works: Sunlit Path (1871); Old Mill on the Bushkill (1874); Ford’s Glen (1878); Monday Morning (1879); The Gossips (1880); Driving a Bargain (1882); Horse-Trade (1883); Rendezvous of the Veterans, A Pot-Boiler (1884); The Coming Circus (1885).

HOYE (Hoey), NICOLAAS VAN, born at Antwerp in 1626, died in Vienna in 1710. Flemish school; history, battle, and portrait painter, pupil of Matheus Matheusz; went to Vienna, where he became court-painter. Works: Battle-pieces (2), Vienna Museum; Physician making Examination, Fürstenberg Gallery, Donaueschingen.--Kramm, iii. 707.

HUBBARD, RICHARD WILLIAM, born at Middletown, Ct., in 1817. Landscape painter, pupil of Professor Morse and Daniel Huntington. Studied and painted in France in 1840. Elected N.A. in 1858. Studio in New York. Works: Meadows near Utica (1869); High Peak--North Conway (1871); Vermont Hills (1874); Along the Sound (1877); Autumn--Lake George, C. P. Huntington, New York; Coming Storm, Early Autumn, Judge Benedict; Glimpse of the Adirondacks (1876), R. M. Olyphant; Hilltop (1878); Connecticut Pastoral (1880); Distant View of Hartford (1882); Lake in the Adirondacks (1883); Cat Mountain--Lake George, Afternoon in Summer (1884); Watering Place, Down in the Meadows (1885).

HUBER, JOHANN KASPAR, born at Glattfelden, Canton Zürich, in 1752, died at Zürich, April 17, 1825. Landscape and marine painter, pupil of Johann Heinrich Wüst; studied four years in Frankfort, then in the Düsseldorf Gallery, where he devoted himself to marine painting, and after two years in Amsterdam, returned to Düsseldorf in 1784, and to Switzerland in 1789. Member of Düsseldorf Academy. Works: Surge, Landscape with Castle, Storm at Sea, Zürich Gallery.--Nagler, vi. 336.

HUBER, JOHANN RUDOLF, born in Basle in 1668, died there, Feb., 1748. Portrait painter, pupil in Basle of Kaspar Meyer, then in Berne of Jos. Werner; went to Italy when nineteen, and for six years studied Giulio Romano at Mantua, and Titian at Venice, where he painted figures in the landscapes of Pieter de Molyn (Tempesta); in Rome he profited much by the advice of Maratti, then visited France, and returned to Basle in 1693. In 1696 he became court-painter to the Duke of Würtemberg, but resigned after four years. With his growing reputation he could scarcely satisfy the demands made upon him by princes and persons of the highest standing. He is said to have painted 5,000 portraits. Works: Dr. Thomas Platter, portrait of himself, Basle Museum; Family of Margrave Frederic Magnus of Baden-Durlach (1693); Envoys to the Peace Congress in Baden (1713); Joseph I., and many other Sovereigns.--Allgem. d. Biogr., xiii. 231; Füessli, ii. 257.

HUBER, RUDOLF, born at Schleinz, Nether Austria, about 1844. Animal and portrait painter, pupil of Vienna and Düsseldorf Academies; took part in the Italian campaign of 1866 as an officer, visited Egypt repeatedly after 1870, and brought back numerous studies of Abyssinian types. Professor at Vienna Academy. Works: Cows in Pasture; Caravan; Maternal Joys, Cows Fighting, Equestrian Portraits of Duke Charles of Lorraine and of Count Stahremberg (1883); Washington on Horseback (1884).--Müller, 268; Kunst-Chronik, xviii. 372.

HUBERT, ALFRED, born in Brussels (or Liège?); contemporary. Genre and animal painter; at first made his mark with pen-and-ink drawings of military life, but began to paint in water-colours in 1854. Is especially skilful in painting horses. Works: Horses and Cattle in Stable; Peasant Women in Town; Dog-Team; Camp-Scene; New Year’s Presents; Coachmen; Umbrellas; Militaria; Railroads; Masked Ball; Horses in Gypsy Camp (1870); Artillery Resting (1872); Marine (1873); Evening after Battle (1874); Mounted Artillery (1875).--Gaz. des B. Arts (1876), xiii. 453; Müller, 269.

HUBERTI, ÉDOUARD, born in Brussels in 1818, died there in 1880. Landscape painter in the manner of Corot; his pictures commanded high prices in Belgium and England. Member of Société belge des Aquarellistes. Works: Heath in the Campine, King of Belgium; Harvest; On Border of Forest; Pond of Ramée; Spring; Gloomy Weather at Wilryk; Valley of Jehoshaphat in Morning Light; Autumn; Snow Landscape on the Scheldt.--Meyer, Conv. Lex., xix. 473.

HÜBNER, EDUARD, born in Dresden, May 27, 1842. Genre painter, son of Julius, pupil of Schurig, then of Dresden Academy, and in 1860–67 of Düsseldorf Academy under Bendemann; repeatedly visited Italy, spent three winters at Rome, and (1869–70) in Paris. Professor at Berlin Academy. Works: Marguerite Le Riche consoling her Fellow-Prisoners; Graziella; Toilet in Capri; Two Girls on a Roof; First Age of the World; Iphigenia; Girl Asleep (1881); Curtain for Royal Theatre at Dresden (1882).--Kunst-Chronik, xvii. 659; Müller, 269.

HÜBNER, KARL (WILHELM), born in Königsberg, June 17, 1814, died in Düsseldorf, Dec. 5, 1879. Genre painter, pupil in Königsberg of I. Wolf, and from 1839–41 at the Düsseldorf Academy under Karl Sohn and Schadow. Established his reputation by painting subjects relating to the social problems of the day, but after 1848 he treated subjects of more general interest, which met with great success, particularly in Holland and America, and caused his being made an honorary member of the Amsterdam and Philadelphia Academies. On a visit to America in 1874–75 he was warmly received by American artists in the principal cities of the Union. He was one of the most active founders, in 1844, of the Düsseldorf Union of Artists for mutual aid, and in 1848 of the Malkasten, to which he gave its name. Works: Angry Old Man, Sick Child (1839); New Apprentice, Barred Well (1843); The Silesian Weavers (1844); Help in Need, Sleeping Wood-Thief, Charity in the Cottage of the Poor (1845); Shooting-License (1846), Ravené Gallery, Berlin; The Emigrants (1846), Christiania Museum; The Forsaken (1846); Little Wood-Thieves (1847); The Pouters (1847), Carlsruhe Gallery; Birthday; Seizure for Debt (1848), Königsberg Museum; Midday Rest of Peasants during Harvest (1849), Kunsthalle, Hamburg; Orphans at Parents’ Grave, Rescue from Fire (1853); Old Warrior telling of his Deeds (1854), Labourer rescuing Child from burning House, Provinzial Museum, Hanover; Surprised Lovers; The Orphans; The Outcast (1867), National Gallery, Berlin; The Twins, Sailor’s Return, Sinner at the Church Door, Comfort in Prayer, The Widow, Düsseldorf Gallery; Shelter from the Storm (1874); Consolation in Prayer (1875), Düsseldorf Gallery; Quartering in the Vineland (1876); Depressed Mood (1877); An Artist on the Dutch Coast, Happy Union (1878); The Recovery, Pennsylvania Academy, Philadelphia. His son and pupil Julius (born at Düsseldorf in 1842, died there, Dec. 30, 1874) was a promising genre painter of humorous subjects. Works: The Great Bootjack; The New Barometer; Scrubbing Day; Bad Memory.--Allgem. d. Biogr., xiii. 270; Illustr. Zeitg. (1880), i. 36; Kunst-Chronik; Wolfg. Müller, Düsseldf. K., 292; Wiegmann, 329; Blanckarts, 81.

HÜBNER, (RUDOLF) JULIUS (BENNO), born at Oels, Silesia, Jan. 27, 1806, died at Loschwitz, Nov. 7, 1882. History painter, pupil of Berlin Academy under Schadow, whom he followed to Düsseldorf in 1826; having returned to Berlin, he married Bendemann’s sister in 1829, and going in the same year to Italy was in Rome with Schadow in 1830, in Berlin in 1831, and in Düsseldorf in 1833. In 1839 he followed Bendemann to Dresden, where he became professor at the Academy in 1841, and director of the Royal Gallery in 1871. Member of Dresden, Berlin, and Philadelphia Academies. Great gold medal in Brussels (1851). Numerous Orders. Works: Boaz and Ruth (1825); The Fisherman (1827); Roland liberating Princess Isabella (1828); Ruth and Naomi (1830), Guardian Angels (1836), Infant Christ (1837), Golden Age (1849), National Gallery, Berlin; Samson breaking the Columns (1832); Holy Family (1833), Leipsic Museum; Christ and Evangelists (1834); Ecce Homo (1836), St. Andrew’s, Düsseldorf; Job and his Friends (1838), Städel Gallery, Frankfort; Consider the Lilies (1839); Melusina, Raczynski Gallery, Berlin; Felicitas and Sleep (1841), Breslau Museum; Emperor Frederic III. (1842), Emperor’s Hall, Frankfort; St. George, Christ Enthroned (1843); Resurrection (1844); Annunciation (1845); Christ with Chalice and Bread (1846); Jew’s Head (1834), Golden Age (1848), Lansquenet (1848), Portrait of Actor Porth (1853), Dispute between Luther and Eck (1863–66), Dresden Gallery; Memorial to Gontard, Samuel and Eli, Magdalen (1849); The Angel of the Lord showing the Evangelist Babylon’s great Whore (1850); Stephanus before the Council; Charles V. at St. Yuste; Frederic the Great at Sans-Souci; Cupid in Winter; Magdalen beside Body of Christ (1864); Christ in the Temple; Hagar and Ishmael; Portraits of Princess Margaret of Saxony, of Dr. Carus, Count and Countess Kanitz, Prince Hatzfeld, Gottfried Schadow; J. von Keller (1860), Düsseldorf Gallery.--Brockhaus, ix. 427; Illustr. Zeitg. (1882), ii. 474; Kunst-Chronik, xviii. 242, 415; Müller, 269; Wolfg. Müller, Düsseldf. K., 22; Reber-Pecht, ii. 114; Wiegmann, 112.

HUCHTENBURG. See Hughtenburgh.

HUDSON, THOMAS, born in Devonshire in 1701, died at Twickenham, Jan. 26, 1779. Pupil of Jonathan Richardson; succeeded Jervas as the fashionable portrait painter of the day, though he was soon eclipsed by his pupil, Reynolds. He generally painted only the head, leaving the accessories to his assistant, Van Haaken, of Antwerp. Works: Portraits of Handel, Lord Chief Justice Willes, National Portrait Gallery; Charles Duke of Marlborough, Blenheim; Mary Coke, Bute Collection.--Redgrave; F. de Conches, 85, 194.

HUDSON RIVER, DISCOVERY OF, Albert Bierstadt, House of Representatives, Capitol, Washington; in panel near south doors. Companion-piece to Settlement of California. The artist received $20,000 for these two pictures.

HUE, JEAN FRANÇOIS, born at Saint-Arnould-en-Yvelines (Seine-et-Oise), Dec. 1, 1751, died in Paris, Dec. 24, 1823. Landscape and marine painter, pupil of Joseph Vernet. A famous painter in his day. Employed by the government to paint the seven French seaports wanting to complete the series of fifteen begun by Vernet. Member of Academy, 1782. Works: Taking of Isle of Granada in 1779 (1787), Naval Battle near Isle of Granada (1788), Napoleon visiting Camp of Boulogne (1806), Versailles Museum; French Seaports (7); Port d’Orient at Sunset (1801), Cherbourg Museum; Combat of the Ship Le Formidable (1808), Angers Museum; Cascade under Rocks, Nantes Museum; Port of Genoa (1810); Shipwreck of the Virginia (1812); Echo bewailing Narcissus (1814); Port and Tower of Terracina, View in Bois de Satory at Versailles (1819); Landscape with Belisarius and his Guide (1822); Coast with Agitated Sea, Hermitage, St. Petersburg.--Bellier, i. 785.

HUET, JEAN BAPTISTE, born in Paris, Oct. 15, 1745, died there, Aug. 27, 1811. Landscape and animal painter, pupil of Dagommier, Boucher, and Leprince. His paintings of animals are of great merit. Member of the Academy in 1769. Works: Dog Attacking Geese, Caravan, Fox in Chicken-Yard (1769); Wolf pierced with Lance, Farmer’s Wife (1771); Europe, Asia, Fidelity tearing the Bonds of Love, Morning, Noon, Afternoon, Evening (1773); Shepherd with his Dog (1775), Orléans Museum; Holy Family with Shepherds, Return from Market (1775); Pastoral Trophy, Farmer’s Wife feeding Chickens (1777); Hercules and Omphale (1779); View of Ronce Pond at Sèvres, View of Walls and Fortress of Molle, Annunciation to the Shepherds (1787); Washing on Banks of a Pond, View of Oven at Bougival, Herdsman watching his Herd (1800); Bulls in a Stable, Donkey with Chickens (1801); Lion and Lioness with their Young (1802); Landscape with Birds, Rouen Museum; Dog pointing at Partridges, Animals Grazing, Horses and Sheep at Pasture, Nantes Museum; Ram and Two Ewes, Two Dogs killing a Lamb and Chickens, Robillard Collection, Rheims. His son and pupil, Nicolas (born in Paris, 1770, still living in 1827), was commissioned by the government to paint for the Museum of Natural History one hundred and twenty water-colours, to continue the collection begun in 1650 by the Duke of Orléans.--L’Art (1876), vii. 124; Bellier, i. 787; Ch. Blanc, École française; Lejeune, Guide, i. 236; iii. 130.

HUET, PAUL, born in Paris, Oct. 5, 1804, died there, Jan. 9, 1869. Landscape painter, pupil of Paul Guérin, of Gros, and of the École des Beaux Arts. In 1831 he became the founder of a new school of romantic landscape painting, in which he was the precursor of Theodore Rousseau and of Jules Dupré. Frequently visited Italy and Holland. Had many pupils. Medals: 2d class, 1833; 1st class, 1848, 1855, 1867; L. of Honour, 1841. Works: View of La Fère (1827); Storm at Close of Day, Interior of a Park (1831); Entrance of Forest of Compiègne, Guard-House (1833); Views of Eu and of Honfleur (1834); Morning Calm in Forest (1835), Luxembourg Museum; Autumn Evening (1836); Gust of Wind (1838), Avignon Museum; Château of Arques (1840), Orléans Museum; Torrent of Etolie (1841); Castle of Avignon (1843), Avignon Museum; Val d’Enfer, Mare and Foxes (1848); Col de Tende (1849); Private Park of St. Cloud, Children in the Wood, Enchanted Shores (1850); Calm in the Woods (1852); Breakers of Granville (1853), Marshes of Picardy, Inundation of St. Cloud (1855), Louvre; Ford, Thatched Cottage, Betwixt Rain and Sunlight, Pastures (1859); Sunset near Trouville, Equinoctial High Tide near Honfleur (1861); Cliffs of Houlgatt, Bordeaux Museum; do., Lower Meudon (1863); Torrent in the Alps, The Uriage Road (1864); Creek on the Pyrenees Frontier (1865), Montpellier Museum; Park of The Hague at Sunset (1866), Orléans Museum; Fontainebleau, Ruins of Castle of Pierrefonds (1868); Fishermen drawing a Seine on the Shore at Houlgatt (1869); View near Naples, Caen Museum; Toucque Valley, Luxembourg Museum.--L’Art (1878), ii. 15; Bellier, i. 788; Burty, Maitres, 179; Gaz. des B. Arts (1869), i. 297; Larousse; Meyer, Gesch., 741.

HUFFEL, PEETER VAN, born at Grammont, East Flanders, baptized April 17, 1769, died at Ghent, Aug. 12, 1844. History and portrait painter, pupil of Ghent Academy, where he won several prizes; then studied seven years at Mechlin under Herreyns, and in Paris; after his return to Ghent was appointed director of the Academy and conservator of the Museum. Gold medal, Ghent, 1817. Court-painter to Queen Anna Pavlovna of Holland. Works: Holy Virgin in the Temple (1817), Abbey of Dooreseele; Miracle of St. Landvald, St. Bavon’s, Ghent; SS Peter and Paul, St. James’s, ib.; Resurrection, Museum, ib.; Portrait of Napoleon as Consul, Antwerp Museum; do. of John Quincy Adams (1814).--Cat. du Mus. d’Anvers (1874), 474; Immerzeel, ii. 61; Kramm, iii. 763; vii. 87.

