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1834. Cottage Hospitality.
1836. Sunday Morniug.

,, Leaving Home.

As Happy as a King (a replica is in the National

,, Bayham Abbey (at South Kensington).

1839. A Scene near Subiaco, Eoman States.

1840. Our Saviour with the Doctors in the Temple (the

property of the Marquis of Lansdowne).
,, Ave Maria, Naples.

1841. The Two Disciples at Emmaus.
,, Ischia, Bay of Naples.

1842. Welsh Guides, Llanberris.

1843. The Caves of Ulysses at Sorrento (South Kensing-

The World or the Cloister.

1844. Morning, Boulogne.

,, Seaford, Sussex (at South Kensington).
1846. Early Morning.
Meadfoot Bay, Torquay.
Hall Sands, Devonshire (at South Kensington).

Collins engraved, in a mixed manner of etching
and mezzotint, some of his own paintings of coast

COLLINSON, JAMES, who studied in the schools
of the Royal Academy, first exhibited at its
Exhibitions in 1847, 'The Charity Boy's Debut.'
In 1848-49 he became one of the seven original
members of the Pre-Raphaelite Brethren, of whom
five were painters : and in 1851 appeared his best
work done under the influence of that teaching
'An Incident in the Life of St. Elizabeth of
Hungary,' in illustration of Charles Kingsley's
' Saint's" Tragedy.' Collinson soon after left this
Fraternity, became a Roman Catholic, and spent
the years 1852-1854 in a convent. He was subse-
quently a frequent exhibitor at the Royal Academy,
and he also sent works to the British Institution
and the Society of British Artists, of which he
was a member from 1861 till 1870, in which
year his active art life seems to have closed. He
died in 1881. Among the best of his early works
were :





The Rivals. Royal Academy. 1848.
Italian linage Boys. Royal Academy. 1849.
Answermgthe Emigrant's Letter. Royal Academy. 1850.

COLLYER, JOSEPH, an engraver, was born in
London in 1748, and became a pupil of Anthony
Walker. He applied himself to book illustration
with success ; and attracting the notice of Alder-
man Boydell, was employed to make an engraving
after D. Teniers, and anotherof the ' Irish Volunteers,'
after Wheatley. He subsequently engraved, with
great success, Sir J. Reynolds' ' Venus,' and ' Una,'
in imitation of chalk, the ' Girl with a Cat,' the por-
traits of Miss Palmer, niece of Sir Joshua, and of
Reynolds by himself. He was elected an Associate
Engraver of the Royal Academy in 1786, and after-
wards became Portrait Engraver to Queen Charlotte.
He died in 1827.


COLOMBA, LUCA ANTONIO, who painted in oil
and fresco, was born at Arogno in Switzerland, in
1661. His style was distinguished for its happy
compositions and its careful design, as also for the
delicate and tender colours. He was particularly
admired in Germany, where he painted for some
time, and was employed by the Duke Eberhard
Ludwig of Wiirtemburg. He died in 1737.

er, of the town of Correggio, who flourished from
1596 to 1616. Fifteen pictures by him, some of
large dimensions, are mentioned by Pungilione
in his Life of Antonio Allegri. The subjects are
incidents in the life of the Virgin and the infancy
of Christ.

COLOMBEL, NICOLAS, a French painter, was
born at Sotteville, near Rouen, about 1644. He
went to Rome when quite young, and remained
there until 1692, forming his style by a study of
the works of Raphael and of Nicolas Poussin. His
pictures met with considerable success, though in
the opinion of critics of more modern days he
never attained any real approximation to the works
of those masters. He was admitted into the
Academy of St. Luke at Rome in 1686, and in 1694
into that of Paris. The Louvre possesses the ' Mara
and Rhea Sylvia,' which he painted for his recep-
tion, and an able work representing the ' Miracle of
St. Hyacinthe.' He was much employed by Louis
XIV. both at Versailles and at Meudon. Many of
his works have been engraved by Dufloc, arid by
Michel Dossier. He died in Paris in 1717.

