exaltation. He died of a fever in 1547, at the age of 62. This artist invented a composition for keeping fresh colours of oil painting upon walls.

JOACHIM PATENIER, a Dutch painter of landscapes, battles, &c., born about 1487. He learned the art of painting at Antwerp, and was received as a member of the academy of painters in that city in 1515. His principal subjects were landscapes, which he painted well, with charming distances, and figures exquisitely touched and designed. There appeared a peculiar neatness in the leafing of his trees, and the trunks and branches of them had all the freedom of nature. His works, even in his life time, were held in such high estimation, that they werę industriously sought for and eagerly purchased at great prices. It was much lamented that notwithstanding Lis merit in his profession, and the encouragement he received, he should consume the largest portion of his time in drinking, and other kinds of dissipation, by which he not only impoverished himself but also deprived the world of so many valuable productions as he might have furnished. But it was his invariable custom, never to take up the pencil, till want compelled him to use it. He painted battles with extraordinary spirit; his compositions in that style were filled with a number of figures, and each of them well designed, and finished with the utmost exactness. Sandrart mentions an admirable battle piece of Patenier's painting, in the possession of Melchior Wyntgis, at Middleburgh. When Albert Durer was at Antwerp, the work of this artist afforded him so much satisfaction, as he saw an uncommon degree of merit in his performances, that he painted his portrait in order to preserve the memory of so eminent an artist.

ANDREA DEL SARTO, an eminent painter of the Florentine school, was born in 1488, in Florence, where his father exercised the trade of a taylor, which gave the son his usual name of del Sarto. He was taken from a goldsmith's shop by a painter, who kept him three years, after which he was put under the tuition of Pietro Cosmo, the first painter in Florence. Andrea soon surpassed his master, and acquired a high reputation; his humility, however, led him to fix so low a price on his works, that he always lived in mean circumstances. His professional character was that of an excellent artist, but not a man of genius. He worked with facility, drew well, coloured admirably; but was unable to give that grace and dignity to his figures which denote brilliant and elevated conception. His heads of the Virgin have a cast of uniformity, which is partly attributed to his having his thoughts occupied with his wife, of whom he was extremely fond and jealous, After painting long in his native city, he was led by the reputation of Michael Angelo and Raphael to visit Rome; and from the study of their works he

improved his own style, so that the pieces he painted after his return are reckoned the best. Andrea was invited to France by Francis I., and executed several works there. The king, at his departure, entrusted him with a considerable sum to purchase pictures in Italy, with which he was soon to return. The poor painter, however, spent the money with his wife and friends at Florence, and never ventured to go back, but sent a few pictures to gain his pardon, which was granted, but with no new invitation. He continued to work diligently, when, at the siege of Florence, in 1530, he was carried off by the plague, in his forty-second year, abandoned by his wife, and almost without any assistance.

ALBRECHT or ALBERT, ALTORFER, or ALDORFER, a very eminent artist, was born in 1488, at Altdorf in Bavaria, and rose to be a member of the senate of Ratisbon, and architect to the town, where he died in 1578. His merit as a painter appears to have been very considerable, but much more as a designer and engraver. His works in wood and metal are as numerous as, in general, remarkable for diminutive size, though neither his conceptions nor forms were puny. The arts of "The Passion," "Jael and Sisera," "Pyramus and Thisbe," "Judah and Thamar," if we allow for the ignorance of costume in the three last, shew a sensibility of mind, and a boldness of design, which perhaps none of his German contemporaries can boast. Holbein is said to have drawn great assistance from him, evident traces of the style of Altorfer appearing in the prints of that inimitable artist, although certainly much improved.