HUGARD DE LATOUR, CLAUDE SÉBASTIEN, born at Cluses (Haute-Savoie), in April, 1818. Landscape painter, pupil of Diday. Medals: 3d class, 1844; 2d class, 1846. Works: Morning in the Alps (1844); Sunrise, Cool Valley (1846); View of Montblanc (1853), School of Mines, Paris; replica reduced in Museum at Bagnères-de-Bigorre; Ascent of Mer de Glace by Emperor and Empress in 1860 (1861); Entry to Forest of Bellem, After the Rain (1870); View in Forest of Compiègne, do. near Trouville (1874); Cirque de Cavarni, Lake of Thünn, Bagnères-de-Bigorre Museum; Spring-banks of Seine (1884); Sunset in Valley of Faucigny (1885), Prince de Lucinge-Faucigny.--Bellier, i. 789.

HUGHES, ARTHUR, born in London in 1832. Genre and portrait painter, student of Royal Academy, where he exhibited his April Love in 1854. Belongs to the Pre-Raphaelite school. Works: Eve of St. Agnes, Music Party, Sunbeam in Church (1864); Home from Work, The Mower, Silver and Gold (1865); Good Night (1866); Sir Galahad, Endymion (1870); Lady of Shalott, Convent Boat (1873); Woodman’s Return; King’s Garden; Burial of the Good Knight; Vanity, Uncertainty (1878); The Old Neighbour gone Before (1879); The Sailing Signal Gun, Mittagsschläfchen (1881); Summer is a-coming In, Skipper and his Crew (1882); Memories, Home Quartette (1883); Ripe Corn, Corner of the Common (1884); Sunday Morning, Autumn, Rest by the Way (1885).--Portfolio (1870), 113.

HUGHTENBURGH (Huchtenburg), JACOBUS VAN, born at Haarlem in 1639(?), died in Rome about 1670(?). Dutch school; landscape painter, brother of Jan van Hughtenburgh, pupil of Nicolaas Berchem. Travelled in Italy and lived long in Rome. Landscapes with Cattle (2, 1670), Copenhagen Gallery; Roman Landscape, do. (1670), Schwerin Gallery.--Immerzeel, ii. 62; Kramm, iii. 765.

HUGHTENBURGH (Huchtenburg), JAN VAN, born in Haarlem in 1646, died in Amsterdam in 1733. Dutch school; battle painter, pupil of Thomas Wyck, in Rome of his brother Jacob, and in Paris (1667) of Van der Meulen. Before 1670 he returned to Haarlem and began to deal in pictures. The fame of his collection of battle-pieces, hunts, etc, led in 1708 to commissions from Prince Eugène, for whom he painted battle-pieces. First manner best; afterwards became melodramatic and empty. Works: Battle, National Gallery, London; Cavalry Charge, Siege of Fortified Town, Louvre, Paris; Prince Eugène on Horseback (1692), Two Skirmishes, Hague Museum; Skirmish, Portrait of Prince Willem III., Amsterdam Museum; Horse Market, Skirmish and Landscape, Rotterdam Museum; Cavalry Charge, Episode of a Battle, Brussels Museum; Boar-hunt (1674), Aschaffenburg Gallery; Attack of Robbers, Basle Museum; Plundering of a Village, Stag-Hunt (1674), Berlin Museum; Skirmish on a Bridge, Attack of Robbers, Brunswick Museum; Piazza Colonna in Rome, Siege of Namur, Cassel Gallery; Street Life in Italian Town (1707), Market Square, Cavalry Skirmish on Hill, do. about Battery, Review, Frolic at Sutler’s Tent, Cavalry Fight, Copenhagen Gallery; Cavalry Fights (6, two dated 1718, 1720), Dresden Museum; Storming of a Fortress, Festive Drive of Louis XIV. over the Pontneuf (1674), Gotha Museum; Cavalry Skirmish, Königsberg Museum; Cavalry Skirmish, Attack upon Convoy, Old Pinakothek, Munich; Hunting Party Resting, Germanic Museum, Nuremberg; Battle-pieces (2), Schleissheim Gallery; Camp-Scenes (2), Attack of Robbers, Visitors in Military Camp (1694), Battle (1695), Cavalry Fight, Schwerin Gallery; Surprisal of Wagon by Horsemen, Siege of Namur, Vienna Museum; Skirmish by Ruins, Czernin Gallery, ib.; The Riverside, Historical Society, New York.--Immerzeel, ii. 63; Kugler (Crowe), ii. 434; Kramm, iii. 765; Riegel, Beiträge, ii. 426; Van der Willigen, 184.

HUGUENOT, Sir John Everett Millais, Mrs. Miller, Preston, England; canvas, H. 3 ft. 2 in. × 2 ft. 1 in. Incident founded on the order of the Duc de Guise, that every Catholic should bind a strip of white linen round his arm on the morning of St. Bartholomew’s Day (Aug. 15, 1572), when the bell of the Palais de Justice should give the signal for the massacre. The Huguenot of the picture gravely refuses to permit his Roman Catholic mistress to bind a white scarf around his arm, as he takes a last embrace; at the same time the rose in her bosom falls to the ground, shedding its leaves. Royal Academy, 1852; painted for David T. White, a dealer, for £150, to which £50 was added after the engraving by T. O. Barlow had proved remunerative. This picture brought Mr. Millais to the height of his reputation. The Huguenot was painted from Mr. Arthur, now General Lempriere, and the Catholic from Miss Ryan, who sat also for the Puritan Maiden in the Proscribed Royalist. Sketch in water-colours, Mr. C. Langton, Liverpool.

HUGUET, VICTOR PIERRE, born in Lude (Sarthe); contemporary. Genre and landscape painter, pupil of Émile Loubon; paints pleasing though sketchy Eastern landscapes and scenes. Medals: 3d class, 1873; 2d class, 1882. Works: Caravans; Wells in Algiers; Camels Grazing, Ruins of Roman Aqueduct in Algeria (1868); Hunting with the Falcon in Algeria (1874); River Cheliff in Algeria (1879); Wandering Tribe in Algeria (1882); Evening in the Douars near Biskra (1884).

HULLE, ANSELMUS VAN, born at Ghent in 1594, died about 1668. Flemish school. Real name Anselmus Hebbelynck. History and portrait painter, master of the guild at Ghent in 1620, subdean in 1632; settled early in Holland, where his talent was much appreciated. Prince Frederik Hendrik sent him to Münster in 1648 to paint the portraits of the envoys to the Congress there at the close of the Seven Years’ War, and after Prince Frederik’s death he was appointed court-painter to the Emperor Ferdinand III. Works: Pietà (2), Ghent Museum.--Immerzeel, ii. 64; Kramm, iii. 766.

HULSMAN, JOHANN, flourished in Cologne about middle of 17th century. German school; history and portrait painter, pupil of Augustin Braun; possessed of great inventive power, and an able colourist, worthy to be ranked with the best masters of Rubens’ school. Works: View of Castle and City of Heidelberg (1630), Carlsruhe Gallery; Legend of St. Nicholas (1643), St. Ursula Church, Cologne; Assumption, Apostle Church, ib.; Portrait of General Johann von Werth, St. Veronica, Museum, ib.; Elegant Assembly at Meal Out-of-Doors (1644), Germanic Museum, Nuremberg.--Allgem. d. Biogr., xiii. 335; Nagler, Mon., iii. 981.

HULST, FRANS DE, died in Haarlem, Dec. 29, 1661. Dutch school; landscape painter, master of the guild at Haarlem in 1631. Resembles in his early manner Salomon van Ruysdael, in his later, Roelof de Vries. Works: Dutch City on a Canal, Berlin Museum; Village on Downs of Scheveningen (1644), Gotha Museum; View of Eastern Gate at Hoorn, View of Nymwegen, Rotterdam Museum.--Meyer, Gemälde d. köngl. Mus., 218.

HULST, JAN BAPTIST VAN DER, born at Louvain, March 2, 1790, died at Brussels in June, 1862. History and portrait painter, pupil of Louvain Academy under J. G. Geedts; went in 1819 to Paris, and in 1826 to Rome, whence he visited Naples, Florence, and Venice; was made court-painter to the King of Holland in 1830, and subsequently member of Amsterdam Academy. Works: Miracle of the Holy Sacrament, St. James’s, Louvain; Series of Family Portraits, Duke of Arenberg, Brussels.--Immerzeel, ii. 65; Kramm, vii. 87.

HULST, PEETER VAN, died in Antwerp in 1628. Flemish school; landscape painter, pupil of Ghielis Vinbons in 1583; his pictures, enlivened with figures, are vividly conceived and powerful in tone. Not to be confounded with Peeter Verhulst, alias Floris, of Mechlin, who became master of the guild at Antwerp in 1589, and took Jan Wildens as a pupil in 1596, nor with Pieter van der Hulst, called Zonnebloem, landscape and still-life painter (born at Dordrecht, Feb. 25, 1651, died in 1708), by whom there is a Village View (1652) in the Städel Gallery at Frankfort. Work, Flemish Kirmess (1628), Brunswick Museum.--Riegel, Beiträge, ii. 88.

HULSWIT, JAN, born at Amsterdam, April 11, 1766, died there, Aug. 8, 1822. Landscape painter, pupil of Pieter Barbiers, the younger (born in 1749); member of Royal Institute of the Netherlands and of Amsterdam Academy. Works: Landscapes (2, 1807, 1813), City Gate (1807), Amsterdam Museum; Landscape, Städel Gallery, Frankfort.--Immerzeel, ii. 66.

HUMBERT, FERDINAND, born in Paris, Oct. 8, 1842. Genre and portrait painter, pupil of Picot, Cabanel, and Eugène Fromentin. A skilful realist, and vigorous colourist. Medals: 1866, 1867, 1869; 3d class, 1878; L. of Honour, 1878. Works: Flight of Nero (1865); Œdipus and Antigone Finding the Bodies of Eteocles and Polynices (1866), Aurillac Museum; Ambroise Paré and the Duke de Nemours (1868); Dr. Nélaton; Massaouda (1869); John Baptist and the Fortune-Teller (1872); Delilah (1873); Madonna and St. John (1874), Luxembourg Museum; Christ at the Column (1875), Orleans Museum; Woman taken in Adultery (1877); Rape of Dejanira (1878); Salome (1880); Child’s Portrait (1884); The End of the Day (1885).--Bellier, i. 794; Larousse, Supplement.

HUMBERT, JEAN CHARLES FERDINAND, born at Dardagny, near Geneva, in 1813, died at Geneva, March 20, 1881. Animal and landscape painter, pupil in Paris of Ingres and of Diday, but studied chiefly from nature. Medal, 3d class, Paris, 1842; honorary member of St. Petersburg Academy, 1860; Russian Order of Stanislaus, 1860; Italian Order of St. Maurice and Lazarus, 1863. Works: Cattle Drinking, Basle Museum; Herd Crossing River (1846), Berne Museum; The Ford, Musée Rath, Geneva.

HUMMEL, KARL, born in Weimar in 1821. Landscape painter, pupil of Preller, with whom he visited Holland, Norway, Rügen, and Tyrol; lived in Italy in 1842–46, and painted many landscapes in the ideal style of Claude Lorrain. Professor at the Weimar Art School since 1859. Works: Mountainous Landscape (1854); Gardens of Armida, View of Brienz Lake (1858), View in Lauterbrunn Valley (1859), German Landscape (1860), Leipsic Museum; Rape of Hylas; Seneca’s Tower in Corsica; Flight to Egypt; Garden of Belriguardo; Tyrolese Landscape; View of Mühlberg; Views of Bohemian Forest; Monte Rotondo in Corsica; Ajaccio seen from Campo dell’Oro; Capo di Sorrento; Civita Castellana; Monte-Soracte.--Müller, 269; Nagler, Mon., iii. 271.

HUMPHREY, OZIAS, born at Honiton, Devonshire, Sept. 8, 1742, died in London, March 9, 1810. Studied drawing in the school of William Shipley, London, and miniature painting under Samuel Collins, at Bath. In 1764 he settled in London, and gained much reputation as a miniature painter. In 1773 he accompanied Romney to Italy, and in 1785 went to India, where he painted many illustrious natives. His crayon portraits were much esteemed. He became A.R.A. in 1779, and R.A. in 1791.--Redgrave; Cat. Nat. Port. Gal.; Cat. S. Kensington Mus.; Nat. Port. Exhib. (1867); Sandby, ii. 214.

HUNDERTPFUND, LIBERAT, born in Bregenz, Nov. 11, 1806, died there, March 28, 1878. History and portrait painter, pupil of Vienna Academy. Returned in 1828 to his native town, painted altarpieces, and in 1832 went to Munich, where he soon acquired reputation as a portrait painter. After 1835, when he had moved to Augsburg, he devoted himself exclusively to religious subjects, and executed many altarpieces; after 1839, decorated several churches in fresco; returned to Bregenz in 1876. Works: Portrait of Dillis (1832), New Pinakothek, Munich; Portrait of Eigner (1835), Augsburg Gallery; Portrait of Bishop Albert Rieg; Christ on Mount of Olives; St. Peter on the Waters.--Kunst-Chronik, xiii. 576.

HUNIN, (PIERRE PAUL) ALOUIS, born at Mechlin, Dec. 7, 1808, died there, Feb. 27, 1855. Genre painter, son of, and first instructed by, the engraver Mathieu Hunin, then pupil of Braekeleer, and in Paris of Ingres and Cogniet. Medals: Brussels, 1839, 1845; The Hague, 1841; Order of Leopold. Works: Girl praying for her Mother (1834); Young Draughtsman (1836); Paternal Lesson, Marriage Ceremony (1839); Mother’s Anxiety (1840); Return of Wounded Soldier (1841); Return from Baptism (1842); Father’s Last Advice (1843); Opening of the Will (1845), Berlin Museum; Maria Theresa visiting Poor Family; Distribution of Alms.--Immerzeel, ii. 67; Kramm, iii. 771.

HUNS, BATTLE OF THE, Wilhelm von Kaulbach, New Museum, Berlin; mural painting, staircase hall. In the background, Rome; before it a field strewn with dead bodies gradually awakening, rising, and rallying; among them wailing women. At the heads of the two ghostly hosts are Attila, carried on a shield by the Huns, and wielding a scourge, and Theodoric with his two sons, behind whom is raised the banner of the Cross.

HUNT, ALFRED WILLIAM, born in Liverpool in 1831. Landscape painter, pupil of his father, a drawing teacher of Liverpool; is a graduate and a fellow of Corpus Christi College, Oxford. First picture to bring him into notice was Stream from Llyn Idwal, Caernarvonshire, exhibited at Royal Academy in 1856. Paints in both oil and water-colours. Among the former are: Debatable Ground (1862); Morning Mist on Loch Maree (1870); Goring Lock on the Thames (1871); From Moor to Mount (1874); Summer Days for Me! (1876); On the Coast of Yorkshire (1877); Norwegian Midnight, Leafy June (1879); Safe in the Mud, Golden Night (1881); Sonning--Mid-day (1882); North Country Stream (1883).

HUNT, WILLIAM HENRY, born in London, March 28, 1790, died there, Feb. 10, 1864. Landscape, still-life, and genre painter in water-colours; pupil of John Varley and of the Royal Academy, where he exhibited, in 1807, Scene near Hounslow, and View near Reading; became, in 1827, a member of the Society of Painters in Water Colours. Among his best works are: The Laboratory, The Attack, The Defeat, The Orphans, The Itinerant, Mulatto Girl, Ballad-Singer, Study of Gold--A Smoked Pilchard, Study of Rose Grey--A Mushroom (1860); Dead Humming-Bird (1864); Still Life, W. T. Walters, Baltimore.--Ottley; Ruskin, Notes on S. Prout and Wm. Hunt (London, 1879).

