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than the naked figure. There is a vast work by
him in the oratory of Sant' Agostino in Perugiu,
where he died in 1630.

ANGELI, GIUSEPPE, a Venetian painter, scholar
of Piazzetta, whose style he imitated, was born
about 1709. He painted cabinet pictures, and
some altar-pieces. His heads have considerable ex-
pression, and his extremities are well drawn. The
painting in the cupola of San Rocco at Venice is
one of his best works. He executed numerous
decorations in the churches and public buildings of
Padua and Rovigo, as well as of Venice. He died
at Venice in 1798. In the Louvre there is a
'Little Drummer' by him.


ANGELI, NICCOL6, an Italian engraver, flour-
ished about the year 1635. He was a disciple
of Remigio Canta-Gallina, and, in conjunction with
his instructor, engraved, from the designs of
Giulio Parigi, a set of plates representing the
festivals which took place at Florence on the
occasion of the marriage of the Prince of

ANGELICA, a miniature painter of Tarragona,
executed, in 1636, the illuminations of the cathe-
dral choir-books with great neatness and skill.



ANGELINI, SCIPIONE, who was born at Perugia
in 1661, was a skilful painter of flowers; in his
pictures they appear newly plucked, and sparkling
with dewdrops. He painted a great number,
which he sold to dealers, who exported them to
England, France, and Holland. He practised at
Rome ; and died at Perugia in 1729.


born in 1847, and early distinguished herself
as a brilliant and original painter of flowers
and kindred subjects, which she was among the
first of modern English painters to treat with
breadth and vigour. She first exhibited at the
Dudley Gallery in 1866. She became a member
of the Institute of Painters in Water-Colours, but
seceded in 1879, on being elected an associate
exhibitor of the Society of Painters in Water-
Colours, of which she afterwards became a member.
She married, in 1875, Mr. W. T. Angell, and died
March 8, 1884. Her last picture was exhibited
at the Dudley Gallery in the winter of 1889.




ANGELUCCIO, a scholar of Claude Lorrain,
was living in 1680, but died young. He is men-
tioned as an artist of considerable talent ; his
works are perhaps sometimes mistaken for his

ANGIER, PAUL, an engraver, of whom little
more is known than that he resided in London
about the year 1749, and that he was instructed in
the art by John Tinney. He was chiefly em-
ployed in engraving for the booksellers, and
executed several small plates, principally land-
scapes, in a neat style, but without much taste.
His best print is a ' View of Tivoli,' after Mouche-
ron. There is a print, dated 1749, by him, of a
view of Roman ruins, after Pannini, very neatly

ANGILLIS, PIERRE, (wrongly called ANGELIS),
was born at Dunkirk, in 1685. After learning the
rudiments of design in his native town, he visited
Flanders, and resided some time at Antwerp, where
he was made a master of the Guild of St. Luke
in 1715-16. He painted landscapes with small
figures, into which he was fond of introducing
fruit and fish. He came to England about 1719,
remaining till 1727, when he set out for Italy.
On his return he settled at Rennes, where he died
in 1734. His st3'le was a mixture of those of
Teniers and Watteau, with more grace than the
former, and more nature than the latter.

Neapolitan, and flourished about the year 1450.
He was a disciple of Antonio Solario, called II
Zingaro, and, according to Dominici, painted
several pictures for the churches at Naples. One
of his most esteemed works was a picture in the
church of San Lorenzo, representing the ' Virgin
and Infant Jesus, with St. Francis, St. Anthony of
Padua, and St. Louis.' He died about the year

ANGLUS, BENJAMIN. This artist is mentioned
by Heineken as the engraver of two emblem-
atical subjects, one after Antonio Tempesta ; the
other is probably from his own design, as he adds
the word fecit to his name.

called ANGELI, and occasionally ANQELO and
AQNOLO), was born at Verona, about the year
1512. He was a scholar of Francesco Torbido,
called II Moro, whose daughter he married, and
whose name he added to his own. He improved
his style by studying the works of Titian, and
painted several pictures, both in oil and fresco, for
the churches at Verona, and sometimes in compe-
tition with Paolo Veronese. In Sant' Euphemia he
had painted a fresco of ' Paul before Ananias,'
which, on the demolition of the wall on which
it was painted, was sawn out with great care,
and removed to another part of the church. His
colouring is more vigorous than that of his in-
structor, and his design more graceful. Such is
his picture in San Stefano of ' An Angel pre-
senting the Palms of Martyrdom to the Inno-
cents.' He also painted much in Venice, Mantua,
and Murano. We have several slight but spirited
etchings by this master, in which the extremities
of the figures are drawn in a very masterly style.
In conjunction with Battista Vicentino, he en-
graved a set of fifty landscapes, mostly after
Titian, which are executed in a bold, free style.


