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Rotterdam Museum ; a Female Portrait is in the
Stadel Institute at Frankfort ; and the figure of a
Boy is in the Liechtenstein Gallery at Vienna.

DELFF, WILLEM JACOBSZOON, was a Dutch por-
trait painter, but was more celebrated as an en-
graver. He was born at Delft in 1580, and received
his instruction in design from his father, Jacob
Willemszoon Delff. He practised for some time
in the style of his father, but having attempted to
engrave some plates after the portraits of Miereveld,
whose daughter he married in 1618, his success was
such as to induce him to abandon painting, and
devote himself entirely to the graver, which he
handled with uncommon freedom and precision.
The plates he executed in the earlier part of his
life are more neatly finished than those he after-
wards produced, but the latter are engraved in a
bold open style, producing a tine effect, and the
heads are finely drawn. His plates are some-
times signed with his name, but at other times

are marked with the cipher

Delff died at Delft in 1638. A Full account of his
works will be found in Franken's '(Euvre de
Willem Jacobszoon Delff,' published at Amsterdam
in 1872. The following are his principal portraits :

Charles I. of England ; after I). Mytens.
Henrietta Maria, his Queen ; after the same.
Michiel Miereveld, painter ; after J'an Dyck.

PORTRAITS AFTER MIEREVELD.

George Villiers, Duke of Buckingham.

Jacob Cats, poet and philosopher.

Hugo Grotius, Syndic of Rotterdam ; fine.

Three fine Heads of William, Maurice, and Henry,

Princes of Orange.

Gustavus Adolphus. King of Sweden.
Frederick, King of Bohemia, Elector Palatine. 1632.
Elizabeth, Queen of Bohemia. 1630.
Wolfgang William, Duke of Bavaria.
Caspar, Count de Coligni. 1631.
Louise, Countess de Coligni. 1627.
Florent, Count of Culenborch. 1627.
Catharine, Countess of Culenborch. 1636.
Philip William, Prince of Orange. 1628.
Marco Antonio de Doniiuis, Archbishop of Spalatro.
Sir Dudley Carleton, Ambassador at the Hague.
Jan Olden Barnevelt. 1617.
Abraham van der Meer.
Hans De Piies.

Jacobus Triglandns, Professor at Leyden. 1636.
Felix De Sanibix, writing-master of Antwerp.

DELFINO, CARLO CLAUDIO. See DAUPHIN.

DEL FIORE, CULANTONIO. See TOMASI, NICCOLA.

DEL FIORE, JACOBELLO or JACOMELLO, flour-
ished between 1385 and 1439. He was the son of
Francesco del Fiore, the president of the Venetian
Guild of Painters. His early paintings have disap-
peared from the churches of Pesaro. Jacobello
was elected president of his Guild in 1415, and
held that position until 1436. In 1415 he painted
the ' Winged Lion of St. Mark,' now in the Ducal
Palace; and in 1421 he was commissioned to paint



PAINTERS AND ENGRAVERS.



for the Tribunal of the " Proprio " the subject of
'Justice, between SS. Michael and Gabriel." The
' Coronation of the Virgin,' ordered in 1438 for the
cathedral of Ceneda, is still there, and in the church
of the Hospital of San Lorenzo, at Sarravalle, are
frescoes representing scenes from the lives of SS.
Lawrence and Stephen, though now much injured
by time. The Venice Academy possesses a
' Virgin,' signed by Jacobello in 1436, and many
other paintings by him exist in the private and
public galleries of Venice.

DELFOS, ABRAHAM, a Dutch engraver, was born
at Leyden in 1731. He engraved after Berchem,
Teniers, and Brouwer, but his works are very
scarce. We have by him :

A Landscape, with Figures and Animals ; after Berchem.

A Sea-port, with Shipping ; after the same.

Several Views in Flanders, with Boors ; after D. Teniers.

DEL FRATE, CECCHINO, was a disciple of Fra
Bartolommeo, but no painting can with certainty
be attributed to him.

DELGADO, JOAN, a Spanish painter, was estab-
lished at Madrid about the commencement of the
18th century. He painted a picture of ' St. Francis
Xavier,' in the Hermitage of Our Lady, near the
bridge of Segovia, which was well coloured, but
somewhat mannered.