COLOMBINI, Cosmo, an Italian engraver,
flourished about the year 1754. He engraved
among other things, several of the plates for the
' Museo Florentine.' A great part of the portraits
of painters in that work are by his hand ; he

marked some thus <&

COLOMBO, AHRELIO, an Italian line-engraver,
was born at Varese about 1785. He was a pupil
of Longhi and worked at Milan. His best works
are the ' Massacre of the Innocents ' after Raphael,
and a ' Virgin and Child ' after Luini.

COLONIA, ADAM, who was born at Rotterdam in
1634, spent the greater part of his life in England.
He died in London in 1685. He painted land-
scapes and figures, sometimes in the manner of
Berchem. In the Copenhagen Museum there is
a picture by him of ' Noah building the Ark ' ;
and the Lille Museum has 'The Angel appearing
to the Shepherds ' attributed to him.

Colonia, and the brother-in-law of Van Diest,

by whom he was instructed, was born in 1668.
He sometimes painted the figures in Van Diest's
landscapes, and also painted landscapes in imita-
tion of the style of Salvator Rosa. He died in
London in 1701.

COLONNA, MICHELANGELO, was born near Como
in 1600, and was first a scholar of Gabriele
Ferrantini, but he afterwards finished his education
under Girolamo Curti, called Dentone. In con-
junction with that master he executed some con-
siderable works in fresco in the churches and
palaces at Bologna, Ferrara, and Modena, Den-
tone usually painting the architecture and per-
spective, and Colonna the figures. Their most
admired works were the great perspective painted
for San Michele in Bosco, and a saloon in the
Palazzo Grimaldi. After Dentone's death, Colonna
painted in conjunction with Metelli in Bologna,
Florence, and Genoa. Philip IV. of Spain invited
the two artists to Madrid, where they executed
several works in fresco, and were liberally rewarded
by that monarch. Colonna afterwards worked
with Alboresi. He died at Bologna in 1687. His
portrait by himself is in the Uffizi, Florence.

COLS, ADOLPHE FELIX, a French portrait,
genre, and landscape painter, died at Honfleur in
1880, in his seventieth year. He was a pupil of

torical painter, and pupil of David, was born in
Paris in 1785, and died there in 1850. Among
other works, he painted the 'Entry of General
Bonaparte into Alexandria,' which is at Versailles.

painter of portraits iu miniature and water-colours.
He was born at Verdun in 1680, and assumed his
mother's surname of Colson, because the theatres
of the fairs had brought ridicule upon the name of
Gilles. Colson, who was a pupil of Christophe,
and a member of the Academy of St. Luke, died
in Paris in 1762.

preceding, was born at Dijon in 1733. He was a
pupil of his father, of Frere Imbert at Avignon,
and of Nonotte at Lyons. On coming to Paris he
was presented to the Duke of Bouillon, who kept
him in constant employment for forty years as
architect, sculptor, painter, and even gardener.
He gained a high reputation as a portrait painter,
and left several manuscripts on perspective, poetry,
and the fine arts. He died in Paris in 1803.

COLTELLINI, MICHAELS, was a Ferrarese artist,
and a follower of Panetti and Garofalo, who lived
in the 16th century. He is the author of a ' Dead
Christ on the lap of the Virgin ' in the Dresden
Gallery, formerly assigned to Squarcione. His
oldest panel is dated 1502, and represents the
' Death of the Virgin : ' it is now in the possession
of Count Mazza, at Ferrara. In the church of
Sant' Andrea, in the same city, is a ' Virgin and
Child between SS. Michael, Catharine, John, and
Jerome,' signed and dated 1506. The Gallery of
Ferrara has a ' Madonna and Child and Saints,'
signed by him in 1542. The dates of his birth
and death are uncertain.

COLYN, MICHIEL, according to Florent Le Comte,
is said to have been a native of Antwerp. He en-
graved some plates of architectural subjects, among
which is a view of the Exchange at Amsterdam.