HUNT, WILLIAM HOLMAN, born in London, April, 1827. Pupil of John Varley, and in 1845 of the Royal Academy, where he exhibited his first picture, Hark! in 1846. In 1849 he took his stand with Millais and others of the so-called Pre-Raphaelites, and has since been one of the most earnest apostles of that school of painting. In 1854–55 he visited Egypt and Syria, and has since spent much time in the East, especially in Jerusalem, where several of his pictures were painted. Works: Little Nell and her Grandfather, Dr. Rochcliffe performing Divine Service in Cottage of Jocelyn Joliffe (1847); Flight of Madelaine and Porphyro (1848); Rienzi vowing to avenge his Brother’s Death (1849); Converted British Family sheltering a Christian Missionary from Druids (1850); Valentine rescuing Sylvia (1851); Hireling Shepherd (1852); Claudio and Isabella, Our English Coasts (1853); Awakened Conscience, Light of the World (1854); Scapegoat, Finding of the Saviour in the Temple (1860); King of Hearts (1863); Afterglow in Egypt (1865); London Bridge on the Entry of Princess Alexandra, Isabella and the Pot of Basil (1868); Shadow of Death (1873), Manchester Art Gallery; Flight into Egypt, Italian Child, Plains of Esdraelon, Street Scene near Cairo (1877); The Ship (1878); Miss Flamborough (1882); Portrait of Dante Gabriel Rossetti (1884); Bride of Bethlehem, Triumph of the Innocents (1885).--Portfolio (1871), 34; Art Journal (1860), 158, 182; Rossetti, Fine Art, 233.

HUNT, WILLIAM MORRIS, born in Brattleborough, Vt., March 31, 1824, died at the Isles of Shoals, Sept. 8, 1879. Portrait, landscape, and figure painter; studied at the Royal Academy, Düsseldorf, in 1846, with the intention of becoming a sculptor. Nine months later became the pupil for a short time of Couture in Paris, after which he went to Barbizon to study with Millet, who influenced his work through life. In 1855 returned to the United States, opened a studio in Newport, and a little later settled permanently in Boston, where he had many scholars. Visited Paris in 1867. Works: Head of a Jewess; Priscilla, Thomas Wigglesworth, Boston; Farmer’s Return (1849); Sheep Shearing at Barbizon; Fortune-Teller; Prodigal Son; Girl with a Kitten; Girl Reading; Girl Spinning; Violet Girl; Marguerite; Hurdy-Gurdy Boy; Drummer-Boy (1861); Bugle-Call (1864); Gloucester Harbour; Newton Lower Falls; Coast Scene at Magnolia--Mass.; Dead in the Snow; The Lambs, Mrs. G. W. Long. Portraits: Chief Justice Shaw, Essex County Bar; Allan Wardner; Horace Gray (1865), Chief Justice Gray; Mrs. S. G. Ward (1867); of the Artist (1879), Peter C. Brooks, Jr.; of his Wife; Mrs. Charles Francis Adams; Mrs. G. W. Long; Wm. H. Gardiner; Hon. W. M. Evarts, Miss Mason. The Flight of Night, and the Discoverer, mural decorations in the Capitol at Albany (1878).--Am. Art Rev. (1880), 49, 93; Tuckerman, 447; Talks on Art, by W.M.H., edited by Helen M. Knowlton, two series (Boston, 1875, 1882).

HÜNTEN, EMIL JOHANNES, born in Paris, Jan. 19, 1827. Battle painter, pupil of Flandrin and of École des Beaux Arts under Vernet, then in Antwerp under Wappers and Dyckmans; settled (1851) in Düsseldorf, and became a pupil of Camphausen. In 1864 he accompanied the army during part of the winter campaign in Schleswig, and the Army of the Main in 1866; in 1870–71 he visited many of the battle-fields in France. Medals in Berlin (1872), Vienna (1873). Member of Berlin Academy since 1878. Works: Prussian Cuirassiers dashing over a Bridge (1852–53); Skirmish near Hennersdorf (1855); Skirmish at Reichenbach (1856), Provinzial Museum, Hanover; Battle of Zorndorf (1858); Patrol of Cuirassiers, General von Nostitz at Oeversee, Austrian Officer with Flag of Truce, Storming Düppel Earthworks (1865); Reconnoitring at Sadowa (1866); Episode from Battle of Crefeld, Blücher, Kiel Gallery; From the Time of Frederic the Great, Stettin Museum; Skirmish of Patrol near Thorstedt; Prussian Hussars against Danish Dragoons; Cavalry Fight near Elsasshausen (1877), National Gallery, Berlin; Guard-Dragoons at Mars-la-Tour; Engagement near St. Privat; Chasseurs d’Afrique at Sedan; Episode from Fall Manœuvres on the Rhine (1879); Battle near Loigny, 1870 (1882), Bremen Gallery.--Müller, 272.

HÜNTEN, FRANZ, born in Hamburg in 1822. Marine painter, pupil of Düsseldorf Academy under Schirmer, and studied from nature on the coasts of Holland, Belgium, France, Great Britain, Ireland, Norway, Italy, and the Levant. Works: Shipwreck on Coast of Scotland (1870), Kunsthalle, Hamburg; Surge on Norwegian Coast, Schwerin Gallery.

HUNTER, COLIN, born in Glasgow in 1842. Marine painter, self-taught; worked for several years in Glasgow, but now resides in London. Exhibits chiefly at Royal Academy and Royal Scottish Academy. Elected an A.R.A. in 1883. He is one of the best living painters of water in motion. Visited America in 1884 to study Niagara Falls. Works: Herring Trawling (1872), Mr. Arthur Lewis, Moray Lodge; Trawlers waiting for Darkness (1873), Philadelphia Exposition, 1876, Paris, 1878, Alexander Stevenson, Tynemouth; Salmon Stake-Nets (1874), Sidney Gallery, Australia; Stitch in Time, Daily Bread (1877); Stores for the Cabin (1878); Lee Shore, Village of Aroch (1879); Their Only Harvest (1879), purchased by Royal Academy; The Silver of the Sea (1880), Sir Donald Currie; In the Gloaming (1881); Mussel Gatherers, G. C. Schwabe, Henley-on-Thames; The Island Harvest, Waiting for the Homeward-Bound (1882); Lobster Fishers (1883); A Pebbled Shore (1883), Wm. Pearce, Glasgow; Summer Twilight, As they roar on the Shore, The First Arrivals, Herring Market at Sea (1884); Rapids of Niagara (1885).

HUNTINGTON, DANIEL, born in New York, Oct. 14, 1816. Portrait and genre painter, pupil of Professor Morse in 1835, later of Inman. Visited Europe in 1839, and again in 1844, painting some of his most important works in Florence and Rome. Elected an A.N.A. in 1839 and N.A. in 1840. President of the National Academy in 1862, 1869, and 1877, and still holds the office. Studio in New York. Works: Florentine Girl, Early Christian Prisoners (1839); Shepherd Boy (1840); Black Penitents, Sacred Lesson (1844); Woodland Scene, Coast near Newport, Swiss Lake, Christiana and her Children, Mercy’s Dream (1850), Corcoran Gallery, Washington; replica, Pennsylvania Academy, Philadelphia; Piety and Folly, Henry VIII. and Catherine Parr (1850); Chocorua (1860), Mrs. R. L. Stuart, New York; Venice, J. P. Morgan, ib.; Study in the Woods, C. P. Huntington, ib.; St. Jerome, T. B. Clarke, ib.; The Sibyl, Historical Society, ib.; Juliet on the Balcony (1870); Titian, Clement VII. and Charles V. at Bologna (1874); Republican Court (1876), A. T. Stewart Collection, New York; Philosophy and Christian Art (1878); Goldsmith’s Daughter, Lady in White and Red (1884). Portraits: Presidents Lincoln (Union League Club, New York) and Van Buren (State Library, Albany); Governor E. D. Morgan; Wm. E. Dodge; Chancellor Ferris, New York University; Mr. and Mrs. Tayloe, Corcoran Gallery, Washington; James Lenox; John Taylor Johnston; Bishop Whipple; Rev. Morgan Dix; Bishop Potter; Commodore Stringham; Judge Blatchford (1879), U. S. District Court; Sir Charles Eastlake, Earl of Carlisle, General John A. Dix (1880), Historical Society, New York; Hon. John Sherman (1881), Chamber of Commerce, ib.; Rev. Dr. Adams (1883), Union Theological Seminary; Hon. R. C. Winthrop, U. S. Congress; Julius Hallgarten, founder of the Hallgarten Prizes (1884), National Academy, New York; Professor Edward North (1885).--Am. Art Rev. (1881), 223; Tuckerman, 321.

HUNTSMAN, SLEEPING (Chasseur endormi), Gabriel Metsu, Sir Richard Wallace, Hertford House, London; wood, H. 1 ft. 3 in. × 1 ft. 1 in. A tired and sleeping huntsman in front of an inn, the host of which is disencumbering him of part of his game; a woman bringing a jug of beer. Formerly in Fesch Gallery. Bought by Lord Hertford for £3,000.--Waagen, Treasures, ii. 159.

HURLSTONE, FREDERICK YEATES, born in London in 1800, died there, June 10, 1869. Portrait and subject painter, pupil of Sir William Beechey, of Sir T. Lawrence, and of Haydon, and in 1820 student of the Royal Academy, where he won the gold medal in 1823 for the best historical picture. In 1835 he visited Italy, in 1841, 1851, and 1852 Spain, and in 1854 Morocco, and the themes of his pictures were largely drawn from those countries. During the thirty-four years preceding his decease he was president of the Society of British Artists. Works: Prisoner of Chillon (1837); Scene in St. Peter’s; Enchanted Garden of Armida; Constance and Arthur; Venetian Page; Italian Boy with Mandolin; Boabdil el Chico; Game of Mora; Columbus asking Alms; Haidee roused from her Trance by Music.--Art Journal (1869), 271.

HUSS BEFORE THE COUNCIL OF CONSTANCE, Karl Friedrich Lessing, Städel Gallery, Frankfort; canvas. Huss is standing, speaking, with his left hand upon a large book resting on a stand; at his left sits the Pope’s legate, leaning over whose shoulder is Gerson, supposed author of Imitatio Christi; and grouped on each side are the Cardinal of Cambria, the Archbishop of Prague, the Bishop of Lodi, and other ecclesiastics. Painted in 1842. Replica, in small, J. Longworth Collection, Cincinnati.--Art Treasures of America, iii. 71, 73.

HUSS, MARTYRDOM OF, Karl Friedrich Lessing, Berlin Museum; canvas, H. 11 ft. 9 in. × 18 ft. 1 in.; signed, dated 1850. Huss, kneeling on a hill in centre, having refused to abjure, is about to have the yellow cap, painted with devils and inscribed “heresiarch,” placed upon his head by a man-at-arms; near by Ziska, grasping a staff, and the Reformer’s converts--John of Duba and John of Chlum--watch the scene with painful sympathy; in foreground, right, Palatine Louis of Bavaria on horseback, accompanied by a standard-bearer, looking back at two Italian prelates, also mounted; at left, crowd of spectators; in background, left, the stake and executioners with ropes and torches. Replica, in small, J. Longworth Collection, Cincinnati.--Art Treas. of Amer., iii. 71, 73.

HUTIN, CHARLES, born in Paris, July 4, 1715, died in Dresden in 1776. French school; genre painter, pupil of François Le Moine. Won the grand prix de Rome in 1735 with his Rebekah receiving Abraham’s Presents, and at Rome studied sculpture for seven years under Slodz. Member of the Academy in 1747. In 1748 went to Dresden, where he designed most of the decorations of the Gallery, and became director of the Academy in 1768, and court-painter. Works: Girl holding a Letter (1769), Dresden Museum; Woman lighting a Fire, Man carrying Wine in a Cart, Madrid Museum.--Bellier, i. 798; Larousse; Lejeune, Guide, i. 373.

HUYS, PEETER, second half of 16th century. Flemish school; genre painter in the realistic style of Quinten Massys; master in 1545 of the guild at Antwerp, where he was still living in 1571. Works: Bagpiper robbed by Old Woman (1571), Berlin Museum (temporarily in Stettin Museum); Grotesque Fantasy on Torments of Hell, Madrid Museum.

HUYSMANS, CORNELIS, called Huysmans of Mechlin, born in Antwerp, April 2, 1648, died in Mechlin, June 1, 1727. Flemish school; landscape painter, pupil of Kasper de Witte in Antwerp, and of Jacques d’Arthois in Brussels, whence he went to Mechlin. Van der Meulen, on a visit to Brussels, tried in vain to attract him to the court of Louis XIV., but persuaded him to paint backgrounds for his Environs of Luxembourg and Dinant, now in the Louvre. Works: Woodland with Château, National Gallery, London; Landscapes in National Gallery, Edinburgh; Louvre, Paris (5); Museums at Berlin (3), Brunswick (2), Brussels, Cologne (3), Dresden (2), Hanover, Nantes, New York (3), Rouen, Stockholm, Stuttgart (4), Vienna (2); Galleries at Augsburg, Carlsruhe (2), Cassel (2), Copenhagen, Hamburg, Oldenburg, Schleissheim (5), Schwerin; Old Pinakothek, Munich (2); Historical Society, New York (2); Hermitage, St. Petersburg (2).--Ch. Blanc, École flamande; Gaz. des B. Arts (1870), iii. 361; Immerzeel, ii. 69; Kramm, iii. 777; Michiels, ix. 142; Neefs, i. 508; Riegel, Beiträge, ii. 133; Rooses (Reber), 414; Van den Branden, 1077.

HUYSMANS, JACOB, born in Antwerp in 1656, died in London in 1696. Flemish school; portrait and history painter, pupil of Gilles Backereel, and completed his artistic education in England, reign of Charles II. Painted the most distinguished ladies of the court. Works: Portrait of Queen Katharina of Portugal, Buckingham Palace; Portrait of Izaak Walton, National Gallery, London; Lady Byron, Hampton Court; Catharine of Braganza, Colonel W. Legg, National Portrait Gallery, London; Altarpiece, German chapel, St. James’s.--Immerzeel, ii. 69; Kramm, iii. 778; Redgrave, 223; Scharf, 420.

HUYSMANS, JAN BAPTIST, born in Antwerp, baptized Oct. 7, 1654, died there, July 14, 1716. Flemish school; landscape painter, brother and pupil of Cornelis; master of the Antwerp guild in 1676. His pictures show even more elevated feeling for nature than those of his brother, and were often sold for Ruysdaels. Works: Great Landscape (1697), Brussels Museum; Others, Dijon Museum; Ruins of Corinthian Temple (1695), Old Pinakothek, Munich.--Gaz. des B. Arts (1870), 363, 366; Kunst-Chronik, x. 683; Michiels, ix. 146, 150; Rooses (Reber), 414; Van den Branden, 1078.

HUYSUM, JAN VAN, born in Amsterdam, April 15, 1682, died there, Feb. 8, 1749. Dutch school; flower and fruit painter, son and pupil of Justus van Huysum, whom he assisted in executing various subjects, but his great talent for flower and fruit painting caused him to devote himself exclusively to this branch of art, in which he formed himself after De Heem and Mignon. Brilliant effects of light, masterly drawing, high finish of detail. Works: Vase with Flowers (1736–37), do., National Gallery, London; Bunches of Flowers, Bridgewater Gallery; Rich Flower-Piece, Fruit-Piece, Lord Ashburton; Bouquet, Fruit-Piece, Mr. Hope’s Collection; Two, Dulwich Gallery; Landscape (1717), do. (3), Flower and Fruit-pieces (6), Louvre, Paris; Landscape, The Offering, Flowers (1723), do., Fruit-pieces (2), Amsterdam Museum; Landscapes and Flower-pieces in Museums at The Hague (3), Berlin (4, one dated 1722), Berne, Boston, Brunswick (4, one dated 1724), Dresden (3), Hanover (2), Nuremberg, Stockholm, Stuttgart, Vienna (2), Weimar; Galleries at Carlsruhe (3, one dated 1714), Copenhagen, Hamburg (2, one dated 1706), Munich (3, one dated 1735), Oldenburg, Schwerin (5, three dated 1728, 1742, 1743), Hermitage, St. Petersburg (4, two dated 1722, 1723).--Ch. Blanc, École hollandaise; Gool, ii. 13; Immerzeel, ii. 70; Kramm, iii. 780; Kugler (Crowe), ii. 546.

HUYSUM, JUSTUS VAN, born in Amsterdam, June 8, 1659, died there in April, 1716. Dutch school; landscape and genre painter, pupil of Berchem. Besides landscapes with animals after the manner of Berchem, he painted portraits, hunts, cavalry skirmishes, and coast-views with great technical skill. Pictures sketchy but effective. He was only inferior to his son Jan as a flower and fruit painter. Works: Bouquet, Antwerp Museum; Landscapes with Animals, Hague Museum; Battle with Cavalry Skirmish in foreground, Brunswick Museum; Flower and Fruit-pieces (5), Landscape, Schwerin Gallery.--Immerzeel, ii. 70; Nagler, Mon., iv. 179; Riegel, Beiträge, ii. 428; Schlie, 292.