DELGADO, PEDRO, a Spanish painter, was born
at Orgaz, where he painted in 1529 for the Hermit-
age of the Conception two large pictures, the one
representing the ' Virgin surrounded by Saints,'
and the other the ' Descent from the Cross ' : they
are both in the style of the 15th century.

DEL GARBO, RAFFAELLINO. See CAPPONI.

DEL GESSI, ERCOLINO. See RDGGIERI.

DEL GOBBO, ANDREA. See SOLARIO.

DEL GRANO, GIORGIO. See GANDINI.

DEL GUASTA, BEN VENHTO, called BENVENUTODA
SIENA, who was born at Siena in 1436, painted much
in that city. His earliest known work is an ' Annun-
ciation ' signed ' Opus Benvenuti Joannis de Senis.'
It was painted in 1466, and is in the church of St.
Girolamo at Volterra. Frescoes by Benvenuto are
in the Baptistery of Siena, and there are in the
Gallery of that city three paintings by him. The
National Gallery has a ' Madonna and Child en-
throned,' with side panels. The date oL his death
is not recorded, but he was still living in 1517, for
in that year he painted the baldacchino of the
cathedral of Siena, on the occasion of a visit of
Pope Leo X. to that city.

DEL GUASTA, GIROLAMO, the son of Benvenuto
del Guasta, was born in 1470. He painted in 1508
a ' Virgin of the Snow,' which is now in the
Oratory of St. Catharine in San Domenico at Siena,
and in the Academy of that city are two or three
other pictures by him. But little else remains of
this artist, who died in 1524.

DEL HELE. ISAAK. See DE LA HELE.

DE LIEMAKER,NicoLAES, (or De LIEMAECKERE,)
surnamed ROOSE, and sometimes called NICOLAES
ROOSE, a Flemish historical painter, was born at
Ghent in 1601. He was the son of Jacob De
Liemaker, a painter upon glass, and is said by
Descamps to have been a pupil of Markus Geeraerts
the younger, but as the latter joined his father in
London in 1580, it is most likely that he studied
under Otto van Veen at Antwerp. He attained a
high rank in his profession, and in 1625 returned
to Ghent, where he died in 1646. The Museum of
Ghent and the churches of that city and of other
towns of Flanders possess a great number of his
VOL. II. E



works. His best picture is the ' Consecration of
St. Nicholas, Bishop of Myra,' which is above the
high altar of the church of St. Nicholas at Ghent.

DELIGNON, JEAN Louis, a French engraver,
was born in 1755. He executed a considerable
number of book-plates after Moreau and others, aa
well as some plates for the ' Galerie du Palais-
Royal.' His best work, ' Le Seigneur chez eon
Fermier,' is to be found in the ' Monument du
Costume.' He died in 1804.

DELIN, JOANNES JOSEPHUS, a Flemish historical
and portrait painter, was born at Antwerp in
1774. He first visited the Academies of Brussels
and Antwerp, and afterwards continued his studies
under Vincent in Paris. In the old church of the
Jesuits at Antwerp there is a picture by him
representing the ' Purification of the Virgin,' and
in the church of St. Charles Borromeo, ' Simeon in
the Temple.' He died in Paris in 1811.

DELL' ABBATE FAMILY.

Giovanni ( 71559).
Nlccol6(1612 1571). Pietro Paolo (? 1676?).

Qlullo Camillo (fl. about 1660). CriBtoforo Camillo

(fl. about 1668). (fl. about 1670).

Ercole (1563 71613).
Pietro Paolo (15821630).

DELL' ABBATE, ERCOLE, the eldest son of
Giulio Camillo dell' Abbate, and grandson of
Niccolo, was born at Modena about the year 1563.
He possessed an extraordinary genius for the arts,
which he disgraced by the depravity and intem-
perance of his conduct. Like most artists of that
character, his works were the productions of negli-
gence and haste. He painted, in concurrence with
Bartolommeo Schedone, some pictures representing
scenes in the Life of Hercules, in the Council-hall
at Modena. He died at Modena in 1613. The
Modena Gallery has three works by this artist an
'Annunciation,' a ' Presentation in the Temple,'
and a ' Birth of St. John the Baptist.' A ' Marriage
of the Virgin,' in the same gallery, is by some
attributed to Ercole dell' Abbate, and by others to
his son, Pietro Piiolo, the younger.

