the Nativity, in the church of St. Chiara at Florence. Several circular pictures of the Holy Family, by this artist, are dispersed in that city, which unite a considerable portion of grace to some originality of design. He died in 1530.

BERNARDIN PINTURICCIO, a celebrated Italian painter, born at Perugia in 1454. He was the disciple of Perugino, under whom he became so good an artist, that he employed him on many occasions as his assistant. He principally painted history and grotesque; but he also excelled in portraits, among which those of pope Pius II. and Innocent VIII., of Julia Farnese, Cæsar Borgia, and Isabella, queen of Spain, are particularly distinguished. His chief performance is the history of Pius II., painted in ten compartments in the history of Siena; in which undertaking Raphael, then a young man, assisted him so far as to sketch out cartoons of many parts of the composition. His death was occasioned by a singular disappointment. Being employed by the Franciscan monks of Siena to draw a picture, they gave him a chamber to paint it in, which they cleared of all furniture except an old trunk, which he insisted on being also removed; in doing so it broke and discovered 500 pieces of gold, which the monks gladly seized, and the painter died of vexation at missing the

treasure.

FRANCESCO MONSIGNORI, an Italian painter, born at Verona in 1455, and died in 1519, aged 64. He was a disciple of Andrea Mantegna, at Mantua; and by the recommendation of the Marchese Francesco, he was much employed in that city. Though he did not equal his master in design, he approaches nearer to the modern style, his outline is fuller, his drapery is broader, he is fleshier and softer. He is said to have copied animals to a degree almost incredible. He was excellent in perspective, of which some specimens still exist in the refectory of the Franciscans at Mantua. His brother Gerolama, a Dominican, was a painter of merit, and his copy of the Last Supper, of Leonardo da Vinci, in the library of St. Benedetto, is perhaps the best that remains.

ROGER VANDER WEYDE, called Roger of Bruges, an historical and portrait painter, was born at Bruges about the year 1455, and became a disciple of John Van Eyck, who, at a short period before his death, discovered to him the secret of painting in oil. From this time he distinguished himself by many grand compositions in a large size, and was considered as one of the first Flemish artists who improved the national taste, divesting it in some degree of the Gothic, and manifesting grace in the airs of his heads, as well as correctness in his design. He painted the portraits of several princes, and of many persons of eminence, and obtained a considerable degree of fame and fortune. His paintings in the town hall of Bruges

have been much commended; one of which is formed on the subject of Trajan's justice, executed on one of his soldiers, on the complaint of a mother, whose son had been murdered by him and that of another is Archambrant, prince of Brabant, stabbing his nephew, who was his next heir, when he himself was near dying, for having ravished a maid of that country.

JEROM BOS, a painter of devils, witches, temptations of St. Anthony, &c., who died in 1560. He appears to have had a peculiar pleasure in the subjects of which he was excelled; but though there is much merit in their execution, they are calculated rather to excite horror than delight. His manner was superior to that of most painters of his time, and though his subjects are disagreeable, his pictures are always much esteemed and are sold at considerable prices. Among the singular subjects which he chose, there is one that represents Christ delivering the Patriarchs from Hell; Judas, who attempts slyly to escape with the saints, is seized in the neck by the devils, who are going to suspend him in the air; and there is in the Escurial an allegory of the Pleasures of the Flesh, in which the principal figure is represented in a carriage drawn by monstrous imaginary forms, preceded by demons and followed by death.

FRANCESCO GIOVANNI BERRI, called VASADELLIA, an historical painter, his birth is unknown, and died according to Fuseli, in 1510, or according to De Piles in 1520. Whatever degree of merit he may have possessed in his art, his having been the master and instructor of Corregio is sufficient to rescue his name from oblivion.

LORENZO LIPPI, a Florentine painter, born in 1460. He was likewise a great musician and poet. He died in 1505, at the age of 45.