We have also the following plates as specimens of
his work in this line :

The Nativity, or Adoration of the Shepherds; after

The Virgin, with the Infant Christ and St. John ; S. A.

del Morn, fee.
The Holy Family, with St. Elisabeth and St. John ;

after Raphael.

Another Holy Family ; after the same.
The Martyrdom of St. Catherine ; after Bernardino

The Baptism of Christ by St. John ; after the same.

ANGOLO DEL MORO, GIULIO, (commonly called
ANGELI), the brother of Battista, was a sculptor,
architect, and painter. He was a native of Verona,
but laboured chiefly at Venice, and in the churches
and the Doge's Palace of that city he has left
several pictures. He flourished in the 16th cen-
tury and the beginning of the 17th. There is no
record of him later than 1618. There was a third
brother, GIROLAMO, who was also a painter, but of
no great merit.

ANGOLO DEL MORO, MARCO, (commonly called
ANQELI), the son and pupil and assistant of Bat-
tista, flourished in the latter half of the 16th
century at Venice and Verona. He assisted his
father in his wall decorations at Murano. He
also practised the art of engraving with consider-
able success.

This celebrated painter, the eldest of six sisters,
was born of an ancient family at Cremona, about
1535. She received her first instruction in the
art from Bernardino Campi, to whom she went in
1546, but afterwards became a scholar of Bernardo
Gatti, called Sojaro. After leaving those masters,
her first effort in art was an effusion of filiiil
affection, expressed in a portrait of her father and
two of his children. This performance was uni-
versally admired, and she was soon considered as
one of the most eminent portrait painters of her
time. She did not, however, confine herself to
portraits, but painted some historical subjects of
a small size, that were highly esteemed, and
established her reputation. The fame of this
painter induced Philip II. of Spain, the great
encourager of art in his time, to invite her to
Madrid, where she arrived about the year 1560,
attended by three of her sisters. One of her first
works in Spain was a portrait of the Queen Isa-
bella, which was presented by the king to Pope
Pius IV., to whom she was nearly related, accom-
panied by a letter addressed to his Holiness by
Sofonisba, to which that pontiff replied in nn
epistle, highly extolling her performance, and
assuring her that he had placed it amongst his
most select pictures. She was married twice: first
to Don Fabricio di Moncada, a Sicilian nobleman,
after whose death she returned to her own country
by way of Genoa. There she married as her
second husband Orazio Lomellini, the captain of
the galley in which she made the voyage. Her
portrait at the age of ninety-six, together with a
long account of her, is to be seen in the Van Dyck
Sketchbook at Chatsworth, and is reproduced in
the facsimile of this Sketchbook issued in 1901 by
George Bell and Sons, London, Plate XXXVIII. It
was drawn by Van Dyck on July 12, 1624, when
the artist was at Palermo, and he states in the iu-
smption that when " I was making her portrait
she gave me many hints, such as not to take the

light from too high, lest the shadows in the wrinkles
of old age should become too strong, and many
other good sayings by which I knew that she was
a painter by nature and wonderful, and the greatest
trouble she had was that from lack of sight she
could piant no longer, though her hand was firm
without tremor of any sort." She died in Palermo
soon after the visit of Van Dyck, in 1626. A
drawing has been discovered lately at Palermo
which closely resembles the sketch at Chatsworth,
and is attributed to Van Dyck with some definite
assurance. The following may be noted among
the most important of her paintings :

Portrait of herself, seated at a clavecin (signed). In a

private collection in Bologna.
Portrait of herself (similar to the Bologna picture).

In the possession of Lord Spencer at A Ithorpe.
Portrait of herself. A t Ji'uneham Park.
Portrait of herself painting a picture (signed). In the

UJfi:i, Florence.
Portrait of herself holding a book (signed and dated

1554). In the Gallery, Vienna.
Three of her sisters playing chess (formerly tn the

collection of Lucien Buonaparte; one of her list works).

In the possession of Count Raczynski at Berlin.
Portrait of a nun (signed). In the possession of the

Earl of Yarborough.
Portrait of a man. At BurJeigh House.
Portrait of a Venetian Ambassador (signed). In the

Srignoli Gallery at Brescia.
Madonna and child (dated 1559). In the Bresciani

Collection at Cremona.