HYACINTH, ST., VISION OF, Lodovico Carracci, Louvre; canvas, H. 12 ft. 2 in. × 7 ft. 3 in. St. Hyacinth at prayer before a marble tablet sustained by an angel, in a temple adorned with columns; above, the Virgin and Child upon clouds, accompanied by a choir of angels and cherubim. Painted in 1594 for chapel of Turrini family in S. Domenico, Bologna. Lodovico modelled the composition in clay, and the casts from it long served as studies in the schools of Bologna. Engraved by Agostino Carracci.--Villot, Cat. Louvre; Landon, Musée, ii. Pl. 39.

HYRE, LAURENT DE LA. See Hire.

IAIA (Laia, or Lala), portrait painter, from Cyzicus on the Propontis, lived in Rome about beginning of 1st century, B.C. Her female portraits, painted both with the pencil and with the cestrum on ivory, commanded higher prices than those of Sopolis and Dionysius, the most renowned portrait painters of the time. She painted her own portrait by the aid of a mirror.--Pliny, xxxv. 40 [147].

IBBETSON, JULIUS CÆSAR, born at Masham, Yorkshire, Dec. 29, 1759, died there, Oct. 13, 1817. Landscape, marine, animal, and figure painter, mostly self-taught; went to London about 1778, first exhibited at the Royal Academy in 1785, and after having accompanied, as a draftsman, Colonel Cathcart’s embassy to China in 1788, was for many years a large contributor to its exhibitions; returned to his native place in 1801. Benjamin West called him the Berchem of England. Works: Tigers in a Jungle, Jack in his Glory, Landscape with Rustic Bridge, The Mermaid’s Haunt, Sailor’s Return Home, View in Isle of Wight, South Kensington Museum, London.--Redgrave, 232.

IDYL, Jean Jacques Henner, Luxembourg Museum, Paris; canvas, H. 2 ft. 5 in. × 2 ft. Nude figures. A young girl, seated beside a fountain shaded by trees, playing a reed pipe, and a second one standing, intently listening. Salon, 1872.

IGNATIUS, ST., MIRACLES OF, Rubens, Vienna Museum; canvas, H. 17 ft. × 12 ft. 6 in. St. Ignatius Loyola, standing on the steps of the altar in a magnificent temple, healing the sick and the possessed, who are grouped around him; above, angels hovering, and in background, demons escaping. Painted for Jesuits’ Church, Antwerp; bought in 1774 by Empress Maria Theresa for 18,000 florins. Original sketch also in Vienna Museum. Engraved by Marinas; Langer.--Smith, ii. 19; Gal. de Vienne, iii. Pl. 317.

IHLÉE, EDUARD, born in Cassel in 1813, died there, Feb. 16, 1885. German school; history painter, pupil of Friedrich Müller, then of Düsseldorf Academy under Schadow, and of Städel Institute, Frankfort, under Veit, whose daughter he married. Visited Italy, where he studied the old masters and painted from nature. Professor at Cassel Academy. Works: St. Louis founding Hospital at Compiègne (1845), Mentz Gallery; Judith, Emperor Henry IV., Römer, Frankfort; Finding of Moses, Stuttgart Museum; Altarpiece for Warmbrunn, Silesia; Two Evangelists; Christ blessing Little Children; Christ at Simon’s House; Monk; Roman Woman in Gala Dress; Convent Garden with Monks; Copies after Italian Masters, Cassel Gallery.--Kunst-Chronik, xx. 365; Müller, 273.

ILDEFONSO, ST., Murillo, Madrid Museum; canvas, H. 10 ft. 2 in. × 8 ft. 3 in. The Virgin, seated in an arm-chair on a platform beneath a canopy, attended by four angels, delivers a chasuble to the kneeling Saint, behind whom kneels an old woman in white cap and red mantle; above, cherubs and heads in a glory. Last manner. Collection of Philip V. Engraved by F. Selma; etched by C. Alabern.--Curtis, 242; Madrazo, 476.

By Rubens, Vienna Museum; wood, three parts, each 11 ft. high; centre 7 ft. 6 in. wide; sides, each 3 ft. 6 in. Centre panel: The Virgin, seated on a golden throne, with two female saints standing on each side, invests St. Ildefonso, Archbishop of Toledo, with the chasuble of his Order; above, three angels, with wreaths and flowers, hovering in celestial light. Left panel: Archduke Albert, then Governor-General of the Netherlands, on his knees in prayer, in presence of his patron, St. Albert. Right panel: His wife, Archduchess Clara Isabella Eugénia, on her knees in prayer, in presence of her patron, St. Clara. Painted for the Chapel of the Order of St. Ildefonso, in the Church of St. Jacques de Candenbergh, near Brussels.--Smith, ii. 91; Gal. de Vienne, iii. Pl. 133.

ILLE, EDUARD, born in Munich, May 17, 1823. History painter, pupil of Munich Academy under Schnorr and Schwind; at first painted altarpieces, then took up painting in water-colours and drawing on a large scale, and made numerous illustrations for periodicals and poetical works. Professor since 1868. Works: Lohengrin; Tannhäuser; Parsifal; History of Hans Sachs; Cycle of Twenty-two from Niebelungen Saga; Scenes from Thirty Years’ War (1868); Prince Eugène; Watch on the Rhine.--Müller, 274.

ILLUSIONS, LOST (Illusions perdues), Charles Gabriel Gleyre, lately in Luxembourg, Paris; canvas, H. 4 ft. 6 in. × 7 ft. 11 in. A man, seated in the twilight on a deserted shore, sees pass before him on the river a boat filled with young men and maidens crowned with flowers--lost illusions which the current is hurrying into the night. Salon, 1843; conceived, according to the painter’s diary, on the Nile, opposite Abydos, in 1835. Replica (2 ft. 10 in. × 4 ft. 11 in.), W. T. Walters, Baltimore.--Sir Arthur Helps, Friends in Council; Art Treas. of America, i. 89.

IMER, ÉDOUARD, born in Avignon, Dec. 25, 1820, died in Haarlem, June 13, 1881. Landscape painter, self-taught. Painted truthful landscapes, usually taken from central France; travelled in the East, especially in Egypt and Algeria. Medals: 1865; 2d class, 1873. Works: Road in Provence (1850); Rhone Plain in Provence, Landscape near Marseilles (1853); Ponds of Soumabre, The Rhone (1855); Pond of Soumabre (1857), Neuchatel Museum; Sycamores on the Road to the Pyramids, Island of Philæ, Woods of Doums, Sycamores at Ghizeh, Environs of Cairo (1857); Hills of St. Marguerite, Mas de Barême, The Rhone (1859); Pond of Soumabre, The Pont du Gard, Edge of the Woods of Montespin (1861); Island of Lerins, Gulf of Juan, Masdes Aubes (1863); Sycamores at Ghizeh, View in Berry (1864); Pond of Fourdines (1865); Ruins of Crozant (1865), Neuchatel Museum; Island of St. Honorat, The Creuze (1866); Valley of Venasque, Ramparts of Aigues-Mortes (1867); Circus of Frejus, Road of Crozant (1868); Environs of San Raphaël, Bridge of San Raphaël (1869); Sluice of the Pond of Sault, View in Berry (1870); The Creuze, Quay of Zattere in Venice (1872); Oak-Tree of Voulliers, Sea View (1873); Pond of Hiot, Piedimonte, Shore of St. Jean d’Orbeiter (1874); The Creuze, Plain of Cayeux, Marshes of the Bay of the Somme (1875); Oaks of Dauphiny, Bay of the Somme (1876); Bridge of Saint-Benezet, Avignon Museum; Evening on Lagunes of Venice, Rocks near Cassis--Provence, Neuchatel Museum.--Bellier, i. 802; Meyer, Conv. Lex., xx. 505.

IMMACULATE CONCEPTION. See Conception.

IMOLA, GIOVANNI DA. See Ferretti.

IMOLA, INNOCENZO DA, born at Imola in 1494, died at Bologna about 1550. Bolognese school. Real name Innocenzo di Pietro Francucci; pupil in Bologna of Francesco Francia, and in Florence of Mariotto Albertinelli, in whose style he painted (1517) the Madonna with Angels and Saints, Bologna Gallery. Later he became an imitator of Raphael. On his return from Florence, executed many works at Imola and Bologna. Among the latter the most important are frescos of the Death and Assumption of the Virgin (1519), in S. Michele in Bosco; Madonna in Glory with Saints and Angels, Gallery; Annunciation, Servi; Crucifix (1549), S. Salvatore; Madonna with Saints, S. Matteo; Madonna with Kneeling Donors, Gallery; Marriage of St. Catharine (1536), S. Giacomo Maggiore. There is an altarpiece (1526) by Imola in the Duomo, Faenza; another in the Berlin Museum; a third in the Munich Gallery; and a Madonna in the Carlsruhe Gallery.--Vasari, ed. Mil., v. 185; Lermolieff, 65, 282; Gualandi, Guida di Bologna; Lanzi, iii. 36; Ch. Blanc, École bolonaise; Lübke, Gesch. der. ital. Mal., ii. 377.

IMPICCATI, ANDREA DEGLI. See Castagno.

INCENDIO DEL BORGO, Raphael, Stanza dell’Incendio, Vatican; fresco, arched top. The district of St. Peter called the Borgo Vecchio in flames (A.D. 847), the fire even threatening the Church of St. Peter, the old façade of which is seen in background; all efforts to stay the conflagration are vain until Leo IV. appears in the Loggia of the Vatican (now destroyed) and makes the sign of the cross, when, according to the church tradition, it miraculously ceased. A typical conflagration, suggestive of the burning of Troy, with Æneas, Anchises, Crëusa, and Ascanius in the group at left. Painted in 1515; almost entirely by Raphael. Studies in Uffizi, Florence, and Albertina Collection, Vienna. Engraved by P. Thomassin; P. Anderloni; Volpato.--Vasari, ed. Mil., iv. 359; Passavant, ii. 158; Müntz, 425; Kugler (Eastlake), ii. 436; Perkins, 175.

INDUNO, DOMENICO, born in Milan, March 15, 1815, died there, Nov. 5, 1878. Genre painter, pupil of Milan Academy under Luigi Sabatelli and of Hayez; won the great prize in 1837, and went to Rome. After painting classical and romantic subjects, finally devoted himself entirely to the representation of Milanese popular life. Implicated in the revolution in 1848, he fled to Switzerland, then went to Tuscany, and returned to Milan in 1859. Works: Alexander; Oath at Pontida; Samuel anointing David (1840), Vienna Museum; The Smugglers; Bread and Tears; The Beggars; Soldier’s Grief; Conflagration; Dispatch; The Rosary; Pawnbroker’s Shop; Victor Emmanuel laying Corner-Stone of Milan Gallery (1878).--L’Illustrazione ital. (1878), No. 45; Larousse, ix. 669; Vapereau (1880), 974; Wurzbach, x. 204.

INDUNO, GIROLAMO, Cavaliere, born in Milan in 1827. Genre painter, pupil of Milan Academy; first exhibited in Paris in 1855, pictures of military life and humorous scenes of the Rococo period which have gained him a prominent place among modern Italian artists. Works: Garibaldi’s Soldiers, Sutler (1855); Letter from Camp; Tale of the Garibaldian; Salutes between Gianduia and Meneghino, Garibaldian Sentinel, Farewell of the Conscript (1868); Museo Civico, Turin; Battle of Magenta; Gallant Friend of the Family; Lady Artists Overheard; Expectation; Return of Garibaldian; Bridal Pairs; Eleonore d’Este grieving about Tasso (1870); Bivouac near Capua; First Snow; Battle of Palestro; Battle of Cernaia; Entry of King of Italy into Venice; Dancing Lesson in Last Century; Domestic Scene; Amateur of Antiquities (1873); Savoyard Woman (1878); Emigrants, Italy in 1866 (1878); Visit of Garibaldi to Victor Emanuel at Rome in 1875, Dear Remembrance, Il marito gentil queto sorride (Parini), Souvenir of Rome, Brera, Milan; Sentinel, Fondazione Poldi-Pezzoli, ib.--L’lllustrazione ital. (1876); Gaz. des B. Arts (1867), xxiii. 224; Wurzbach, x. 205; Zeitschr. f. b. K., iii. 125; x. 288.

INFIDELITY, Paolo Veronese, Cobham Hall, England; canvas, 5 ft. 10 in. sq. A woman, nude, seated between two men, to one of whom she gives her hand while putting a letter into the hand of the other; below, two cupids. From collection of Queen Christina of Sweden to Orleans Gallery; valued at sale in 1793 at £150, sold for 46 guineas. Engraved by S. Vallée.--Waagen, Treasures, ii. 499; iii. 20; Cab. Crozat, ii. Pl. 28; Ch. Blanc, École vénitienne.

INGANNI, ANGELO, born at Brescia in 1807. Architecture painter, member of Milan Academy; lives at Brescia, and enjoys reputation in North Italy. Works: View of Cathedral and Square at Milan (1839), Vienna Museum; Harbor of Como (1846); Piazza Fontana, Piazza Borromeo (1847); Arco della Costa in Verona (1851); Façade of Milan Cathedral (1852); Municipal Palace at Brescia (1857); Blessing the Weather (1858).--Wurzbach, x. 206.

INGEGNO, L’, born in Assisi, flourished end of 15th and early part of 16th century. Umbrian school. Real name Andrea Luigi, Alovigi, or Lovigi, but called L’Ingegno (the Cunning), on account of his pictorial ability and his versatility. Vasari’s account of him is full of errors. He was more probably the pupil of Niccolò Alunno, who opened a school at Foligno in 1460, than of Perugino, whose school at Perugia did not begin until about 1499, and is first heard of in 1484, painting coats-of-arms in the Council Hall and on the city gates of Perugia. He was proctor in 1505, justice in 1507, assistant in 1510, and Papal cashier in 1511, under Pope Julius II. His name is attached to several pictures in European galleries, evidently painted by a master who was at the school of Fiorenzo di Lorenzo, and a companion of Pinturicchio.--C. & C., Italy, iii. 161; Vasari, ed. Mil., iii. 595, 617; Burckhardt, 566; Rumohr, Italienische Forschungen, ii. 324; iii. 29; Kunstblatt (1821), No. 73; (1837), 94.

INGENMEY, FRANZ MARIA, born at Bonn in 1830, died in Düsseldorf, June 3, 1878. Genre painter, pupil in Munich of Correns, then studied in Düsseldorf. Works: Blind Fiddler and his Child; After the Storm; Bad Tobacco; Barred Way Home; Poaching; Study in the Woods; Dream-King and his Love; Surprise, Cinderella; Uninvited Guests.--Kunst-Chronik, xiii. 598.

INGHAM, CHARLES CROMWELL, born in Dublin, Ireland, in 1796, died in New York in 1863. Figure and portrait painter, pupil of Dublin Academy; went to the United States in 1817, and soon acquired reputation by his portraits of the reigning beauties of New York, where he was one of the founders of the National Academy of Design, and for years its vice-president. Works: Death of Cleopatra: Flower Girl; Day Dream; The Black Plume, Portrait of Lafayette (1825), do. of Gulian C. Verplanck (1830), Historical Society, New York.

INGHIRAMI, TOMMASO (Phædra), portrait, Raphael, Palazzo Pitti, Florence; wood, H. 2 ft. 11 in. × 2 ft. Half-length, without beard, in a cap and red dress, sitting, pen in hand, behind a table, on which are an inkstand, a book, and a casket. He was Secretary to the Conclave; called Phædra, because, having once taken part in the performance of Seneca’s Hippolytus, he improvised some Latin verses about Phædra to avert a panic when the theatrical machinery gave way. Painted in Rome about 1513; carried to Paris in 1799; returned in 1815. Replica in Casa Inghirami, Volterra. Engraved by Theo. della Croce; T. Vercruys; Ferrerii; Bardi.--Gal. du Pal. Pitti. i. Pl. 93; Müntz, 276; Passavant, ii. 137; Springer, 252; Gruyer, Raphael Peintre de Portraits.