ANDREW CONTRACCI, likewise called ANDREA SANSOVINO, from a town in Tuscany, where he was born in 1460. Like Giotto he was the son of a simple shepherd, and, like him, his genius for design discovered itself in childhood by the drawings which he made in the sand, and the models which he amused himself with forming out of clay. These youthful productions were seen and admired by Simon Vespucci, then chief magistrate of the town of Sansovino; he perceived in them prognostics of the future fame of our young artist, and obtained the permission of his father to carry him to Florence, where, under the tuition of Antonio Pollajuolo, he made a rapid progress, and ultimately became one of the most celebrated architects and sculptors of his age. The chapel of the sacrament, in the church of Santo Spirito at Florence, although small, is a beautiful specimen of the perfection which he attained in the former art, and is so finely put together that it appears as if chiselled out of one stone. By

this, and other works, he acquired an extended reputation; insomuch that he was invited into Portugal, where he erected many edifices, and amongst others a palace, with four towers for the king. After nine years' residence in that country he returned, loaded with presents, to Italy, and was employed by Leo X. in many considerable works; especially in the statues and basso-relievos which ornament the Santa Cara of Loretto. Several of his other productions in sculpture are at Rome, particularly two sepulchres within the choir of the Madonna del Popolo, and a fine groupe representing St. Anne, Christ, and the Madonna, in the church of St. Agostino. He died much regretted in the year 1529, at the place of his nativity.

FILIPPO LIPPI, an Italian painter, son of Lippi, called the Old, born at Florence in 1460, and died in 1505, aged 45. He was a disciple of Sandro Boticelli, and strictly adhered to the style of his master. He showed great capacity and invention; and several of his compositions were executed with great elegance, with a very pleasing tone of colouring. But his particular excellence consisted in painting the ornaments of architecture, especially the friezes, in the true taste of the antique, with a fine understanding of the chiaro-oscuro.

FRANCIES BIANCHI, called IL FRARI, an eminent painter born at Modena; and was master to one of the most esteemed painters that ever appeared, Antonio Corregio. His colouring was delicately fine; his attitude full of grace, and his invention extremely grand. His works had an astonishing beauty, and are prized as highly as even those of Corregio. He died in 1520.

GIO BATISTA CIM A CONEGLIANO, called Il from the place of his nativity, a small city in the state of Venice; became, under the tuition of Giovanni Bellini, a painter of considerable eminence; and indeed so entirely did Ĉonegliano possess himself of the style of Bellini, that the works of the scholar are frequently confounded with those of the master; even by good judges. It was however much the custom with the older Venetian painters, to subscribe their names to their works; many therefore of this artist are still known, as well by the inscription as by the mountainous view of the town of Conegliano with which he usually enriched his back grounds. A juvenile performance of this master with the date 1493, is in the convent of Conegliano: a more excellent picture by him is in the church of Santa Maria Dell Orto, at Venice. It represents St. Peter, St. Paul, St. Mark, and St. Jerome, with a magnificent architectural back-ground. But in the opinion of Lanzi, the chef-d'œuvre of Conegliano, is an altar-piece in the duomo at Parma, the subject of which, however, he has neglected to mention. This master is supposed to have died shortly after 1517.

BENEDETTO CODA, an Italian painter, who died about 1520. He painted a picture on the dome of Rimini, representing the wedding of Maria, and inscribed "Opus Benedicti ;" and another for the Church of St. Rocco, at Pesaro; it represents the patron saint of the church, with St. Sebastian, at the throne of the Madonna, surrounded by a number of angels.

ANTONIO DA CREVALCORE, a painter, whose family name was Leonelli, but who was called da Crevalcore, from the place of his birth, a town in the Bolognese state. This artist flourished at Bologna, in the year 1490, and distinguished himself as a portrait painter. He also represented, with success, fruits, flowers, and animals, and was besides a celebrated musician.