COLYNS, ARNOLD, lived at Cologne towards the
end of the 16th century, and the Museum of that
town contains some ' Scenes from the Battle of



Woringen,' painted by him in 1582, which bear
strong resemblance to the works of his contem-
porary Johann von Aachen.

COLYNS, DAVID, was born at Amsterdam about
the year 1650. He painted historical pictures of a
small size, into which he introduced an infinite
number of figures, which he grouped with great
ingenuity. His pictures are touched with spirit
and fineness. Houbraken extols, in high terms,
two pictures by this master at Amsterdam, one
representing 'Moses striking the Rock," the other
the ' Israelites fed by the Miracle of the Manna.'
i COMBES, PETER, was an English engraver in
mezzotint, who flourished about the year 1700.
He was chiefly employed in engraving portraits,
among which is a small whole-length of Master
Charles More, son of the Bishop of Ely, after

COMEIIFORD, JOHN, who was born at Kilkenny
in 1773, practised as a miniature painter in Dublin
for many years. He died at Dublin about 1835.
A portrait in miniature of an ' English Military
Officer,' by him, is in the South Kensington

COMIN, JOVAN, or JAN, who flourished about
the year 1630, engraved some of the plates of an-
tique statues for the Giustiniani Gallery. They are
executed with the graver in a stiff, tasteless style.

COMO, Fra EMMANUELLO DA, born in 1586, was
a Franciscan monk, and studied art under the
direction of Silla at Messina. He distinguished
himself by his pure and simple style, which is
the more creditable as he flourished at a time
when taste for art was in a most deplorable state.
Several frescoes by him are in the library of the
Irish convent of St. Isidore at Rome. He died
in 1662.

COMODI, ANDREA, a Florentine painter, was
born in 1560. He was the scholar and friend of
Lodovico Cardi. called Cigoli. He is rather to be
considered as a Roman than a Florentine, as he
went to Rome when he was young, in the pon-
tificate of Urban VIII., and resided there the
greater part of his life. His principal works are :
' Christ bearing his Cross,' in the Tribune of San
Vitale ; in San Carlo ai Catinari, the principal altar-
piece, the Titular Saint kneeling; in San Giovanni
in Fonte, the ' Baptism of Christ by St. John.' He
painted a number of Madonnas, which Lanzi says
are distinguished by the smallness of the neck,
and a certain air of virgin modesty, which is pecu-
liar to him. One of the most admired of these is
in the Corsini Palace. Comodi went afterwards to
Cortona, where he became the instructor of Pietro
Berrettini, who assisted him afterwards in several
of his paintings. On his return to Florence he
painted some works from his own designs, but
more especially he copied and re-copied, in a skilful
manner, the works of the great masters, among
which were many pictures of the Virgin, to whom
he was most devoted. These were mistaken at the
time, even by the learned in art, for the originals.
Such being the case two centuries ago, how diffident
should we be in pronouncing judgment on the
originality of his works in the present day. He
died in Florence in 1638.

COMONTES, FRANCISCO DE, a son of Inigo de
Comontes, executed in 1533 the principal retablo
of the chapel of Los Reyes Nuevos in Toledo cathe-
dral, from the design of Felipe de Vigarny. In
1545-7, he painted for the winter chapter room
portraits of Cardinal Archbishop Tavera and Arch-


bishop Siliceo ; in the latter year he was appointed
painter to the cathedral, which office he retained
until his death in 1565. Pictures on panel of the
' Virgin and St. Bartholomew,' placed in 1559 in a
retablo gilt by his own hands, in the chapel of the
Tower, are considered his best works.

COMONTES, INIGO DE, was a scholar of Antonio
del Rincon. In 1495 he painted a ' History of Pilate '
in the Cathedral of Toledo, and a picture for one of
the porches. No traces of his works remain. His
brother, ANTONIO DE COMONTES, was also a painter.