INGRES, JEAN AUGUSTE DOMINIQUE, born at Montauban (Tarn-et-Garonne), Aug. 29, 1780, died in Paris, Jan. 14, 1867. History and portrait painter, pupil of Roques in Toulouse, and of David in Paris (1796); won the second grand prix in 1800, and the grand prix de Rome in 1801, but being unable to go to Italy on account of the war he spent the next five years in Paris studying the pictures in the Louvre, supporting himself meanwhile by making designs and book illustrations. After living from 1806 to 1820 in Rome, where he studied the works of Raphael with devotion, and from 1820 to 1824 in Florence, he returned to Paris to take rank as one of the greatest artists of his time, and to produce an immense number of works, many of which are of great excellence. As a colourist he is cold and unsympathetic, but as a draughtsman he is perhaps the first of French artists. Some of his portraits, as, for instance, that of M. Bertin, are masterpieces in character and in drawing. He had many distinguished pupils, such as Hippolyte Flandrin, and was familiarly known in Paris as “Le père Ingres.” Member of Institute, 1826; director of the French Academy in Rome, 1834–41; L. of Honour, 1824; Officer, 1826; Commander, 1845; Grand Officer; Medal of Honour, 1855; Senator, 1862. Works: Antiochus sending back Scipio’s Son (1800); Arrival of Agamemnon’s Ambassadors in Tent of Achilles (1801), École des Beaux Arts; Philemon and Baucis (1802), Puy Museum; portraits of his father, of himself, of the sculptor Bartolini, of Bonaparte as First Consul (1804), Liège Museum; Napoleon at the Bridge of Kehl, Venus wounded by Diomed (1804, both lost); Woman Bathing, Copy of Raphael’s Farnesine Mercury, Marseilles Museum; Copy of Raphael’s Adam and Eve, Œdipus and the Sphinx, Napoleon on his Throne (1806), Invalides; Portraits of M. Philibert Rivière, do. of Mme. Rivière (1806), Louvre; Portrait of Mme. de Vaucay, Portrait of Granet Member of Institute (1807), Woman Bathing (1808), Pius VII. holding Chapel, Jupiter and Thetis (1811), Aix Museum; Portrait of M. Bochet (1811), Louvre; Portrait of a Lady (1812), Nantes Museum; Odalisque, Romulus Conqueror of Acron, Palace of St. John Lateran; Raphael and the Fornarina (1813); Don Pedro of Toledo kissing the Sword of Henry IV., Cardinal Bibiena betrothing his Niece to Raphael, Odalisque, Portrait of Ingres’ first Wife (1814); Virgil reading the Æneid (1815); Francesca da Rimini (1818); Roger rescuing Angelica (1819), Louvre; Death of Leonardo da Vinci in the Arms of Francis I., Henri IV. and the Spanish Ambassador, Philip V. of Spain and Marshal Berwick, Odalisque, Portrait of M. de Pressigny, Bishop of St. Malo, Duke of Alva and Pius V. (unfinished); Christ giving Keys to Peter (1820), Louvre; Mercenary Soldiers (1821); Charles V. reëntering Paris (1822); Vow of Louis XIII. (1823), Cathedral of Montauban; Portraits of Charles X., of Marquis de Pastoret, of Cardinal de Latil, of M. Martin (1825); Apotheosis of Homer, Apollo crowning the Iliad and the Odyssey (1827), Louvre; Martyrdom of St. Symphorien (1834), Cathedral of Autun; Virgin with the Host (1836), Hermitage, St. Petersburg; Odalisque and her Slave, Stratonice (1839, variation in 1859); Portrait of Cherubini (1842), Louvre; Christ among the Doctors (1844, unfinished, bequeathed to city of Montauban); Aretino receiving a Gold Chain from Charles V., Tintoretto and Aretino, Venus Anadyomene, Golden Age (1848, unfinished), Duc de Luynes; Portrait of Mme. de Rothschild (1848); Jupiter and Antiope, Lesueur among the Monks of Chartreuse, Molière in the Morning, Racine in Court Dress, La Fontaine out Walking (4 sketches, 1851); Portrait of the Princess de Broglie, Apotheosis of Napoleon I. (1853); The Virgin (1854, variation of Virgin with Host), Ministry of State; Joan of Arc holding the Oriflamme (1854), Louvre; Virgin of Consolation (1856); La Source (1856), Louvre; Saint Germaine de Pibrac (1857), Church of Sapiac; Virgin of the Adoption (1857); Molière dining with Louis XIV. (copy at Comédie-Française), Birth of the Muses (water-colour), The Spring (1858); portraits of his second wife and of himself (1859), Uffizi, Florence; Interior of a Harem (1864); Portrait of Mlle. Flandrin (1866); Sketch of Stratonice (1867).--Merson, Ingres, sa vie et son œuvre (Paris, 1867); F. de la Genevais (de Mercey), Peintres et sculpteurs modernes (Paris, 1846); Ch. Blanc, Ingres et son œuvre; Delaborde, Ingres, sa vie et ses travaux (Paris, 1870); Chesneau, Peinture française au XIX. siècle (Paris, 1883); Perrier, Études, 15; Gaz. des B. Arts (1861), ix. 343; (1861), x. 257; xi. 38; (1867), xxii. 105, 415; xxiii. 54, 193, 442; (1868), xxiv. 5, 340; xxv. 89, 228; (1870), iii. 112; iv. 495; Mirecourt, Ingres (Paris, 1858); Silvestre, L’Apothéose de M. Ingres (Paris, 1862); Rey, Biographie d’Ingres (Paris, 1867); Montrond, Ingres (Paris, 1869); Hamerton, French Painters; Macmillan’s Mag., xxiv. 52; Contemporary Review, v. 458; Once a Week, xvi. 221; Art Journal (1867), 105, 151; L’Artiste (1867), i. 102; Zeitschr. f. b. K., ii. 170.

INKERMAN, RETURN FROM, Mrs. Elizabeth Butler, London; canvas. Scene--Soldiers returning over the crest of the hill after the battle of Inkerman. A straggling column of weary, wounded, and dying men, painfully marching along a rough hillside; to the right, slightly in advance, rides a young staff officer with a wounded bugler clinging to his stirrup to help himself along. Engraved by W. T. Davey.--Portfolio (1877), 100.

INMAN, HENRY, born in Utica, N. Y., Oct. 20, 1801, died in New York, Jan. 17, 1846. Portrait, landscape, and genre painter, pupil of John W. Jarvis, in New York. In 1844 visited England, where he painted the portraits of Wordsworth, Dr. John Chalmers, Lord Chancellor Cottenham, Macaulay, and other noted men; among his American portraits are Bishop White, Chief Justice Marshall, Jacob Barker, and the two sons of Bishop Doane. Works: Rydal Falls--England; Newsboy; Rip Van Winkle; Boyhood of Washington; Ruins of Brambletye House (1876), Wm. E. Dodge, New York; Student, L. L. Stuart, ib.; October Afternoon; Portraits of Henry Rutgers and Fitz Greene Halleck (1828), Historical Society, New York. At the time of his death Inman was engaged on a series of historical pictures for the Capitol at Washington. His son, J. O’Brien Inman, genre painter, has lived in Rome since 1866; is an Associate of the National Academy, but rarely exhibits.

INN, THE (L’Estaminet), Jan Steen, Hague Museum; canvas, H. 2 ft. 3 in. × 2 ft. 8 in. Twenty or more persons gathered in the tap-room of an inn, eating oysters, drinking, smoking, and playing trick-track. The upper part is covered with a large violet curtain, partly drawn up, beneath which is seen a balcony, and under that an elevated stage, on which a boy is lying down, blowing soap-bubbles. Sometimes erroneously called Picture of Human Life. Bout sale, Hague (1733), 515 florins; Benjamin d’Acosta sale, Hague (1764), 1,745 florins, to William IV. Engraved by Oortman in Musée français.--Reveil, x. 688.

INNESS, GEORGE, born at Newburgh, N. Y., May 1, 1825. Landscape painter, pupil for one month of Regis Gignoux; has visited Europe three times for study, the last time in 1871–76. Elected an A.N.A. in 1853 and N.A. in 1868. Studio in New York. Works: American Sunset (1867); Joy after the Storm (1869); Twilight (1870); View near Rome (1871); Scene near Perugia (1874); Pontine Marshes, H. P. Kidder, Boston; Mountain Stream, the Homestead (1877); St. Peter’s--Rome, View near Medfield--Mass., The Afterglow, Morning Sun, Landscape (1878); Spring (1881), Old Roadway, Long Island Historical Society; Niagara Falls (1883); Day in June, Sunset (1885); Gray Lowery Day--Pompton, N. J., Winter Morning--Environs of Montclair, Sunburst--Greene County, Sunset--Montclair, N. J., Twilight--Medfield, Mass. (1884), T. B. Clarke, New York.

INNESS, GEORGE, JR., born in New York, July 5, 1854. Animal painter, pupil of his father, George Inness, and for a few months of Bonnat in Paris. Sketched in different parts of Europe. Studio in Montclair, N. J. Works: The Ford, Patience (1877); The Brook, Pride of the Dairy (1878); Coming Storm; Surf Horse; Pasture at Watchung (1879), Roswell Smith; Coming Storm (1880); Huntsman (1882); Mother of the Herd (1883).--Sheldon, 203.

INNOCENT X., POPE, portrait, Velasquez, Palazzo Doria, Rome; canvas, H. 4 ft. 7 in. × 3 ft. 11 in. Three-quarters length, seated in a crimson chair, on the arms of which his arms rest; dress, a white linen robe, white sleeves trimmed with lace, white linen collar, red velvet cap and cape; background, a red curtain. Painted in Rome in 1649. Sir Joshua Reynolds pronounced this the finest picture in Rome. Repetition: Marquis of Bute, London. Etched by A. Lalauze after copy by Ternante in Versailles Museum.--Palomino, iii. 337; Curtis, 76.

INNOCENZO DA IMOLA. See Imola.

INTEMPERANCE, Thomas Stothard, staircase of Burghley House, seat of the Marquis of Exeter, Northamptonshire, England. Mark Antony and Cleopatra, with various allegorical figures. The original sketch (canvas, H. 1 ft. 8 in. × 2 ft.), which was engraved by T. Chevalier, is in the National Gallery, London. Stothard was occupied four years in the decoration of this staircase (1780–83), and received for it £1,293.--Mrs. Bray, Life of T. S. (London, 1851).

IPHIGENIA, picture. See Timanthes, Timomachus.

IPHIGENIA AND CYMON. See Cymon.

IPHION, painter of Corinth, date uncertain. Mentioned by Simonides (ccxxi., Schneidew), but whether the elder (died about 468 B.C.) or the younger (died about 431 B.C.) poet of that name is unknown.

IRENE (Eirene), painter, daughter and pupil of Cratinus. Among her works were a Calypso, an Aged Man, and Alcisthenes the Dancer.--Pliny, xxxv. 40 [147]; Clem. Alex., and Strom., iv. 124, 620, Pott.

IRIARTE, IGNACIO, born at Azcoitia, Guipuzcoa, in 1620, died in Seville in 1685. Spanish school; landscape painter, pupil of Herrera el Viejo; frequently worked in conjunction with Murillo, who painted the figures while Iriarte executed the backgrounds. Was an original member and first secretary of the Academy of Seville. Works: Landscapes (4), Madrid Museum; Landscape, Hermitage, St. Petersburg.--Stirling, ii. 931; Ch. Blanc, École espagnole; Madrazo; Curtis, 344; Washburn, 164.

IRMER, KARL, born at Babitz, Brandenburg, Aug. 28, 1834. Landscape painter, pupil in Dessau of August Becker, then of Düsseldorf Academy under Gude; after travelling through Germany, and visiting Vienna, Paris, and Brussels, he settled in Düsseldorf. Court-painter to the Duke of Anhalt. Medal in Vienna (1873). Works: Moonrise; Landscape with Cows; Dicksee in Holstein (1876), National Gallery, Berlin; View in Rügen (1876).--Müller, 275.

IRMINGER, VALDEMAR, born in Copenhagen, Dec. 29, 1850. Animal and military genre painter, pupil of Copenhagen Academy, where he won a prize in 1879; visited Paris in 1880, and Germany, Switzerland and Italy in 1882. Works: Geese Driven Home (1874); Brown Mare with Foal, Proclamation in War Time (1879); Dragoons returning from Reconnoitring, Dragoon making Inquiry of Old Woman, Dragoon Trumpeter (1880); Foot-Guards Resting in the Woods (1881); Battery Changing Position (1882); Infantry at Manœuvre, Puppies, Wounded Lioness (1883).--Sigurd Müller, 164.

IRVING, J. BEAUFAIN, born in Charleston, S.C., in 1826, died in 1877. Genre painter; in 1851 studied with Leutze in Düsseldorf, and after painting there several years, lived in Charleston until he finally settled in New York about 1865. Elected an A.N.A. in 1869 and N.A. in 1872. Works: Disclosure, L. W. Jerome, New York; The Splinter (1867); Wine-Tasters (1869), August Belmont, New York; Portrait of Mrs. August Belmont (1871); End of the game (1872), J. H. Sherwood; Book-Worm, Musketeer of the Seventeenth Century (1874); Connoisseurs; Cardinal Wolsey and his Friends (1875); Off the Track (1876); After the Siege, Banquet at Hampton Court in the Sixteenth Century (1877), J. J. Astor, New York; Waiting an Audience, R. L. Stuart Collection, ib.

ISAAC, HISTORY OF, Raphael. See Raphael’s Bible.

ISAAC BLESSING JACOB (Gen. xxvii.), Murillo, Duke of Wellington, London; canvas, H. 3 ft. 6 in. × 5 ft. Isaac, seated in bed under a canopy, blesses Jacob, who kneels; on left, Rebekah; near centre, a girl carrying a basket of linen with pigeons around her; background, a valley and ruined castle.--Curtis, 118.

By Murillo, Hermitage, St. Petersburg; canvas, H. 8 ft. × 11 ft. 9 in. Isaac, seated in bed before an archway nearly filled by a red curtain, blesses Jacob, who kneels and is presented by Rebekah as Esau; beside the bed, a table with bread, game, and a bowl; opposite, a landscape and well; a servant-maid enters with a water-jar; in background, Esau is seen with a dog returning from the chase. Companion to Jacob’s Dream, in Hermitage; the two belonged to Marqués de Santiago, Madrid; purchased in Paris in 1811 for Hermitage.--Curtis, 118.

ISAAC AND REBEKAH, MARRIAGE OF (Gen. xxiv.), Claude Lorrain, Palazzo Doria, Rome; canvas, H. 4 ft. 1 in. × 6 ft. 6 in. In centre, a river with its waters arrested by the dam of a mill situated at left, whence the picture is commonly called Il Molino (Le Moulin, The Mill). In foreground, the marriage festival of Isaac and Rebekah. Liber Veritatis, No. 113. Engraved by Gmelin (1804), Vivarès (1766). Sketch, dated 1647, Seymour Haden, London. Replica of picture in National Gallery, London; sent to England by C. S. Evard and sold to Angerstein, with Embarkation of Queen of Sheba, for 200,000 francs; purchased for National Gallery in 1824. Engraving in Gallery Angerstein, in Cabinet Gallery, in Mason’s National Gallery, and by Goodall (1834).--Pattison, Claude Lorrain, 51, 227; Cat. Nat. Gal.; Waagen, Treasures, i. 341.

ISAAC, SACRIFICE OF, Tintoretto, Scuola di S. Rocco, Venice; oval, on ceiling of upper room. “One of the least worthy of the master in the room, the three figures being thrown into violent attitudes, as inexpressive as they are strained and artificial.”--Ruskin, Stones of Venice, iii. 349; Ridolfi, Marav., ii. 198.

ISAAC, SACRIFICE OF. See, also, Abraham.

ISAACSZ (Izaaksz, Ysaacx), PIETER, born at Helsingör, Denmark, in 1569, died at Amsterdam probably in 1631. Dutch school; history and portrait painter, pupil at Amsterdam of Cornelis Ketel, afterwards of Johann von Achen; after travelling in Germany and Italy settled at Amsterdam, and temporarily (1618–23) worked at Copenhagen as court-painter to Christian IV. Works: Portrait of Christian IV., Berlin Museum; Allegory on Vanity (1600), Basle Museum; Princely Banquet, Copenhagen Gallery.--Archief v. nederl. K., ii. 135; Kramm, iii. 786.