QUINTIN MATSYS, a painter of history and portraits, was born at Antwerp, in 1460, and followed the trade of a blacksmith, till he was in his twentieth year. Some affirm that the first unfolding of his genius was occasioned by the sight of a print, accidentally shown to him by a friend, who came to pay him a visit, and that by his copying the print with some success, he became desirous to learn the art. Others say, he fell in love with a young woman of great beauty, the daughter of a painter, and as he could have no prospect of obtaining her, except by distinguished merit in that profession, he studied the art till he became so eminent, as to be entitled to demand her marriage, and he succeeded. His manner was singular, not resembling that of any other master, and his pictures were strongly coloured, and carefully finished, but yet they are somewhat dry and hard. If he had studied the antiques and the great masters of the Roman school, he might have proved one of the most eminent painters of the Netherlands. But he only imitated ordinary life; and seemed more inclined to copy the defects, than the beauties of nature." Some of his historical compositions have great merit, particularly a descent from the cross, in the cathedral at Antwerp; which is justly admired for the spirit, skill, and delicacy of the whole. But the most remarkable and best known of his pictures, is that of the two misers, in the gallery at Windsor. He died in 1529.

LODOVICO BREA, of Nizza, an artist who flourished from 1483 to 1513, may be considered as the founder of the primitive Ligurian school; Genoa and its states still possess many of his works. Though inferior in taste to the best contemporaries of other schools, meagre in design, and attached to gilding, he yields to none in characteristic beauty of heads, and a vivacity of colour, which has defied time. The folds of his draperies are natural, his composition has propriety, his attitudes spirit, his plans are uncommon. He possesses an originality, which clears him from all suspicion of imitation, or deference to another school; all this is to be understood of VOL. IV.

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small proportions, for on large dimensions it does not appear that he ever ventured. The most praised of his relics are a "Murder of the Innocents," at St. Agostino, and a "St. John," in the oratory of the Madonna di Savona.

SANTA PERANDA, an historical painter of Venice, was born in 1466, and died in 1538. He imitated the styles of Titian, Zintoretto, and Paul Veronese.

CORNELIUS ENGHELBRECHT, a Dutch painter born at Leyden, in 1468, and died in 1533, aged 65. He formed his style of painting by imitating John Van Eyck, being the first of the Dutch school who painted in oil. His design was good, and his figures were disposed with judgment; his draperies were rich, well cast, and less hard and dry in the folds, than appeared in any of the works of his contemporaries. His most capital performance, according to Sandrart, and Van Mander, is the representation of the Lamb, in the Revelation of St. John, which he painted for a chapel in the church of St. Peter, at Leyden. It consists of a great number of figures, which are well disposed; the countenances are noble and full of expression, and the pencilling is very delicate; the whole together being an admirable performance.

FRANCISCO BARTOLOMEO BACCIO, or BARTELEMI DI S. MARCO, a celebrated historical and portrait painter, was born at Savignano near Florence, in 1469, and was a disciple of Roselli; but his principle knowledge in the art was derived from Da Vinci. He understood the true principles of design better than most masters of his time, and was also a considerable painter of perspective. Raphael after he had quitted the school of Perugino, studied the art of uniting colours under him, as well as the rules of perspective. Some years after the departure of Raphael, Baccio visited Rome; and by the observations he made on the antiquities and the works of Raphael, which, by that time, were universally admired, he improved much, and manifested his abilities by a picture of St. Sebastian, which he finished at his return to Florence. It was so well designed, so naturally coloured, and had so strong an impression of agony, that it was removed from the convent where it was exhibited, as it had made too strong an impression on the imaginations of many women. He made nature his study, he designed naked figures correctly; and his colouring was admirable. He is accounted the first inventor of the machine called a layman by the artists, and which is still in general use. Upon that he placed his draperies, to observe with greater exactness their natural and their most elegant folds. A capital picture of the Ascension, by Baccio, is in the Florentine collection. He died in 1517.

FRANCIS DA PONTE, a painter of Vicenzo, who set