ANGUISCIOLA. All the five sisters of Sofo-
nisba painted with more or less success. ELENA,
the next in age to Sofonisba, after having studied
with her under Campi and Gatti, entered the con-
vent of San Vincenzo, at Mantua, where she was
still living in 1584. LUCIA, the third in age, who
died in 1565, distinguished herself both in painting
and music ; a portrait of the physician 'Pictro Maria
of Cremona ' by her, signed ' Lucia Anguisola,
Amilcaris filia, adolescens, fecit,' is in the Madrid
Gallery. MINERVA died young. EUBOPA and ANNA
MARIA painted subjects from sacred history for

ANGUS, WILLIAM, an English designer and en-
graver of landscapes and buildings, was born in
1752. He was a pupil of William Walksr. He
engraved and published a great number of views
of gentlemen's seats in England and Wales, which
were executed by him in a delicate and pleasing
manner. He was also employed on many other
topographical publications of the period. He did
not confine his graver to his own drawings, but
exercised it on those of Stothard, Paul Sandby,
Edward Dayes, George Samuel, and others of high
repute. He died in 1821.

ANICHINI, PIETRO, a Florentine engraver, of
whose life we have no particulars. He is said by
Basun to have been born in 1610 ; he died in 1645.
Among other plates engraved by him, we have
the following :

A Holy Family ; small plate, lengthways ; dated 1644.

The Good Samaritan ; small, lengthways.

Cosmo Prince of Etruria.

Evangelista Torricelli, the mathematician.


VINCENZO ROMANO, was born at Palermo towards
the end of the 15th century. After having
studied for some time in his native town the
works of Perugino and other masters, he went to



Rome, where, if he did not receive personal in-
struction from Raphael, the works of that master
had a great effect on his style. Aniemolo left
Rome at the time of its pillage and went to
Messina ; thence he returned to Palermo, where
lie lived until his death, which occurred in 1540.
lie has left in the churches of his native town
many pictures of merit. Of these we may mention
the ' Virgin and Child between four Saints,' in San
Pietro Martire ; the ' Virgin of the Rosary,' dated
1540, in S;in Domenico ; and the ' Sposalizio,' in
Santa Maria degli Angeli. All bear strong traces
of the influence of Raphael.

ANISIMOFF was a Russian genre painter, who
obtained a reputation in the course of the first
ten years of the 19th century by the execution of
a number of spirited pictures depicting scenes
from Russian popular life.


ANNA, BALDASSARE D', a Fleming by birth,
hut of the Venetian school of painting. He was a
pupil of Corona of Murano, and after his master's
death completed several of his works. He also
produced many original pictures for the Servi and
other churches, which, though inferior to those of
Corona in the selection of forms, surpass them in the
softness, and sometimes in the force, of the chiaro-
scuro. He flourished toward the close of the 16th
and the beginning of the 17th century. The last
record we have of him is in 1639.


ANNIS, \V. T., an English mezzotint engraver,
of whom very little is known. He exhibited
landscapes at the Royal Academy between the
years 1798 and 1811, and engraved the following
plates in Turner's Liber Siudwmm;

Funset; No. 40.

Chepstow Castle ; No. 48. Also

Mary Wollstonecraft Godwin ; after Opie.


ANRAADT, PIETER VAN, flourished at Amster-
dam, where he settled in 1672, and married the
daughter of the Dutch poet Jan van der Veen.
Notwithstanding the merit of this master, little is
known of the circumstances of his life. Accord-
ing to Houbraken, he was a very eminent his-
torical painter, and that author mentions a picture
of ' Regents ' painted by him for the ' Huiszitten-
huis ' at Amsterdam. Balkema describes him as
a painter of portraits, animals, and conversation-

ANSALDO, ANDREA, was born at Voltri, a small
town near Genoa, in 1584. He was at first a
scholar of Orazio Cambiaso : but becoming im-
pressed with the beauty and splendour of the
works of Paolo Veronese, he studied them with
great attention, and formed for himself an excel-
lent style of colouring, both in oil and in fresco.
His chief work was an ' Assumption of the Virgin,'
in the cupola of the church of the Annunziata at
Genoa. Many other works of this master are in
the churches and palaces in that city, and of his
native town. He possessed a fertile invention,
and his compositions are decorated with architec-
ture and landscape, introduced with a very happy
effect. He died in 1638 in Genoa, having acquired
the reputation of being one of the best painters of
his time.