ISABEL OF BOURBON, QUEEN, first wife of Philip IV., Velasquez, Mrs. Henry Huth, Wykehurst, Surrey, England; canvas, H. 6 ft. 7 in. × 3 ft. 8 in. Full-length, standing, wearing a black head-dress with white feather, white ruff, close-fitting under-sleeves, and black hooped dress, with a border of leaves of gold around the bottom and up the front, and on the bodice and long open sleeves; in left hand, a fan; right hand on back of a chair; background, pink drapery. Louis Philippe sale (1853), £300, to Mr. Farrar, who sold it in 1863 to Mr. Huth. Companion to Mrs. Huth’s Philip IV. Repetitions, with variations: Hampton Court; Francis Clare Ford, London.--Curtis, 92; Athenæum (1862), 623.

By Velasquez, Madrid Museum; canvas, H. 9 ft. 10 in. × 10 ft. 3 in. About twenty-five years old, on a white horse, which walks left; brown dress; landscape background. Probably painted in 1644; companion to Philip IV. of same size in Madrid Museum. Etched by F. Goya.--Palomino, iii. 332; Curtis, 91; Madrazo, 609.

ISABEL, SANTA, Murillo. See Elizabeth of Hungary.

ISABELLA, Sir John Everett Millais, Royal Institution, Liverpool; canvas, H. 3 ft. 3 in. × 4 ft. 7½ in. Scene from Keats’s poem--“Isabella, or the Pot of Basil”--founded on Boccaccio’s story; descriptive of the feelings of the two brothers on discovering the mutual love of Isabella and Lorenzo. This, the first Pre-Raphaelite picture by Millais, represents two rows of persons seated at table, nearly all seen in profile, and most of them portraits of friends. At right, Lorenzo (William Rossetti) holds a plate, on which he offers half of a cut blood orange to Isabella (Mrs. Henry Hodgkinson), who is caressing a hound. At left, one of the brothers (Mr. John Harris), enraged at her reception of Lorenzo’s courtesy, viciously kicks the hound, while the other (Dante Gabriel Rossetti), looking over his glass, watches the lovers with cruel eyes. A guest (the artist’s father) wipes his lips with a napkin; another (Mr. W. Hugh Fenn) pares an apple; a serving-man (Mr. Wright), with a white napkin over his arm, stands behind Isabella and Lorenzo. Painted in 1848–9; Royal Academy, 1849; bought by B. G. Windus, of Tottenham; at his sale (1868), £672 10s., to Thomas Woolner, R.A.; his sale (1875), £892 10s., to Constantine A. Ionides, London; sold at Christie’s (1883) for £1,102 10s. Engraved in Art Journal (1882) by H. Bourne.--Fraser’s Mag. (1849), xl. 77; Art Journal (1882), 188.

ISABELLA, EMPRESS (wife of Charles V.), portrait of, Titian, Madrid Museum; canvas, H. 3 ft. 10 in. × 3 ft. 3 in. The Empress, seated in a chair near a window, holding a book in her left hand. Painted in 1544, after her death, from a picture by a supposed Flemish artist. Among the pictures taken by Charles V. to Yuste. Engraved, with alterations, by D. de Jode.--C. & C., Titian, ii. 103.

ISABELLA D’ESTE, COURT OF, Lorenzo Costa, Louvre; canvas, H. 5 ft. 2 in. × 6 ft. 4 in.; signed. Isabella, Marchioness of Mantua, crowned by Love, who stands on the knees of a woman seated in a garden on the banks of a river; around her, musicians make music and poets compose verses; in foreground, two women seated, one crowning a bull, the other a lamb; on right, a nymph with bow and arrow; on left, a knight who has decapitated a hydra; in background, a cavalry fight. Painted about 1510 for the Marquis of Mantua; passed at sack of that city (1630) to Château Richelieu, France.--C. & C., N. Italy, i. 548; Rosini, iv. 157; Villot, Cat. Louvre, 102.

ISABELLA AND THE POT OF BASIL, Holman Hunt, Mr. James Hall, Tynemouth, England. Scene from Keats’s poem--“Isabella, or the Pot of Basil.” Isabella, full-length, standing, bending over the vase in which she has buried the head of her lover, slain by her brothers. Her tearless black eyes have the light of madness in them, and her luxuriant dark-brown hair is flung lovingly over the relic, which is placed on her prie-dieu, on a silken altar-cloth. Exhibited in 1868; sold to Mr. Gambart; original sketch sold at Christie’s, 1871, for 525 guineas. Replica, J. W. Garrett, Baltimore. Engraved by A. Blanchard.--Art Journal (1868), 97; Athenæum, Sept., 1873, 374.

ISABEY, EUGÈNE (LOUIS GABRIEL), born in Paris, July 22, 1804, died in Paris, April 26, 1886. Landscape and marine painter, son and pupil of Jean Baptiste Isabey. In 1830 he accompanied the expedition to Algiers as royal marine painter. Medals: 1st class, 1824, 1827, 1855; L. of Honour, 1832; Officer, 1852. Works: Hurricane at Dieppe, Harbour of Honfleur (1827); Port of Dunkirk (1837); The Old Barks (1836); Battle of the Texel (1839), Versailles Museum; View of Dieppe (1842), Nancy Museum; View of Boulogne Harbour (1843), Toulouse Museum; The Alchemist (1845); Louis Philippe receiving Queen Victoria at Tréport (1846); Departure of Queen of England (1846); Ceremony in the Church of Delft (1847); Marriage of Henry IV. (1848); Embarkation of De Ruyter and De Witt (1850), Luxembourg Museum; Departure of the Huntsmen under Louis XIII. (1855); Church Interior with Worshippers (1856), Ravené Gallery, Berlin; Burning of the Steamer Austria (1859), Bordeaux Museum; Wreck of the Ship Emily in 1823 (1865), Nantes Museum; The Alchemist (1865); Temptation of St. Anthony (1869); Bois de Varangeville, Ango Manor at Varangeville, Roadstead of Saint-Malo, Luxembourg Museum; Smugglers shipping Goods, Douai Museum; Beach of Villerville, Laval Museum; Village on the Cliffs, Marseilles Museum; View of a Creek, Perpignan Museum; Marine (1825), Storm, Montpellier Museum; Marine, Neuchatel Museum; Ships at Anchor (1830), Königsberg Museum; Entrance to Cathedral, Stettin Museum; Laden Boat boarding Coaster, Coast of Entretat--Normandy (1851), Kunsthalle, Hamburg; French Hospitality, W. H. Vanderbilt, New York; Marines (2, 1836, 1862), After the Storm (1842), W. T. Walters, Baltimore.--Bellier, i. 805; L’Art (1875), i. 39, 59; Larousse; Meyer, Gesch., 271.

ISABEY, JEAN BAPTISTE, born at Nancy, April 11, 1767, died in Paris, April 18, 1855. Miniature painter, pupil at Nancy of Girardet and Claudot, then in Paris of Dumont and David; painter to the Empress Josephine, 1805; L. of Honour, 1817; Officer; Commander, 1853. Also painter to Charles X. Apart from their intrinsic merit, his works are of great value from their historical interest. His portraits of Napoleon I. are among the best in existence. Works: General Bonaparte in Gardens at Malmaison, Napoleon visiting Factory at Rouen (1804), do. at Jouy (1806), Versailles Museum; Review before First Consul in Courtyard of Tuileries (1801), Staircase of the Musée du Louvre (1817), Louvre, Paris; Congress of Vienna (1815), Windsor Castle; Portrait of Napoleon (in oil), do. of King of Rome, Nancy Museum; do. of Grand-duke of Baden, Baden-Baden Gallery; King Jerome, Dresden Museum.--Bellier, i. 804; Biog. univ., xx. 382; Ch. Blanc, École française, iii.; Meyer, Gesch., 104; Larousse, ix. 801; Lenormant, B.A. et Voy., i. 218; Jal, 698.

ISAIAH, Michelangelo, Sistine Chapel, Rome; fresco on ceiling.

ISENMANN, CASPAR, died in 1466. German school. Became citizen of Colmar in 1436. His pictures, influenced by the Flemish school, are realistic in feeling, with expressive heads and powerful though sober colouring. In 1462 he contracted to paint an altarpiece for the church of St. Martin at Colmar. Works: Seven Scenes from Life of Christ (1465), Colmar Museum.--Woltmann, Deutsche Kunst im Elsass, 213.

ISIDORO, ST., Murillo, Seville Cathedral; canvas, H. 6 ft. 2 in. × 5 ft. 6 in. Seated, robed in white, with a mitre, with a crook in right hand and an open folio in left; on right, other books and a column; behind, a curtain. Painted in 1655 for D. Juan Federigui, Archdeacon of Carmona, who presented it, with its companion, St. Leandro, to the Cathedral.--Curtis, 243.

ISMENIAS, painter, of Chalcis, 5th century B.C. Plutarch, in his life of the Athenian orator Lycurgus (Vit. x., Orat. 37), says Ismenias painted, for the Erechthæum, a picture in which were represented the priests of Poseidon of the family of Lycurgus.

ISRAELS, JOZEF, born at Gröningen in 1824. Genre painter, pupil in Amsterdam of Cornelis Kruseman, then in Paris of Picot. His genre scenes from Dutch maritime life are superior to his earlier historical pieces. At present resides at The Hague. Medals: Paris, 3d class, 1867; 1st class, 1878; L. of Honour, 1867; Officer, 1878; Order of Leopold. Works: William of Orange defying Decrees of King of Spain (1855); Village Scene; Preparation for the Future (1855), Walk along Cemetery (1856), Amsterdam Museum; Children of the Sea; Peaceful House; Fishing Boats shipwrecked off Scheveningen (1862); Sick Mother, Mother in Health, Orphan Asylum at Katwyk, Last Breath, True Support, Madonna in the Hut, Age and Infancy (1872); First Sail, Poor of the Village (1873); Expectation, Anxious Family (1874); Waiting for the Herring Boats (1875); Returning from the Field (1878); Alone in the World (1878), Amsterdam Museum; Breakfast Time, Dinner of Cobblers, Anniversary (1878); Frugal Meal, W. H. Vanderbilt, New York; Nothing more! Sewing School at Katwyk (1881); Silent Interview (1882); Fair Weather, Child Asleep (1883); Return (1884).

ISUMBRAS, SIR, AT THE FORD, Sir John E. Millais, Bart., John Graham, Esq., London; canvas, H. 4 ft. 1 in. × 5 ft. 7 in. An ancient knight, clad in golden armour, who has attained all the glories of this life, has laid aside his pride to help two wood-cutters’ children over a river ford upon the saddle of his grand war-horse. The landscape, a sunset in the forest along the river’s bank, was painted on the Tay. The verses in the Academy Catalogue, ascribed to the “Metrical Romance of Syr Ysumbras,” were written by Tom Taylor. Royal Academy, 1857. Satirized in a caricature of the time entitled “A Nightmare” (by Frederick Sandys?), representing the artist on an ass, carrying Dante G. Rossetti and Holman Hunt, with Michelangelo, Raphael, and Titian on the distant bank, in attitudes expressive of horror of this last Pre-Raphaelite attempt. The picture was purchased originally by Charles Reade, the novelist.

ITTENBACH, FRANZ, born at Königswinter, near Cologne, April 18, 1813, died in Düsseldorf, Dec. 1, 1879. History and portrait painter, pupil of the Düsseldorf Academy under Theodor Hildebrandt and Schadow; with the latter and Karl Müller he visited Italy in 1839–41, and resided for a time in Munich before returning to Düsseldorf. For several years he was occupied with fresco paintings in St. Apollinaris Church at Remagen, and in 1864 in St. Quirinus Church at Neuss. Professor; Member of Vienna Academy. Medals in Cologne (1861), Berlin (1868), and Besançon. Prussian Order of the Crown, Belgian Order of Leopold. Works: Christ Crucified--with Mary and St. John (1845), Roman Catholic Church, Königsberg; Baptism of Christ (1849), Garrison Church, Düsseldorf; Christ Crucified (1850), Prague Gallery; Altarpiece in five Panels (1851), Liechtenstein Gallery, Vienna; Mary Mediatrix (1852); Virgin Enthroned, Assumption (1858–61), St. Remigius Church, Bonn; Holy Family (1861), Prince Liechtenstein’s chapel, Vienna; Holy Family (1862), Duke of Hamilton’s chapel, Baden-Baden; Madonna (1862); Madonna (1864); 4 Altarpieces (1865–68), St. Michael’s Church, Breslau; Holy Family in Egypt (1868), National Gallery, Berlin; Portraits of Archbishop Clemens August of Cologne, and of Queen Stephanie of Portugal (1860).--Allgem. d. Biogr., xiv. 644; Kunst-Chronik, xv. 178; Art Journal (1865), 133; W. Müller, Düsseldorf K., 48; Wiegmann, 172.

IVANOFF, ALEXANDER ANDREÉVICH, born in St. Petersburg in 1806, died there, July 18, 1858. History painter, son and pupil of Andrei Ivanoff (1775–1846) and of St. Petersburg Academy. During a twenty-seven years’ residence in Rome he occupied himself almost exclusively in painting a colossal Christ appearing to the People. Work: Christ and Magdalen (1832), Hermitage, St. Petersburg.--Zeitschr. f. b. K., xvii. 160.

JABIN, CH. G. GEORG, born at Brunswick, Aug. 18, 1828, died at Harzburg, Jan. 14, 1864. Landscape painter, pupil of Düsseldorf Academy under Schirmer in 1850–55; visited Switzerland in 1857, and Norway in 1863; painted mostly Swiss scenes in style of Ruysdael. Works: Waterfall in Lin Valley, Brunswick Gallery; Murchsee Fall; Forest Mill in Westphalia; The Brocken by Moonlight; Eckerfall, Regenstein; Falkenstein; Oker Valley; Ilse Valley.--Allgem. d. Biogr., xiii. 522; Dioskuren (1864), 51.

JACCOBER, JACOB BER called, born at Blieskastel, Bavaria, March 6, 1786, died in Paris, July 17, 1863. Fruit and flower painter, pupil of Gerard van Spaendonck; became naturalized in France. Employed at Sèvres from 1823 till 1825, and of high repute in his branch of art. Medals: 2d class, 1831 and 1834; 1st class, 1839; L. of Honour, 1843. Works: Fruits and Flowers (1839), Luxembourg Museum; do. in Salons of 1822–55.--Bellier, i. 809; Nouvelle biogr. générale, Paris, 1855.

JACK IN OFFICE, Sir Edwin Landseer, South Kensington Museum; canvas, H. 1 ft. 8 in. × 2 ft. 2 in. An itinerant dealer in dog-meat has left his barrow in an alley in charge of a satiated mongrel, who, seated upon the top, receives unmoved the courtier-like attentions of his hungry and less fortunate fellow-creatures. Somewhat similar in treatment to Alexander and Diogenes. Royal Academy, 1833.--Blackburn, Pictures at Kensington; Stephens, 69.

JACKSON, JOHN, born at Lastingham, Yorkshire, May 31, 1778, died in London, June 1, 1831. Son of a tailor, but enabled by friends to study in schools of Royal Academy; elected A.R.A. in 1815, and R.A. in 1817. Became famous as a portrait painter, both in water-colours and in oils, and had many distinguished sitters. In 1819 he visited Rome, where he painted Canova, and was elected a member of the Academy of St. Luke. One of his best works is a portrait of Flaxman, painted for and in possession of Lord Dover. Portraits of Miss Stephens, Sir John Soane, and Rev. William Holwell Carr, National Gallery; portrait of himself, National Portrait Gallery; do., at Dover House, Whitehall, and at Castle Howard.--Redgrave; Cat. Nat. Gal.; Ch. Blanc, École anglaise; Sandby, i. 359.

JACOB, JULIUS, born at Berlin, April 25, 1811, died there, Oct. 20, 1882. History and portrait painter, pupil in Berlin of Wach, of Düsseldorf Academy, and in Paris of Delaroche. Travelled in Europe, North Africa, and Asia Minor; spent eleven years in England, and in 1865 went to Vienna, where, after painting twenty-six portraits of distinguished persons within a year, he returned to Berlin. Medals in Paris, Lyons, Rouen; member of many artistic societies. Works: Scenes from History of St. Louis; Artist Life; Portraits of Princes Metternich, Schwarzenberg, Liechtenstein, Kinsky, Windischgraetz, Lobkowitz, Field-Marshal Hess, Count Apponyi; Male Head (1845), National Gallery, Berlin.--Müller, 277; Jordan (1885), ii. 106; Kunst-Chronik, xviii. 41; Leixner, Mod. K., i. 56; ii. 100, 119; Rosenberg, Berl. Malersch., 54.