COMPAGNO, SCIPIONE, an Italian painter, waa
born at Naples about 1624, and was still living
in 1680. He was a pupil of A. Falcone and of
Salvator Rosa, and his drawings are held in esteem.
The Belvedere, Vienna, contains two works by him,
the ' Eruption of Vesuvius ' and the ' Beheading of
St. Januarius.'


painter of genre subjects and portraits, was born
at Lyons in 1813. He studied in the fine art
school of his native city, and in the studio of J. C.
Bonnefond, and first exhibited at the Paris Salon
in 1840. His ' Vieil Ami,' painted in 1863, was
in the International Exhibition at Paris in 1867.
He died at Chazay d'Azergues near Lj'ons in 1880.


CONGA, SEBASTIANO, was born at Gaeta in
1679, and was educated in the school of Francesco
Solimena. Under that master he acquired a
competent ability in design, and a great facility.
In the early part of his life he was much occupied
in portrait painting. Desirous of seeing Rome,
and ambitious of distinguishing himself in a
more elevated branch of the art, he visited the
metropolis of Italy, with his brother Giovanni, in
1706, and for five years changed the pencil for the
portecrayon, and was occupied in drawing from
the antique, and the works of the great masters.
The progress he had made under Solimena, im-
proved by his studies at Rome, enabled him to
produce some pictures which attracted the notice
of Clement XL, who employed him in decorating
his church of San Clemente with several works in
fresco, which gave so much satisfaction to his
patron, that he conferred on him the order of
knighthood, and procured him every great public
undertaking of that time at Rome. In addition
to this, he painted also for the kings of Spain,
Portugal, Sardinia, and Poland, and for the Elector
of Cologne ; also at Siena, Pisa, Loretto, Palermo,
Gaeta, and Naples. For this flattering success, he
was, however, more indebted to the state of deca-
dence into which the art had then sunk at Rome,
than to any particular or original merit of his own.
He possessed a fertile invention, great rapidity of
pencil, and a colour that enchants more by its
brilliancy than its truth. In his attempts to be
pleasing he sank into the pretty, and although he
evidently aimed at grandeur, he never could divest
himself of the littleness to which nature had con-
fined him. Perhaps he has been too harshly
treated by the surly criticism of Mengs, who
observes, " that by introducing at Rome the man-
nered style of Solimena, and a system less excel-
lent than expeditious, he put the finishing touch to
the ruin of painting." He died at Naples in 1764.

The principal works of Conca are :
Ancona. St. Francis Xavier

Berlin. Jlfuseum. Abraham.

Darmstadt. Museum. Joseph in Prison.




AKnari pkoto~} [The is, m , .!///





, flwlo [Parma Gallery






Dresden. 6W/ery.



Madrid. Gallery.

Herod examining the Magi.

St. Augustine.

St. Nicholas.

Christ in the Wilderness.

Death of Seneca.

Eome. \ariuTLuca } The Assumption of the Virgin.

GIOVANNI CONCA painted in the manner of his
brother Sebastiano, and copied with great ability.
We have by him several cartoons after Guercino
and Lanfranco, which he executed for mosaics.

CONCHILLOS FALCO, JOAN, was an historical
painter, born at Valencia in 1641. He was a pupil
of Esteban Marc in that city, but after his mas-
ter's death he pursued his studies in Madrid. He
afterwards returned to his native city, where he
established an Academy and executed a number of
altar-pieces for the churches of Valencia and of
Murcia. He became blind and paralysed, and died
in 1711. There is also an etching by him, repre-
senting 'The Dead Christ mourned by Mary, John,
and the Magdalene.'

CONCONI, MAURO, an Italian painter, was born
in Milan in 1815, and died in 1860. He was a pupil
of Sanguinetti, and is represented in the Brera, in
his native city, by a portrait of Carlo Bellosio,
the painter.

CONDE, JOHN, was an engraver who lived in
the latter years of the 18th century. He executed
tastefully in the dotted style whole-length por-
traits of Mrs. Bouverie, Mrs. Fitzherbert, Mrs.
Tickell, and other ladies, after Cosway. He also
engraved a small oval portrait of Madame Du
Barry, after the same painter, but this bore no
resemblance to the lady represented, and was pro-
bably fictitious.