ANSALONI, VINCENZO, was a native of Bologna,
and a disciple of Lodovico Carracci. Under so able

an instructor he became a reputable painter of
history. Malvasia speaks in very favourable terms
of an altar-piece by this master, in the chapel of
the family of Fioravanti, in the church of St.
Stefano at Bologna, representing the ' Martyrdom
of St. Sebastian.' His chef-d'ceuvre is a picture
in the church of the Celestine Monks, representing
the Virgin Mary with the Infant Saviour in the
clouds, and below, St. Roch and St. Sebastian.
According to Zani, he flourished about 1615, and
died young.


ANSDELL, RICHARD, was born at Liverpool
May 11, 1815, and baptized at St. Peter's Church
there. He was educated at the local Bluecoat
School from 1824 to 1828, from which it may be
inferred that his father was dead and his relatives
were in poor circumstances. His grandfather had
owned salt-works near Northwich. Ansdell is said
to have shown skill in drawing when at school, and
when he left in 1828 it was to go to W. C. Smith,
profile and portrait painter, at Chatham. Later he
returned to Liverpool, where, after some experience
of commercial employment, he, at the age of
twenty-one, definitely set up as an artist. He
attended the classes of the Liverpool Academy, of
which he afterwards became a member, and event-
ually president ; the bent of his mind, however,
was towards animal painting, and he probably
learned most in the school of nature. His first
appearance at the Royal Academy was in 1840,
when ' Grouse-shooting ; lunch on the Moors ' and
'A Galloway Farm,' the property of the Marquis
of Bute, were hung. He was then at Liverpool,
which remained his address until 1847, when he
had removed to Kensington. In the interim he had
been represented every year at Somerset Huuse :
in 1841 and 1845 by sporting portrait groups ; in
1842 by the historical subject, 'The Death of Sir
William Lambton at the Battle of Marston Moor ' ;
in 1843 by 'The Death'; in 1844 by 'Mary
Queen of Scots returning from the Chase to Stirling
Castle' ; and in 1846 by 'The Stag at Bay.' The
equally popular 'The Combat' and 'The Battle
for the Standard ' followed in 1847 and 1848. In
the meantime Ansdell had commenced exhibiting at
the British Institution in 1846, to which, in all, he
sent thirty works. Ansdell achieved an early and
enduring popularity, and the ready sale of his
pictures, combined with the profits from engrav-
ings, must have yielded him a large income. He
painted a wide range of animal subjects, much in
the vein of Landseerj although without high ex-
cellence as a painter, he h:;d facility and skill in
composition, which, with his happy knack in choice
of effective subjects, sufficed for the very large
public that likes animal pictures seasoned with a
dash of theatrical human ser.timent. In 1849 there
appeared 'The Death of Gelert' and 'The Wolf
Slayer'; and, in 1850, 'The Rivals.' In the fol-
lowing year the number of his pictures at the Royal
Academy was three, and during the remainder of
his life he seldom had fewer and usually more. In
1869 and 1871 he showed six, and in 1872 eight
works. His total contributions from 1840 to 1885
numbered 150, and he only missed one year, 1880.
In 1851 Ansdell exhibited the first of several pic-
tures painted in collaboration with others, ' The
Shepherd's Revenge, 'the background of which was
supplied by T. Creswick, R.A. elect. In 1855 the
same artist was his fellow-worker in 'The Nearest


Way in Summer-time,' while ' Feeding the Calves'
was in part by W. P. Frith, R.A. In the same
year he won a third-class gold medal at Paris with
1 The Wolf Slayer ' and ' Turning the Drove ' (R.A.
1851). In 18.00 he made his first visit to Spain
with J. Phillip, and at the Royal Academy h-
showed ' Going to be Fed,' to which that artist
had contributed. In the two following years
Ansdell's pictures were all from Spinish subjects.
In 1861 he was elected A.R.A., and exhibited his
' Hunted Slaves,' a very effective and popular piece
of melodrama, which now represents him in the
public collection of his native place, along with
'A Mastiff' and 'A Shooting Party in the "High-
lands Hairing for Lnnch.' In the following year
he was at Kensington, although a good deal of his
time was spent at a little lodge built for him
beside Loch Laggan. Ansdell became R.A. in
1870, and towards the end of his life he established
himself at Farnborough, where he died in 1885.
It has been stated that during his last quarter of a
century he showed 181 pictures in London, and
received fur them an average price of 750 each.
A ' Vi -w of St. Michael's Mount, Cornwall, 'realized
1410 lOa. at Baron Grant's sale. Mr. J. G. Millais,
a critic peculiarly well qualified, has pronounced
the ' Combat of Red Stags ' the best picture of a
deer by Ansdell a canvas that might well have
come from the brash of Landseer ; for in it there is a
splendid amount of "go" and action. As a rule,
though Ansdell excelled in the grouping of his
subjects and execution of detail, neither his large
animals (except dogs) nor his birds completely
satisfy. His deer are too obviously drawn from
dead ones, and with regard to birds, he, like
Reinagle, followed too closely the inaccuracies o*
the bird-staffers.