DELL' ABBATE, NiccoL6, was called by the
Italians MESSER NiccoL6 or NICCOLINO. He was
born atModena in 1512, and is said to have studied
under his father, Giovanni dell' Abbate, who was
a modeller in stucco, as well as a painter, and in
the school of Antonio Begarelli, an able sculptor,
but these statements are destitute of any proof ; it
is, however, supposed by many that he had the
advantage of being instructed by Correggio, which
supposition is supported by his superior knowledge
of foreshortening, and the boldness of his relief.
Certain it is that the works of Correggio and
Parmigiano produced a great effect on his style.
One of the first performances which brought him
into notice was his picture of the ' Martyrdom of
St. Peter and St. Paul,' painted in 1547 for San
Pietro at Modena, of which celebrated work
Vasari takes no further notice than to remark,
that one of the executioners is taken from a
picture of Correggio at Parma (the ' Martyrdom of
SS. Placidus and Flavia,' now in the Gallery of
that city). Dell' Abbate's ' Martyrdom ' is now in
the Dresden Gallery, and has been engraved by
Folkema. He afterwards painted twelve pictures
from the twelve books of the ^neid, formerly in
the castle of Scandiano, nine of which are now in

49



A BIOGRAPHICAL DICTIONARY OF



the Modena Gallery, three having perished by fire
in 1815, and they are alone sufficient to establish
his reputation. Lanzi, who was well acquainted
with their merit, says "that in the correctness of
the figures, the beauty of the landscapes, the
architecture, and the animals, they merit every
praise that can be bestowed on a distinguished
follower of the style of Raphael." Whilst in the
prime of life, Dell' Abbate went to Bologna, where
he painted in a portico of the Leoni Palace, now
the Marchesino, in fresco, an ' Adoration of the
Shepherds,' and in the Poggi Palace, now the
Institute, a frieze, representing an 'Assembly of
young Men and Women,' which was perhaps more
suited to his genius. This was composed and
drawn with admirable taste and elegance, and has
been engraved by Crivellari. These works were
the admiration, and became the models, of the
Carracci ; and Agostino wrote a sonnet in honour
of the painter, in which, in the flowery language of
poetry, he attributes to him "the symmetry of
Raphael, the sublimity of Michelangelo, the truth
of Titian, the greatness of Correggio, and the grace
of Parmigiano." Such was the excellence of his
work in fresco-painting, that he is said never to
have had occasion to retouch it when dry ;
this gave an uncommon splendour and purity to
his colouring. In 1552 Primaticcio prevailed on
Dell' Abbate to accompany him to the court of
France, as the most efficient coadjutor he could find
to assist in the important works he was about to
undertake. Dell' Abbate, in fact, painted most of
the frescoes from the designs of Primaticcio in the
magnificent gallery at Fontainebleau, of which
more particular notice will be found in the account
of that master. After the death of Primaticcio, he
continued to be employed by the court of France,
and died in Paris in 1571. Of his numerous fresco
paintings, but few, comparatively, are extant. His
oil pictures also are extremely rare. The ' Rape of
Proserpine,' formerly in the Orleans Gallery, but
now in the collection of the Duke of Sutherland, is
a favourable specimen of his skill in landscape
painting. A ' Holy Family ' is in the possession of
Lord Scarsdale at Kedleston Hall.

Niccolo dell' Abbate had three sons, GIDLIO
CAMILLO, CRISTOFORO, and CAMILLO, all of whom
followed him to France, and assisted him in his
work at Fontainebleau. The first-mentioned worked
about 1560-61; the second from 1568 to 1570;
and Camillo, who was the principal assistant of
his father, about 1570.

DELL' ABBATE, PIETBO PAOLO, 'the elder,' the
brother of Niccolo, was a native of Modena, where
he lived all his life and died about 1575. He excelled
in painting battle pieces, and was considered un-
equalled, in his time, for the spirit and animation
with which he designed horses and the attacks of
combatants. Some of the works of this painter
are in the Gallery at Modena.