JOHN FRANCIS PENNI, born at Florence in 1488, was the disciple of Raphael, who observing his genius and integrity, entrusted his domestic concerns entirely to his management, by which means he got the appellation of "il fatore," or "the steward." His genius was universal, but his greatest pleasure was in painting landscapes and buildings; he was an excellent designer, and coloured well in oil, distemper, and fresco. He painted portraits exquisitely, and had such happy talents, that Raphael left him heir to his fortune, in partnership with Romano his fellow-disciple. Penni died at Naples in 1528.

LUKE PENNI, brother of the above, worked at Genoa and other parts of Italy, with Del Vaga, who married his sister; he went thence to England, where he worked for Henry VIII., and was employed by Francis I. at Fontainbleau; but at last devoted himself to engraving.

LORENZO COSTA, a Ferrarese painter of considerable eminence, who flourished towards the end of this, and at the commencement of the next century. The period of his birth is unknown. He was employed at Ferrara in the early part of his life, upon many considerable works both

public and private; the choir of the church of the Dominicans, long since destroyed, was painted by him with great skill and diligence. The reputation which he acquired by these and his other works at Ravenna, occasioned his being employed by the family of Bentivoglio, at Bologna, to paint in their chapel at San Petronio, several pictures in concurrence with Francesco Francia, the most celebrated Bolognese artist of his time; one of these, in which are introduced several admirable portraits, is dated 1488. The latter part of his life was spent at Mantua, where, after the death of Mantegna, he was considered the first painter. One of his altar-pieces painted in 1505 in the chapel of the duke, is particularly worthy of notice. He has by some authors been considered the disciple of Francia; but this opinion is combated by Lanzi, who doubts the inscription on which it is founded, and supposes Costa rather to have been indebted to the studies, when young, he made from the works of Lippi Gozzoli, and other Florentine painters. He died about the year 1530.

INNOCENT FRANCUCCI, an historical painter, born at Imola, and known by the name of Innocenza da Imola, because a disciple of Francesco Francia, in 1506, then passed some time with Albertinetti at Florence, and from the evidence of his works, and the testimony of Vasari, studied much after Fra. Bartolomeo and Andrea del Sarto, for though the main disposition of his altar-piece be still gothic, he no longer used the ancient gilding; he placed the Virgin on high in the centre, and surrounded her with saints and angels, architecture and back-ground skilfully grouped and arranged with novelty and taste. Such is his style in his surprising picture of the Duomo at Faenza, and in another at Pesaro. The aerial perspective and back ground remind us of Leonardo da Vinci. He sometimes placed smaller pictures under his altar-pieces, like that at St. Giacomo of Bologna, which breathes the very spirit of Raphael; that spirit he seems indeed to have aimed at in the greater part of his works, and to have approached it nearer than most of Raphael's own scholars. Bagnaccovallo, in erudition, majesty, and correctness. Subjects of novel ambition and fiery fancy he has not produced, nor seem they to have been congenial with that mindness and tranquillity of character which history ascribes to him. He was fifty-six years old at the time of his death.

JOHN VAN EICK, a celebrated Flemish painter, commonly called John of Bruges, from his birth place, was the first who discovered the method of painting in oil. Being a chemist, he found in the course of his experiments, that, by grinding colours with lintseed or nut-oil, he could form them into a solid body, which would resist water and not need the varnish used in painting in water colours or in fresco. He

presented the first picture painted in this manner to Alphonsus I., king of Naples, who was much pleased with it.

UGO DA CARPI, an Italian painter, remarkable for being the inventor of that species of engraving on wood, distinguished by the name of chiaro-scuro, in imitation of drawing. This is performed by using more blacks than one; and Ugo da Carpi usually had three; the first for the outline and dark shadows, the second for the lighter, and the third for the half tint. In that manner he struck off prints after several designs, and cartoons of Raphael; particularly one of the Sibyl, a descent from the cross, and the history of Simon the sorcerer. He died in 1500.

VAN JOAS, or JOOST CLEEF, a painter, a native of Antwerp, who enjoyed the reputation of being one of the best colourists of his time. The period of his birth is not known, but it appears he entered into the company of painters at Anttwerp, in the year 1511.