CONDY, NICHOLAS MATTHEW, who was born at
Plymouth in 1799, painted landscapes and marine
subjects. He published a work on ' Cothele, on
the Tamar, the ancient seat of the Earl of Mount
Edgecumbe,' as well as some views on the Thames.
He died at Plymouth in 1857.

monly called CIMA DA CONEGLIANO,) was born at
Conegliano in Friuli, in the middle of the 15th
century. The name ' Cima ' was given him from
his habit of constantly introducing into his pictures
the hills and landscapes of his native place, and he
was called in the 17th and following centuries (but
not by his contemporaries) by no other name.
He was probably a pupil of Alvise Vivarini, but
was strongly influenced by Giovanni Bellini. An
early painting is a tempera' Madonna and Saints,'
of 1489, in the Gallery of Vicenza, but having settled
in Venice towards the close of the 15th century,
he perceived the necessity of adopting the new
method. One of his finest works is a ' Glory of St.
John the Baptist,' which was painted in oil for the
church of the Madonna dell Orto, and may still be
seen there. In 1492 he executed the altarpiece of
the 'Virgin and Saints' in the cathedral of Cone-
gliano, and in 1494 the beautiful ' Baptism of
Christ,' in San Giovanni in Bragora, Venice. In
1501 he finished the ' Incredulity of St. Thomas'
(now in the National Gallery) for the Hospital of
Portogruaro ; and in 1502 the ' SS. Constantino
and Helen' for the church of San Giovanni of the
same place. In the Gallery of Parma is a ' Virgin
and Child between SS. Michael and Andrew,' of
his execution, that was long considered to be by
Leonardo da Vinci ; the same Gallery possesses a
Buperb ' Virgin and Child enthroned between SS.

Damian, Apollonia, Cosmo, John, Catharine and
Paul,' and two delightful mythological pieces,
'Endymion' and 'Apollo and Marsyas.' The
Academy of Venice also possesses an ' Incredulity
of St. Thomas,' painted early in the 16th century.
The time of his death is uncertain. His latest
works bear date 1508, but he is said to have been
still working in 1517. Numerous paintings by
him can be seen in all the large galleries. They
are frequently signed 'Joannes Baptista Cone-
glianensis.' The following are the principal :
Berlin. Museum. Madonna and Saints (three).

,, St. Mark curing Anianus.

Bologna. Pinacoteca. Madonna and Angels.
Conegliano. Cathedral. Virgin enthroned, surrounded

by six Saints. 1492.
Dresden. Museum. The Presentation in theTemple.

,, Christ in Benediction.

Frankfort. Madonna (two).

London. Nat. Gall. The Infant Christ standing on

the Knees of the Virgin.
,, ,, Madonna with the Infant Christ

standing on her Knees.

,, The Incredulity of St. Thomas.

,, St. Jerome.

,, Hertford H. St. Catharine.

SS. Sebastian and Roch.

Milan. Brera. St. Peter in cathedra between

St. John the Baptist and St.
St. Peter Martyr, with SS.

Nicholas and Augustin.
., SS. Jerome, Nicholas, Ursula,

and another.
,, ,, SS. Luke, Mary, John Baptist,

and Mark.

,, Madonna.

,, .. St. Jerome.

,, St. Giustina and two Saints.

,, Poldi Pezzoli. Head of female Saint.

Modena. Museum. Christ taken down from the

Munich. Pinakothek. Virgin, St. Jerome, and the


Olera. Church. Polyptych.

Paris. Louvre. Virgin and Child(sz//nefJJoANis.

Parma. Museum. Madonna with Saints (two).

Mythological pieces (two).

Venice. S. Giovanni } B . f L ,

tn Brayora. )

,, ,, St. Helena and Constantine.

,, Carmine. The Nativity.