DELL' ABBATE, PIETRO PAOLO, 'the younger,'
the son of Ercole, was born at Modena in 1592,
and died there in 1630. He painted for the churches
at Modena several pictures, which are spoken of
with commendation. The Modena Gallery has a
' Christ in the Temple ' by him.

DELLA BELLA, STEFANO, an Italian engraver,
called in France ETIENNE DE LA BELLE, was born
at Florence in 1610. He was the son of a gold-
smith, and is said to have been intended for his
father's profession, but having shown a genius for
drawing, he was placed under Cesare Dandini to

50



learn painting. Subsequently, a decided inclination
for the art of engraving induced his father to
permit him to become a pupil of Canta Gallina,
who was also the master of Callot. He at first
imitated the manner of Callot, but soon abandoned
it, and adopted a style of his own. No artist has
handled the point with more facility and finesse
than Delia Bella. His execution is admirable, and
his touch spirited and picturesque. He designed his
subjects with infinite taste, and his plates produce
a clear and brilliant effect. It is not surprising
that some of his prints are but slightly etched,
when we consider that the number of them
exceeded one thousand four hundred. He visited
Paris in 1640, where he engraved some plates for
Henriet, the uncle of Israel Silvestre. Cardinal
Richelieu employed him to make drawings of the
siege and taking of the towns of Arras and La
Rochelle, which he afterwards engraved. On his
return to Florence, about 1650, he was appointed
by the Grand-Duke instructor in drawing to his
son Cosmo. He died at Florence in 1664. The
following is a list of his principal works :

VARIOUS SUBJECTS.

Portrait of Stefano della Bella, in a Persian costume ;

after his own design.
Sigismoudo Boldoni, of Milan.
Mont-Joie St. Denis, King at Arms ; very scarce.
Horatius Gouzales ; oval ; very scarce.
Ferdinand II., Emperor of Germany.
Bernardo Eicci, Buffoon to Ferdinand II., on horseback

1637.

St. Anthony, Archbishop of Florence. (His first plate.)
St. Anthony of Padua, mounted on a monster with two

heads.

Jacob and Eachel leaving Laban.
Jacob's Journey to Egypt.
Battle of the Amalekites.
St. John the Baptist, with a lamb.
St. John the Baptist getting water with his cup.
The Virgin, with the Infant Jesus on her knee.
The Virgin, with the Infant Jesus standing on her knee.
The Virgin suckling the Infant Jesus.
The Virgin suckling the Infant Jesus, with St. Elizabeth

and St. John.
The Virgin sitting, with the Infant standing on her

knee ; oval.

The Virgin suckling the Infant ; after Carracci.
A small plate of the Flight into Egypt, St. Joseph lead-
ing the Ass.
A round plate of the Flight into Egypt, with the heads

of Angels.

The Eepose in Egypt ; a round plate.
The Eepose in Egypt, with St. Joseph reading, leaning

against a tree.
The Holy Family, with St. John and St. Elizabeth, with

a flowerpot.
The Infant Jesus explaining the Scriptures to the

Virgin and St. Joseph ; very rare.

Effigie del glorioso Martyre Sto. Benedetto ; very scarce.
The finding of the miraculous Image of our Lady, near

Florence. 1633.
The Triumph of the Church.

St. Prospero desceuding from Heaven ; very scarce.
The Tyrant Phalaris ordering Perillus to be put into the

Brazen Bull ; after Polidoro da Caravagyio. 1634.
A basso-relievo, antique ; after the same.
Lucretia ; after Parmigiano.

Three Children carrying a plateau ; after Guido Bern.
A basso-relievo, antique, a woman stopping a bull.
Olovis on horseback, carrying off Clotilda ; scarce.
A Seaman, of whom a beggar is asking charity.
A Seaman, with his band on the head of his dog, and

other figures.

A Child teaching a dog to sit up.
Four Turks, half-length figures.
Three Turks, with a boy and a negro.
A Pole, with his battle-axe.
A Soldier, and a Woman on horseback, with a child.