ANSELIN", JEAX Lonis, a French line-engraver,
\vho was bom in Paris in 1754, was a pupil of A.
ile Saint-Aubin. He became engraver to the king,
and died at Paris in 1823. Among his best works
are the following:

La Marquise de Pompadour ; after Van Lao.

The Siege of Calais ; after BerlUkmy.

Moliere reading his ' Tart uffe ' at the house of Ninon de
Lenclos ; after Moiuiau.

The Sleeping Child ; after Donate Creli ; for Laurent's
Musee Frauc;ais.

ANSELL, CHARLES, flourished towards the close
of the 18th century. His name occurs only twice
1780 and 1781 in the catalogues of the Royal
Academy. He was celebrated for his drawings of
the horse, but also drew domestic subjects. His
' Death of a Race-horse ' was engraved in six
plates, and published in 1784.

ANSELMI, GIORGIO, born at Verona, in 1723,
was a pupil of Balestra. His masterpiece is the
painting in fresco in the cupola of Sant' Andrea
at Mantua. He died in 1797.

angelo da Lucca,' was born at Lucca, in 1491, and
was a disciple of Bazzi. He principally resided
at Parma, where one of his first performances
was a considerable work painted from a design
of Giulio Romano, representing the 'Coronation
of the Virgin.' He painted several pictures of his
own composition for the churches in Parma, some
of which bear a resemblance to the style of Cor-
reggio. He died in 1554, at Parma.

The following are his best works :

Florence. Ctfiri. Nativity.

London. Northtnrook Coll. Madonna and Saints.

Paris. Loutre. Virgin in Glory.




M Suata d ' }
5. Prospero.

Madonna and Child.

Christ on the way to Calvary

Coronation of
Baptism of Christ.

French historical and portrait painter, a scholar of
Vincent, was bom at Liege, in 1764. His works,
taken from sacred and profane history, and poetical
subjects, are numerous, and place him among the
best artists of the French school in the 19th
century. He also painted portraits of several
distinguished persons, ministers, and generals of
Napoleon. He died at Paris in 1840.

The following are some of his best works :

Angers. Cathedral.
Arras. Cathedral.
Bordeaux. Jfuseum.

I* Mans. Cathedral.
IJege. Cathedral.



Metz. Cailudral.
Paris S.Etietine-.

Raising of the Cross. 1827.


Richelieu presenting Poussiu

to Louis XIII. 1317.
Adoration of the Kings.
Ascension. 1812.
1 rsion of St. Panl. 1814.
Return of the Pro:ligal Sou.

St. John rebuking Herod.


Finding of Moses. 1S22.
The Flagellation.
St. Paul preaching at Athens.

ANSUINO (or ANSOVIXO), of Forli, who flourished
I about 1455, was one of the pupils of Squarcione,
n fellow-worker with Mantcgna in the frescoes in
the Ereniitani Chapel at Padua ; and his work
; hears traces of the influence of that master. The
i inscription OPUS ANSVIKI is attached to the repre-
o-ntation of ' St. Christopher.'

Dutch marine painter who flourished about the
middle of the 17th century. He painted in the
style of J. van Goyen and Jan Parcellis. He is
the author of sea paintings, in the Hermitage, St.
Petersburg, and the Prague Gallery, which through
their signatures have been ascribed to a mythical

was born at Amsterdam, about the year 1500.
He excelled in representing the interior views
of towns, which he did with uncommon fidelity.
In the H6tel-de-Ville at Amsterdam is a picture
by this master, representing that city as it was
in 1536. He afterwards painted twelve views
of the same city, with its principal public build-
ings, which he engraved on twelve blocks of
.vood. These prints are now rare. He was also
known as TEUXISSEX the abbreviation ,
of his name. Hence his monogram. In
Meyer's ' Kiinstler-Lexikon ' is a list of
his engravings.

painter, was born at Manchester, where he studied
landscape painting under Ralston, and afterwards
| under Barber of Birmingham. After travelling
about for some time, he finally settled at Man-

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