,, SS. Gio vatini e ) Coronation of the Ma-

Paolo. ) donna.

S.Maria deirOrto.St. John between SS. Paul,

Jerome, Mark and Peter.
,, Academy. Pieta.

,, Madonna with SS. John and


,, Madonna.

Madonna with six Saints.

,, t, Christ and St. Thomas and


Tobias and the Angel.

Viceuza. Museum. Virgin between SS. James and
Jerome (painted in tempera).

Vienna. Gallery. Virgin between St. Jerome and

St. Louis, Bishop of Touloue.

CONEY, JOHN, an architectural draughtsman
and engraver, was born at Ratcliffe Highway,
London, in 1786 ; he was apprenticed to an archi-
tect, but never followed the profession. He com-
menced making pencil drawings of the interior
of Westminster Abbey and other Gothic buildings
as early as the age of fifteen ; these he sold to
dealers, and other casual customers, at very small
prices. In 1815 he published his first work r a
series of eight views of the exterior and interior of



Warwick Castle, drawn and etched by himself.
Shortly afterwards he was employed by Harding
to draw and engrave the fine series of exterior
and interior views of the Cathedrals and Abbey
Churches of England, to illustrate the new edition
of Dugdale's ' Monasticon,' edited by Sir Henry
Ellis. These plates occupied a great portion _ of
his time for fourteen years, and are executed with
consummate skill. In 1829, he commenced the
engravings of ' Ancient Cathedrals, Hotels de Ville,
and other public buildings in France, Holland,
Germany, and Italy ; ' all of which were drawn
from the several objects by himself. This work
was intended to be comprised in twelve parts, but,
not meeting with the public encouragement to
which it was entitled, only eight were published. '
Mr. Charles Heathcote Tatham wrote the necessary
descriptions. In 1831 Coney commenced a similar
series of the ' Architectural Beauties of Continental
Europe,' for which Mr. H. E. Lloyd wrote the de-
scriptions. This handsome work consists of 28
large plates of remarkable edifices in France, the
Low Countries, 'Germany, and Italy, and 56 vig-
nettes, all drawn and etched by himself. In addi-
tion to these laborious undertakings, he executed
numerous drawings in pencil, and also in colours,
for private commissions ; and necessity often com-
pelled him to part with many to picture-dealers
and print-sellers. He was employed by Cockerell,
the architect, to engrave a very large 'View of
Rome,' and another plate as a companion to it,
neither of which has been published. His draw-
ings exhibit all the minutest details without the
appearance of labour, yet with a neatness that is
truly surprising. He died in Camberwell in 1833.
A 'View of the Interior of Milan Cathedral' was
published after his death for the benefit of his

CONGIO, CAMJIILLO, an Italian designer and
engraver, was born at Rome about the year 1604.
In 1630, he engraved some plates for the 'Galleria
Giustiniana.' He also executed some of the en-
gravings for Tasso's ' Jerusalem,' after the designs
of Bernardo Castello. We have by him some prints
after different Italian masters, which he generally
marked (7(7 F. His works most worthy of notice

The Annunciation.

The Adoration of the Magi.

Hercules combating the Hydra.

A Frontispiece entitled, Diversi ornamenti capnciosi.

The Creation of Angels ; after Camassei.

Frontispiece to the .dJdes BarbarinsB ; after Guido Ubaldo

A libatini.
An Assembly of Saints ; after Gasparo Celio.

CONGNET, GILLES, (or COIGNET,) was born at
Antwerp in 1540. He was some time under a
painter called Antonio Palermo, then resident at
Antwerp, and afterwards went to Italy. After
visiting Terni, Naples, and several towns in
Sicily, he returned to the Low Countries, where
he was much encouraged. He was admitted into
the Guild of St. Luke at Antwerp in 1561, and was
dean in 1584-85. The troubles that existed at that
time under the Prince of Parma, obliged Congnet
to leave his native country about 1586, and take
refuge in Amsterdam, where he remained several
years. He painted historical and mythological

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