JACOB VAN AMSTERDAM. See Cornelisz, Jacob.

JACOB AND THE ANGEL (Gen. xxxii.), Eugene Delacroix, St. Sulpice, Paris; mural painting in chapel of Saintes-Anges. The struggle of Jacob with the angel. One of Delacroix’s best works.--Larousse, ix. 862.

JACOB, BLESSING OF (Gen. xlix.), Rembrandt, Cassel Gallery; canvas, H. 5 ft. 6 in. × 6 ft. 8 in.; signed, dated 1656. Jacob, on his death-bed, supported by his son Joseph, extends his hands to bless his two grandsons, who kneel on the further side of the bed; beside them stands the mother, with her hands united. One of the artist’s best pictures. Carried to Paris in 1806–7, and returned in 1814. Engraved by Claessens and Oortman in Musée français; Unger; Massaloff.--Filhol, vi. Pl. 374; Musée français; Smith, vii. 6.

JACOB, DREAM OF (Gen. xxviii.), Murillo, Hermitage, St. Petersburg; canvas, H. 8 ft. × 11 ft. 9 in. Jacob asleep, with his head on a stone, his staff near him on a cruse; at left, an angel pointing to the ladder, on which two angels are ascending and three descending. Same history as Isaac blessing Jacob, of Hermitage, its companion.--Curtis, 118; Hermitage Cat., 127.

By Raphael, Stanza d’Eliodoro, Vatican; fresco on ceiling. Jacob asleep on some flat stones; in the clouds a ladder with five angels, and above, God the Father in glory with outstretched arms. Shows hand of Giulio Romano. Painted in 1513–14. Engraved by J. Bos (1560); Joh. Alessandri (1718); Fr. Aquila.--Vasari, ed. Mil., iv. 346; Müntz, 370; Passavant, ii. 129.

By Spagnoletto, Madrid Museum; canvas, H. 5 ft. 10 in. × 7 ft. 4 in. Jacob, in a long dark robe, somewhat like a Capuchin’s, lies asleep on the ground, at the foot of an overturned tree; in the background, at right, the mysterious ladder with angels ascending and descending. From collection of Philip IV. Lithographed by C. Rodriguez.--Réveil, xiv. 980.

By Tintoretto, Scuola di S. Rocco, Venice; oval, on ceiling of upper room. “The painter has tried to overcome the awkwardness of winged angels ascending and descending steps by throwing them into extravagant attitudes, but he has evidently not treated the subject with delight.”--Ruskin, Stones of Venice, iii. 347.

JACOB, HISTORY OF. Raphael. See Raphael’s Bible.

JACOB WITH FLOCKS OF LABAN (Gen. xxx.), Murillo, Sir John Hardy, Bart., Dunstall Hall, Staffordshire, England; canvas, H. 8 ft. × 11 ft. 9 in. Jacob, on right, enters pool and lays peeled rods before the sheep on the left; behind him, his dog asleep; on left, a sheepfold; on right, a servant leading a mule is driving flocks away; rock in centre divides the landscape. Probably belonged to Marqués de Santiago, Madrid; bought at Lord Northwick sale (1859), £1,480.--Curtis, 119.

JACOB AND LABAN, MEETING OF (Gen. xxxi.), Murillo, Grosvenor House, London; canvas, H. 8 ft. × 10 ft. 1 in. In centre, Jacob and Laban conversing; on left, the family of the former in two tents; on right, horses and men; background, landscape of trees and mountains. Probably belonged to Marqués de Santiago, Madrid; said to have been bought in Madrid in 1808 for Lord Overstone, and sold to Marquis of Westminster for two Claudes, a Poussin, and £1,200 in money.--Buchanan, Memoirs, ii. 221; Curtis, 120.

JACOB AND RACHEL (Gen. xxix.), Giordano, Dresden Gallery; canvas, H. 6 ft. 8 in. × 7 ft. 6 in. Jacob, gone into Mesopotamia to take a wife from the daughters of Laban, meets Rachel with her flocks near a well, and hastens to remove the stone from the well’s mouth. Engraved by Joseph Wagner.--Réveil, vii. 435.

JACOBELLO DEL FIORE. See Fiore.

JACOBI, BERNARDINO. See Buttinone.

JACOBS, JACOBUS (ALBERTUS MICHAEL), born in Antwerp, May 19, 1812, died there, Dec. 13, 1879. Marine painter, pupil of Antwerp Academy under Van Bree and Wappers; studied especially Claude Lorrain, Joseph Vernet, and Willem van de Velde; visited the Mediterranean Coast, Greece, Egypt, Cyprus, Asia Minor, Russia, and Scandinavia, and in 1843 became professor at the Antwerp Academy. Order of Leopold, 1849; Officer, 1864. Several medals. Works: Outlook from Cape Colonna--Greece (1846), Weimar Museum; Grecian Archipelago (1848), National Gallery, Berlin; Shipwreck of Floridian (1849), Sunrise in the Archipelago (1852), Harbour of Constantinople, New Pinakothek, Munich; Arabs resting in the Desert (1849); Golden Horn (1852); Waterfall of the Glommen in Norway (1853), Brussels Museum; Ruins of Karnak (1857); Sogne Fjord (1857), Caravan in Flight, Ruins of Philæ, Breeze on Finland Coast, Bay of Lepanto (1864); Cataracts of the Nile, Canal Grande in Venice, Entrance to Bergen Harbour (1867).--Immerzeel, ii. 75; Kunst-Chronik, xv. 211.

JACOBS, PAUL EMIL, born in Gotha, Aug. 18, 1802, died there, Jan. 6, 1866. History painter, pupil from 1818 of the Munich Academy under Langer, father and son; visited Upper Italy in 1824, and in 1825–28 studied in Rome. Settled in Frankfort, painted chiefly portraits, and in 1830 went to St. Petersburg, where he became member of the Academy. Returned to Gotha in 1834; he painted in Hanover for the king in 1835–38, visited Greece and Rome, and settled in Gotha in 1840; was in Rome again in 1844–45, and in 1853–57. Member of the Berlin Academy, and court-painter and aulic counsellor to Duke of Coburg-Gotha. Works: Mercury and Argus (before 1825); Raising of Lazarus (1825); Venus Asleep (1826), Heads of Roman Women (2), Gotha Museum; Prometheus (1829); Portrait of General Diebitsch-Sabalkanski, Ascension, Last Supper (1830–34). Frescos: Venus rising from Sea, Triumph of Bacchus, Argonauts (1835–38), Royal Palace, Hanover; Crucifixion (1840), St. Augustin’s, Gotha; Scheherazade, Wilhelma, Stuttgart; replicas in Manchester, Königsberg Museum (1840), and Gotha; Presenting of the Silk Cord (1844), Villa Rosenstein, near Stuttgart; Samson and Delilah (1845); Judith and Holofernes (1850); Oriental Slave Market, Rape of Proserpine, Munich Gallery; Luther at Worms, City Hall, Stralsund; Christ, Madonna, Catholic Church, Gotha; Ecce Homo (1853), Museum, ib.; Descent from the Cross, Susanna (1856); Germania Mourning, Germania Victorious, Day and Night, War and Peace.--Allgem. d. Biogr., xiii. 615; Kunst-Chronik, i. 3.

JACOBSEN, SOPHUS, born at Frederikshald, Norway, Sept. 7, 1833. Landscape painter, pupil of Düsseldorf Academy under Gude; has travelled in Norway, Germany, and Italy. His landscapes with rain, snow, or moonlight effects are painted with great truth to nature. Works: View in the Eifel (1861); Moonlight on Norwegian Coast (1867); Moonlight in Venice (1872); Winter Landscape (1873); Autumn Landscape, Christiania Museum; Laplanders on Reindeer Hunt (with Tidemand); Rhenish Landscape, Düsseldorf Gallery.--Müller, 277.

JACOBSZ (Jacobsen), JURIAEN, born in Hamburg about 1610(?), died at Amsterdam in 1664(?). Flemish school; history and animal painter, pupil at Antwerp of Frans Snyders; said to have travelled extensively, especially in Switzerland; afterwards lived at Amsterdam and at Leeuwarden, Friesland. Works: Boar attacked by Dogs (1660), Dresden Museum; do. (1677?), Copenhagen Gallery.--Immerzeel, ii. 76; Kramm, iii. 790; Schaefer, iii. 1141.

JACOBSZ, LUCAS. See Leyden.

JACOBY, VALERIAN, born in 1834. History painter, pupil of St. Petersburg Academy. Settled in Rome. Works: Death of Robespierre; Seizure of Biron; Cardinal de Guise receiving Coligny’s Head (1869); Beggar’s Easter Day; Orange Seller.--Kunst-Chronik, iv. 68; Müller, 278.

JACOMIN, ALFRED LOUIS, born in Paris, Jan. 3, 1843. Genre painter; medal at Philadelphia Exhibition, 1876. Works: Faust and Mephistopheles (1869), James H. Stebbins, New York; Bilboquet and his Companion, Armourer of 17th Century (1876); A Baptism (1877); Magic Mirror (1878); Indisposed (1879); Old Clothes Dealer (1880); Father Robin’s Forge (1881); Blacksmith’s Shop, Bit of Jarnac (1882); Job (1883); The King’s Ordinance (1885).

JACOMIN, MARIE FERDINAND, born in Paris; contemporary. Landscape painter. Medal, 3d class, Paris, 1883. Works: Bois noirs in Forest of Marly (1878); Moonrise in Forest of Fontainebleau (1879); End of Winter Day (1880); Route of Chêne au Chat, Hut in Saint Germain Forest (1881); Gruye Valley in Forest of Marly (1882); Oak of Vierge-Noire, Chestnut Grove (1883); View at Montcheureuil, Père Gillot’s Cabin (1884); Views in Forest of Saint Germain (2, 1885).

JACOMO, BARBERINO. See Barbari, Jacopo de’.

JACOPO AVANZI. See Avanzi.

JACOPO DA CASENTINO, 14th century, born in Prato Vecchio, died there, aged eighty. Florentine school. Met Taddeo Gaddi while the latter was decorating a chapel in the church of Sasso della Vernia in Casentino, and followed him to Florence. He painted many frescos in that city, both as a subordinate and as a master, and was one of the founders, in 1349, of the Company of St. Luke. About 1354 he went to Arezzo, where he reconstructed the waterworks of the Fonte Guinizelli, and executed a great number of frescos. His work is weakly Giottesque and feeble in execution. Among the few extant examples of his style are a St. John Evangelist with predella in the National Gallery, London; a predella in the Uffizi, Florence; and a Dead Christ (fresco) in S. Bartolommeo, Arezzo.--C. & C., Italy, ii. 2; Vasari, ed. Mil., 669; W. & W., i. 454.

JACOPO DI SAN SEVERINO. See Lorenzo di San Severino.

JACOPO DA VALENTIA or VALENTINA, Venetian school, end of 15th and beginning of 16th century. Pupil of Bartolommeo and Luigi Vivarini, whose faces and figures he frequently reproduced. He was a second- or third-rate journeyman, devoid of feeling as a colourist, who rivalled Palmezzano and Filippo of Verona in dulness. Earliest work, a half-length Madonna, dated 1485, at Belluno. He probably became a master, beginning of the 16th century, in Serravalle, where he received frequent commissions. Two Madonnas by him (one 1508) are in the Cathedral of Ceneda, and another (1509) is in the Venice Academy.--C. & C., N. Italy, i. 73.

JACOPO DI VENETIA. See Bellini, Jacopo.

JACQUAND, CLAUDIUS, born in Lyons, Dec. 6, 1805, died in Paris, May 3, 1878. History painter, pupil of Fleury Richard. First exhibited in 1824, and in 1838 settled in Paris. His pictures, though well composed and drawn, are somewhat monotonous and dull in colour. Medals: 2d class, 1824; 1st class, 1836; Philadelphia Exposition, 1876; L. of Honour, 1839; Order of Leopold of Belgium. Works: Prison Courtyard (1824); Sir Thomas More (1827), Lyons Museum; Death of Adelaïde de Comminges (1831); Presentation of Louis Labbé to Francis I. (1834); Cinq Mars and De Thou (1835), Voltaire arrested at Frankfort (1835), Neuchatel Museum; Comminges recognizing Adelaïde (1836), Lyons Museum; Four Ages of a Woman (1836); Jocelyn, Laurence waiting for Jocelyn (1837); Death of Young Gaston de Foix (1839), Leipsic Museum; Charlemagne crowned King of Italy (1838), Chapter of Order of St. John at Rhodes (1839), Versailles Museum; The Avowal (1840), Lyons Museum; After Dinner (1841); Henry of Burgundy invested with Portugal (1842), Versailles Museum; At once Minister and Doctor (1842); The Right of High and Low Jurisdiction (1845); Autumn Rents, Capture of Jerusalem (1846), Versailles Museum; Charles V. in Convent of St. Just (1847); The Orphans, The Blessing, Hamburg Museum; Christ on Golgotha (1850); St. Bonaventura refusing the Insignia of the Cardinalate (1852), formerly in Luxembourg Museum; Mayor of Boulogne refusing the Terms of Henry VIII. (1852), Hotel de Ville, Boulogne-sur-Mer; L’Amende Honorable (1853), formerly in Luxembourg Museum; Sacrilege (1853); Last Interview of Charles I. with his Children (1855), formerly in Luxembourg; Clemency of Peter the Great (1855); German Troopers (1857), Sir Richard Wallace; Perugino painting for Monks (1859), Dijon Museum; William the Silent selling his Jewels (1859), King of Holland; Convalescent Priest, Crust of Pastry, Presentation in Temple (1863), Ministry of Interior, Paris; La Vierge du Travail (1863), Cambrai Museum; Dante in Rome (1864); Easter, Two Misers (1865); Galileo before his Abjuration (1867), Amiens Museum; Guido d’Arezzo and his Pupils (1868); Bonaparte at Nice (1869); Christopher Columbus on his Death-Bed showing his Chains to his Son (1870); Death of St. Joseph (1872); Ransom of Sicilian Family captured by a Barbary Pirate (1873); Sacrilege, Chiefs of German Mercenaries (1874); Death of the Virgin, Monthly Collection (1875); Grief and Compassion (1876); Stella in Rome in 1698 (1877); Maria de Medici visiting Studio of Rubens, Cardinal visiting Ribera in his Studio, Nantes Museum; Maid of Palaiseau, Cambrai Museum; Rousseau taking Leave of Marshal de Luxembourg’s Family, Neuchatel Museum; Gypsy Gang in Court-room, New Pinakothek, Munich; Frescos in St. Philippe du Roule, St. Bernard, Paris, and Chapelle de St. Ferdinand, Neuilly.--Bellier, i. 811; Larousse; Meyer, Gesch., 155.

JACQUE, CHARLES ÉMILE, born in Paris, May 23, 1813. Animal and landscape painter, engraver, and etcher. Few French artists have a more widely extended or better deserved reputation, though more noted as an etcher than a painter, his colouring being somewhat crude. He paints farmyard scenes in perfection, and excels in accurate knowledge of sheep and poultry, of which he is a fancier; has also been called Le Raphael des Porceaux, from his truthful pictures of pigs. Medals: 3d class, 1861, 1863; Medal, 1864; L. of Honour, 1867. Works: Herd of Oxen driven to Watering Place (1849), Angers Museum; Landscape with Cattle (1856), Châlon-sur-Saône Museum; Flock of Sheep in a Landscape (1861), Luxembourg Museum; Chicken Yard, Group of Sheep (1862); Enclosure at Barbison (1863); Ploughing (1864); Country Scene (1865); Landscape (1866); In a Sheepfold, Border of Wood with Animals (1870); Girl Knitting (1872); Sheep, Chickens (2), The Village Poor, Pastoral (3), W. T. Walters, Baltimore; Landscape and Sheep, H. C. Gibson, Philadelphia; Horses in Stable, Sheep and Chickens, Ducks, A. E. Borie Collection, ib.; Sheep Stable, W. H. Vanderbilt, New York; Sheep, Hawk Collection, ib.; Fowls, T. A. Havemeyer, ib.; Rock, Aug. Belmont, ib.; Coming Storm, Young Shepherdess, Landscape with Horses, do. with Sheep, and others, J. C. Runkle, ib.; Poultry, Sheep in Stable, D. O. Mills, ib.; Poultry, John Hoey, ib.; Sheep and Shepherdess, R. L. Cutting, ib.--Claretie, Peintres, etc. (1884), ii. 297; Guiffrey, Œuvres de Ch. Jacque (Paris, 1867); Meyer, Gesch., 760; Hamerton, French Painters; Sept., 1875, Portfolio.