Soon after the marriage of Philip of Spain to Mary queen of England, he came to London, but seeing some pictures of Titian preferred to his own, he became frantic with rage and disappointment, and from that time was nick-named Joost the Madman. There was an altar picture by him at the church of Notre Dame at Antwerp, which is said to have possessed much of the purity of the Roman school of painting; the subject was S. Cosmo and Damiano. The period when this artist died is unknown.

PETER LAURATI, a native of Siena, celebrated as a painter in this period. He particularly excelled in his draperies, which were finished in such exquisite taste, that the delicate proportions of the human limbs appeared visible through

them.

TRENEDE SPILEMBERG, a Venetian lady, whose paintings were frequently mistaken for those of Titian, with whom she was contemporary. She died at the age of twenty-six, and her very competitor honoured her death by his

tears.

CÆSAR DE FESTO, an Italian painter of Milan, was the best disciple of Leonardo da Vinci, and died at the beginning of the next century. His pictures are distinguished by the spirit of the composition and the grace of the figures.

NICOLO CORSI, a Genoese painter of considerable merit, who was born towards the latter end of this century. In the monastery of the monks of mount Oliveto, at the village of Quarto, three miles from Genoa, were several of his frescoes, which evince fecundity of invention, a just idea of expression, and skill in the management of colours.

BERNARDINO FASSOLO, of Pavia, a celebrated painter, who was a pupil or imitator of Leonardo da Vinci,

and the most successful of all his imitators, Luino perhaps excepted, if he be judged by the only picture, which, without hesitation, may be ascribed to him. This picture, which belonged to the gallery of prince Braschi, was carried by the French to that of the Louvre, and represents, in a groupe of natural size, the Madonna with the infant on her lap; the mother in quiet repose, with bent eyes, and absorbed in meditation; her simple attitude is contrasted by the lively one of the child, who seems to take refuge at her neck and breast from some external object. The picture is inscribed “Bernardinus Faxolus de Pavia fecit, 1518."

THEODORE BERNARD, a Dutch painter, born at Amsterdam, about 1490. He afterwards came to England, where he painted the two large historical pictures in Chichester cathedral, representing king Henry VIII. granting some immunities to Sherburn bishop of that diocese, and the ceremony of removing these from Selsea to Chichester by Caedward; the series of the kings of England down to Henry VIII., which are continued to George II. by other hands; and the series of bishops of Chichester, in that cathedral.

BERNARD VAN ORLAY, a Flemish painter, was born at Brussels, about 1490: He was the disciple of Raphael, and became principal painter to the governor of the Netherlands, He died in 1560.

VICENTIO DE ST. GEMIGNANO, an Italian painter, born in Tuscany in 1490, and died in 1530, aged 40. He was a disciple and imitator of Raphael. He painted some fine pictures for the churches at Rome,

ERCOLE GRANDI, whom Vasari calls Ercole da Ferrara, was a painter of the early ages in the art after its revival. He was a disciple of Lorenzo Costa, whom he afterwards surpassed in excellence, and at whose death he was appointed to complete the work of the Crucifixion, begun by the former for Domenico Garganelli, in the church of St. Pietro, in Bologna, by which he gained great reputation for the excellence of the colour, and the truth and force of expression, although it is wrote in the dry style of Mantegna and F. Perugino. When unfortunately the chapel was destroyed, that part of the picture which was preserved was placed in the palace of Tanara. His peculiar shyness of manner made him many enemies in Bologna. He therefore quitted it and went to Ferrara, where he produced many works which are now very scarce. His fondness for wine shortened his life, and he died at the age of 40, in the year 1531.

BENEFACIO, or BONIFAZIO, called VENEZIANO, whom Ridolfi believes to have been a scholar of Palma, but Roschini numbers among the disciples of Titian, and says he followed him as the shadow the body. He is, indeed, often