PAINTERS AND ENGRAVERS.



A Florentine Sportsman, with his gun, and a Girl
spinning.

A Lady holding a dog.

Mount Parnassus ; very fine.

An Eagle devouring a fowl, with its wings extended,
and below two horses, and a number of spectators.

The Rock of the Philosophers ; fine and scarce.

The Fair, representing a Festival on the Arno ; oval.
This plate was long attributed to Callot.

Perspective View of the Catafalque of the Emperor Fer-
dinand II., with the Arms of the Medici.

A Thesis,on the Canonization of Francesco Solano. 1639.

Plan of the Siege of La Eochelle.

Plan of the Siege of Arras.

The Eeposoir, or Fite Dieu.

View of the Pont-Neuf at Paris. (His chef-d'oeuvre.}
The first impressions of this plate are without the
weathercock on the tower of St. -Germain 1'Auxerrois.

View of the Castle of Sant' Angelo.

SETS OF FEINTS.

Two Landscapes ; in one, a peasant carrying a basket at
the end of a stick ; in the other, a peasant carrying
a package on his head.

Two Landscapes ; one with a man leading dogs ; the
other with a man leading a horse laden with sheep.

Six Views of the Port of Leghorn. 1055.

The Four Seasons ; allegorical figures in ovals.

The Four Elements ; Landscapes and Marines.

Eight Marine Subjects, in the style of Callot.

Six Plates of Vases.

Six Landscapes ; circular. 1656.

Four charming Landscapes, with Figures.

Four Views of Roman Ruins.

Three Battle-pieces ; large plates. 1622, 1627, 1641.

Eleven Plates of Moors, Hungarians, Asiatics, and
Africans.

Sixteen small square plates : Soldiers, Hunters, Fisher-
men, Peasants, Children, &c. (attributed, by some,
to Callot).

Eighteen ; entitled Raccolta di varii Capricci. 1646.

Twenty-four Views of Edifices ; published by Israel
Silvestre.

Twenty-two sketches, &c., by Stefano delta Bella.

The Five Deaths ; ovals. (His last works.)

The Sixth Death, plate begun by Delia Bella, and
finished after his death by G. B. Galestrucci, his
scholar.

BELLA CASA, NiccoLi, (or NICOLAS DE LA
MAISON,) was an engraver who flourished towards
the end of the 16th century. From an in-
scription on one of his plates, he appears to have
been a native of Lorraine. He worked entirely
with the graver, his productions being after the
style of the school of Marc Antonio, but they are
not of a high class. We have by him :

Portrait of the Emperor Charles V. ; oval, with a border
copied from Enea Vico ; inscribed ff. D. la Casa
Lotaringus, fecit.

Portrait of Baccio Bandinelli.

Portrait of Henry II. of France. 1547.

Portrait of Cosmo de' Medici.

A plate in eleven pieces of the 'Last Judgment' by
Michelangelo. 1543. This plate is supposed to be
copied from a work of Beatrizet, an artist of Lorraine,
who was engraving at Rome at that time.

DELLA CASA, PIER ANTONIO. See BEBNABEI.

BELLA CHIESE, GIOVANNI, who was living at
Lodi in the 15th century, was one of the artists
called by Lodovico Sforza in 1490 to decorate
his palace of the Porta Giovia at Milan. No
dates are known of his birth or death. He and
his brother Matteo are the authors of the ' Corona-
tion of the Virgin,' the organ screen, and other
paintings in the church of the Incoronata, Lodi.
The church of San Lorenzo, in the same town, also
possesses some fragments of frescoes by Giovanni
representing the 'Nativity, 1 &c.

E 2



DELLA CORNA, ANTONIO, who lived in the
15th and 16th centuries, was one of the artists
called by Lodovico Sforza to decorate the Porta
Giovia Palace at Milan in 1490. No dates are known
of his birth or death. The Bignami Collection,
near Cassal Maggiore, contains a picture represent-
ing a murder taken from the Legend of St. Julian,
signed by Antonio in 1478.