JACQUEMART, NÉLIE, born in Paris in 1845. History and portrait painter, pupil of Cogniet. In 1864 she decorated the church at Suresne, near Paris, but her high reputation was gained by such portraits as those of Drury (1869), Dufaure and Canrobert (1870), Thiers (1871), which when exhibited attracted much attention. Medals: 1868, 1869, 1870; 2d class, 1878. Works: Father of the Orphans, Molière with the Barber Geny at Pézénas (1863); Supper at Emmaus, The Pine-Apple Tavern with Molière reading “Les Femmes Savantes” to Corneille and Boileau (1866); Portrait of General Aurelle de Paladines (1877), Luxembourg Museum; Landscape (1870), W. T. Walters, Baltimore.--Bellier, i. 812; Zeitschr. f. b. K., x. 367.

JACQUET, JEAN GUSTAVE, born in Paris, May 25, 1846. Genre and portrait painter, pupil of Bouguereau. His genre pieces are original and fine in colour; his portraits have strength, charm, and expression, as well as delicacy of tone. Medals: 1868; 1st class, 1875; 3d class, 1878; L. of Honour, 1879. Works: Modesty, Sadness (1865); M. Guillemin in Dress of 16th Century (1866); Call to Arms in the 16th Century (1867); Departure of Army with German Mercenaries (1868); Judith, Garden in Lesmaès (1869); Girl holding a Sword (1872); Festival in Touraine about 1565 (1873); The Mysterious Studio (1874); Mercenaries Halting, Revery, Vidette (1875); Country Woman (1876); Poor Girl (1877); Joan of Arc praying for France (1878); The First to Arrive (1879); Minuet (1880); Glorious France (1882); La Pavane--Dance of 16th Century (1884); The Wag, Queen of the Camp (1885).

JADIN, EMMANUEL CHARLES, born in Paris; contemporary. Genre and animal painter, son and pupil of Louis Godefroy Jadin and of Cabanel. His late hunting scenes are better painted than his early genre pieces. Medals: Philadelphia Exposition, 1876; 3d class, Paris, 1881. Works: Sheik Salah dead in his Tent (1876); Raising of Lazarus (1877); Return from the Cemetery in Venice (1878); Emigrants on a Steamer (1879); Vision of St. Hubert (1880); Deer in Forest of Fontainebleau, Boar Hunt (1881); Group of Boars in Summer, Greyhound (1882); Foal of an Ass (1883); Monkey showing Magic Lantern (1884); Too Late! (1885).

JADIN, LOUIS GODEFROY, born in Paris, June 30, 1805, died there in June, 1882. Landscape painter, pupil of Abel de Pujol and Hersent. Paints spirited hunting scenes, eight of which in panels decorate the dining-room of the Ministry of State. Medals: 3d class, 1834; 2d class, 1840; 1st class, 1848; 3d class, 1855; L. of Honour, 1854. Works: Plain of Montfort-l’Amaury (1834); Factory of Poussin near Rome (1837); The Villa d’Este (1838); Castle of St. Angelo (1839); Hunting at Fontainebleau (1844); Deer Hunt (1848); Stag at Bay (1852), Ministry of Interior, Paris; Relay of Dogs at Château de Mailly (1855), Arras Museum; The Seven Deadly Sins (1857); View of Rome, Vision of St. Hubert (1859); Victim of Despotism (1861); Twelve Dogs of Virelade Breed (1864); Women of Isle of Sein burning Seaweed (1868); Aurora, ceiling in Salon d’Hercule, Palais du Sénat, Paris; Eight Panels with Hunting and Falconry Subjects, Ministry of State, ib.--Bellier, i. 816; Chronique des Arts (1882), 186; Larousse, ix. 875; Meyer, Gesch., 762.

JADRAQUE SANCHEZ, Don MIGUEL, born at Valladolid; contemporary. History painter, pupil of Valladolid art-school, where he won the first prize. Medals: Madrid, 3d class, 1871, 1876; 2d class, 1878; Vienna, 1873. Works: Charles V. at San Yuste (1878), Madrid Museum; Interesting Reading; Cisneros presented to Queen Isabella.--La Ilustracion (1879), i. 43.

JAFFA, PLAGUE OF, Antoine Jean Gros, Louvre, Paris; canvas, H. 17 ft. 6 in. × 23 ft. 7 in.; signed, dated Versailles, 1804. General-in-Chief Bonaparte, in order to inspire confidence in his army, visited, March 11, 1799, his plague-stricken soldiers in the hospitals at Jaffa. Scene--The interior of a mosque surrounded by a large court, converted into a hospital; near the centre, Bonaparte, followed by Berthier and Bessières, and attended by physicians, touches without fear the body of a plague-stricken sailor; the dying, the sick, and the convalescent on all sides. Salon of 1804. Gros received 16,000 francs for the picture, which was very successful. Engraved by Laugier, and by Queverdot and Pigeot.--Landon, Musée, xii. Pl. 1–2; Villot, Cat. Louvre; Gal. de Versailles, No. 655; Norvins, Hist. de Napoleon, i. 486.

JÄGER, GUSTAV, born in Leipsic, July 12, 1808, died there, April 19, 1871. History painter, studied at first in Leipsic and at the Dresden Academy, and from 1830 in Munich under Julius Schnorr, whom, after visiting Rome in 1836–37, he assisted in painting frescos in the new palace. In 1846–48 he decorated the Herder room at the castle in Weimar with frescos, and in 1850 painted one of the frescos in the Niebelungen Hall at Munich. He was made director of the Leipsic Academy in 1847. Works: Entombment, Burial of Moses, Leipsic Museum (Cartoon in Weimar Museum); Job (1833); Prayer of Moses during the Battle (1835); Balaam with the Angel (1836); Mystical Marriage of St. Catherine (1855), Dresden Museum. Frescos: Charlemagne driving the Longobards from Germany, Conquest of Saragossa, Battle with the Huns, Death of Charlemagne in Aachen, Charlemagne taking Pavia, Council at Frankfort, Coronation of Charlemagne in Rome, Frederic Barbarossa proclaimed Emperor, Barbarossa’s Entry into Milan, Peace Treaty with Alexander III. in Venice, Death of Barbarossa at Seleucia (1837–45), all in the Königsbau, Munich; Allegories illustrating Herder’s Works (1846–48), Herder room, Weimar; Entombment, Leipsic Museum; Dream of Sophronius, Magdalen at the Feet of the Saviour (1859); Circumcision of St. John.--Allgem. d. Biogr., xiii. 649; Allgem. Zeitg., April 27, 1871, Beilage, 117; Cotta’s Kunstbl. (1836), 54; D. Kunstbl. (1850), 328; (1851), 19; (1858), 291; Förster, v. 101; Kunst-Chronik, vi. 423.

JÄGER, KARL, born at Nuremberg in 1838. History painter, pupil of Reindel, Kreling, and Munich Academy. Professor at Nuremberg Art School. Works: Golden Age of Nuremberg; Birth of Dürer; Fair Rothtraut (1877); twelve portraits of German Kings; Portrait of Director Essenwein, Nuremberg Museum.--Müller, 279.

JAHN, JOHANN QUIRIN, born in Prague, June 4, 1739, died there, July 20, 1802. History painter and writer on art; son and pupil of Jacob Jahn (died in 1767), and for several years assistant of Palko in fresco and oil painting. Visited Holland, France, and Germany, and was made associate of the Academy at Vienna. After his return to Prague in 1796 he painted altarpieces for Bohemian and Schleswig churches. Works: S. Felippo Neri (1772), Church of St. Veit, Prague; St. Stephen (1775), St. Stephen’s, ib.; masterly copy of Correggio’s La Notte, Church at Liebesnitz.--Allgem. d. Biogr., xiii. 686; Wurzbach, x. 47.

JAIRUS, DAUGHTER OF (Mark, ch. v.), Gustav Richter, National Gallery, Berlin; canvas, H. 11 ft. 10 in. × 9 ft. 5 in.; signed, dated 1856. Christ, accompanied by three apostles, stands beside the bed of the maiden, who raises her head and looks up to him, while the mother bends listening over her; the father, standing behind the couch, has laid his hand on his child’s pillow and looks in mute astonishment at the miracle.--Jordan (1885), i. 102.

JALABERT, CHARLES FRANÇOIS, born at Nîmes, Jan. 1, 1819. Genre and portrait painter, pupil of Paul Delaroche. After competing for the prix de Rome three times without success, he spent three years in Italy, and returned with a picture which was bought by the State. His figures are well grouped, but not free from affectation. This is especially applicable to his religious pictures. Medals: 3d class, 1847; 2d class, 1851, 1867; 1st class, 1853, 1855; L. of Honor, 1855; Officer, 1867. Works: Virgil, Horace, and Varius at the House of Mæcenas (1847), Luxembourg Museum; St. Luke, Villanello (1852); Annunciation, Nymphs listening to Orpheus (1853); Christ on Mount of Olives (1855); Farewell of Romeo and Juliet, Raphael at work on the Madonna San Sisto (1857); A Widow (1861); Christ walking on the Sea, Maria Abruzze (1863); The Awakening (1872); Œdipus and Antigone, Nîmes Museum; Christian Martyr, Italian Girl, Orpheus (1853); The Morning (1863), W. T. Walters, Baltimore.--Bellier, i. 818; Nouv. biog. générale; Ch. Blanc, Artistes de Mon Temps, 474; Hamerton, Painting in France; Meyer, Gesch., 367.

JALEO, EL, Raimundo de Madrazo, Henry C. Gibson, Philadelphia. A gypsy girl, mounted on a table in the court of the Casa de Pilatos, Seville, dancing the jaleo; behind her are several torreros, one playing a guitar, and in front, seated under the banana trees, is a female companion, watching the performance.--Art Treas. of Amer., i. 70.

JALEO, EL, John S. Sargent, T. Jefferson Coolidge, Boston. El Jaleo, or Dance of the Gitanos. In foreground, a gypsy girl is executing a slow, measured, voluptuous dance, the principal movement being with the arms and body; in background, ranged against a white wall, on which their shadows are thrown by strong lamplight, are a row of black-robed musicians. Original subject, strongly rendered in manner of Velasquez. Paris Salon (1882). Engraved by Hél. Dujardin.--Art Journal (1882), 217.

JALYSUS, picture. See Protogenes.

JAMES OF COMPOSTELLA, ST., Titian, S. Lio, Venice; canvas, arched, figure life-size; signed. St. James receiving the ray from heaven; in the distance, the Baptist kneeling, and a knight to the left, sitting. Painted about 1565. Injured by time and repainting.--C. & C., Titian, ii. 355.

JAMES AND JOHN, CALLING OF (St. Matt. iv. 21), Marco Basaiti, Venice Acad.; wood, arched, H. 15 ft. × 8 ft. 6 in.; signed, dated 1510. Christ, with Peter and Andrew on a rocky shore (Sea of Galilee); James kneeling to receive a blessing; John stepping out of boat in which Zebedee is sitting. Painted for S. Andrea della Certosa, on one of the islands of Venice.--Zanotti, Pin. dell’Accad. Ven., Pl. 17; C. & C., N. Italy, i. 263.

JAMES, ST., Guido Reni, Madrid Museum; canvas, H. 4 ft. 5 in. × 3 ft. Figure half-length, life-size. Collection of Doña Isabel Farnese.--Madrazo.

JAMESONE (Jamieson), GEORGE, born at Aberdeen, Scotland, in 1586, died in Edinburgh in 1644. History, portrait, and landscape painter, student of Rubens at Antwerp, where he was a fellow-pupil of Van Dyck; returned to Aberdeen in 1620, but removed to Edinburgh about 1630–35. Charles I. sat to him in 1633 for a full-length. His manner is so much like that of Van Dyck that he is sometimes called the Scottish Van Dyck. Many works in the houses of Scottish nobility.--Redgrave; Taylor, 135; Fine Arts in Great Britain and Ireland, ii. 326; F. de Conches, 21.

JAN MET DEN BAARD. See Vermeyen.

JAN VAN CALCAR. See Kalkar, Hans von.

JAN WALTER VAN ASSEN. See Cornelisz, Jacob.

JANET. See Clouet.

JANET-LANGE, ANGE LOUIS called, born in Paris, Nov. 26, 1815, died there, Nov. 25, 1872. History painter, pupil of Colin, Ingres, and of Horace Vernet, who of the three especially influenced his style. He was a careful painter, of no great talent, and often employed as a decorator and illustrator. Medal, 3d class, 1859. Works: The Stud (1836); Christ in the Garden (1839); Isaac blessing Jacob (1843); Abdication at Fontainebleau (1844), Tours Museum; Good Shepherd (1845); Kiss Given and Returned (1846); Pilgrims of Emmaus (1849); Nero in the Chariot Race (1855); Napoleon III. helping the Sufferers by the Inundation at Lyons (1857); Incident of the Battle of Koughil (1859); Napoleon III. and his Staff at Solferino (1861); Battle of Altesco (1864); Pheasant Shooting at Compiègne (1865); His Last Friend, Going to the Ambulance (1866); Incident of Siege of Puebla (1868); Crossing the Gemmi (1870).--Athenæum (1872), ii. 738; Larousse.

JANK, CHRISTIAN, born in 1833. Architecture painter, pupil in Munich of Emil Kirchner. His architectural views in Germany, Italy, France, and Spain are well conceived, excellent in perspective, and bold in execution. Works: Castle Ellkofen; Arena in Verona; Canal Grande with S. M. della Salute in Venice; Amphitheatre in Pola; Courtyard of Palazzo Cicogna in Venice; Entrance to San Giovanni e Paolo in Venice; Cathedrals of Bourges and Rouen; Portals of Chartres Cathedral; Synagogue in Prague; Study of Interior.--Müller, 280.

JANMOT, LOUIS, born in Lyons, May 2, 1814. History painter, pupil of Orsel in Lyons and of Ingres in Paris. Medals: 3d class, 1845; 2d class, 1859, 1861. Works: Raising of the Widow’s Son (1840); Flower of the Fields, Assumption (1845); Eucharist (Hospital of Antequaille, Lyons); Christ in the Garden (1849); Poem of the Soul (1854, series of 18 cartoons); Virgin and Jesus, Holy Women at the Tomb (1859); Daniel, Isaiah, Jeremiah, Ezekiel (1861); Christ between Virgin and Saints, Ophelia (1863); Living Man bound to a Corpse (1865); St. Stephen before the Sanhedrim, Stoning of St. Stephen (1866); Madonna, Holy Family (1868); St. Cecilia, Virgil (1869); Head of John Baptist presented to Salome (1872); Dante’s Dream (1875); Shooting of Father Captier (1876); Portrait of General Gémeau (1850), Lyons Museum.--Bellier, i. 821; Gaz. des B. Arts (1864), xvi. 258; Larousse; Müller, 280.

JANNECK, FRANZ CHRISTOPH, born at Gratz, Styria, Oct. 4, 1703, died in Vienna in 1761. German school; landscape, history, and genre painter, pupil of Mathias Vangus, an artist little known; worked for some time at Frankfort, and afterwards went to Vienna, where he became assessor at the Academy. Works: Wooded Landscape with Peasants, Forest with Huntsmen, Museum, Vienna; Wedding, View in Poland, Liechtenstein Gallery, ib.; Christ and the Samaritan, Harrach Gallery, ib.; Christ with God the Father in Paradise, Trinity and Angels, Hilly Landscape with Castle, Prague Gallery; Rocky Landscapes with Shepherds (2), Bruckenthal Museum, Hermannstadt; Assembly in a Garden, do. making Music, Schleissheim Gallery; Landscapes with Figures (2), Darmstadt Museum; Interiors (2), Bordeaux Museum; Portrait of a Scholar, Wiesbaden Gallery; Departure of Prodigal Son, Prodigal Son in Riotous Living, New York Museum. In fresco: Appearing of the Holy Ghost, Ave Maria, Holy Trinity, Baptism of Christ, Chapel of the Holy Ghost, Generalcommando, Gratz.--Wurzbach, x. 81.

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