BELL' ACQUA, BERNARDINO, commonly known
as BEL AGUA, a painter of Venice, went in 1587
with Pellegrino Tibaldi to Spain, and executed
under his direction frescoes in the Convent of the
Escorial. Carducho mentions Bell' Acqua as an
excellent designer and a clever fresco painter.

BELLA CROCE, TEODORO. See VEBKRUYS.

DELLA FRANCESCA, PIERO. See BEI
FRANCESCHI.

BELLA FRATTA, FLORI, who flourished about
1540, and died young, is said to have painted the
' Last Supper ' in San Bernardino at Fratta, which
is executed in the style of the best masters.

BELLA GATTA, BARTOLOMMEO, was probably
born at Florence in 1408, and died in 1481. He
was a friar of the Camaldolese Convent of the
Angeli, at Florence, and afterwards became abbot
at Arezzo, where he covered the walls of the monas-
tery with frescoes, and also invented an organ of
pasteboard, which yielded soft and perfect tones.
He assisted Signorelli and Perugino in their paint-
ings in the Sistine Chapel between 1479 and 1486.
His miniatures on vellum are considered valuable,
but his paintings show want of skill as a colourist,
although clever in details and in landscape. The
following paintings by him still exist:



Arezzo.



Town Hall. Two panels represent-
ing scenes from the
Life of St. Roch.



CoHe-) A Y^ff" ^ C M '

aiata f Wlth SS - Peter - Paul>
) Julian, and Michael.



Castiglione Fiorentino. Co
ai

Cortona. S. Domenico. The Assumption of the

Virgin.

DELL' ALTISSIMO, CRISTOFANO. See PAPI.

BELLA MARCA, GIOVANNI BATTISTA, called
also LOMBARDELLI and IL MONTANO, was born at
Montenuovo in 1532. He was first a scholar of
Marco da Faenza, and, according to Baglione,
visited Rome in the Pontificate of Gregory XIII.,
and there devoted himself to an imitation of the
works of Raffaellino da Reggio, whom he assisted
in some fresco paintings in the Vatican. In the
church of San Pietro Montorio he painted a series
of pictures of the ' Life of St. Francis ' ; and in
Santa Maria de' Monti, the ' Resurrection.' There
are several of his works in the churches at Mon-
tenuovo. He died in 1587.

BELL' AMATRICE, COLA. See FILOTESIO.

BELLA PORTA, BARTOLOMMEO. See BARTO-
LOMMEO.

BELL' ARCA, LEONARDO, was an Italian en-
graver, who flourished about the year 1600. He
engraved some plates of ornaments and grotesque
figures.

DELL' ASTA, ANDREA, was born at Bagnuoli,
near Naples, in 1673, and was brought up in
the school of Francesco Solimena. After passing
several years under that master he went to Rome,
where he studied for some time, and introduced into
the style of his country somewhat of an imitation
of the works of Raphael. Amongst his best
pictures, executed on his return to Naples, were
the ' Nativity,' and the ' Adoration of the Magi,'

51



A BIOGRAPHICAL DICTIONARY OF



in the church of Sant' Agostino de' Scalzi. He
died at Naples in 1721.

DELLA STRADA, GIOVANNI. See VAN PER

DELLA VECCHIA, PIETBO, was born at Venice
in 1605, and was brought up in the school of Ales-
eandro Varotari, called II Padovanino. He did not,
however, adopt the style of that master, but applied
himself to an imitation of the works of Giorgione
and Pordenone, in which he was so successful,
that some of his pictures have been mistaken for
the productions of those masters. His powers were
better adapted to familiar and fancy subjects than
to the dignity of history, and his best pictures re-
present armed soldiers, banditti, and corps-de-garde,
which he painted with great vigour and effect. His
talent in imitating the works of the old masters in-
duced the doge and senate of Venice to employ
him to copy in oil the historical works in mosaic
which are in the church of St. Mark, which he did
with great ability. He also painted for the same
church two altar-pieces of his own composition,
representing the ' Crucifixion,' and ' Our Saviour
driving the Money-Changers out of the Temple.'
His colouring was warm and tender, and he was
well versed in the principles of chiaroscuro. He
died in 1678.

DELLA VIA, ALESSANDRO, was an Italian en-
graver, who resided at Venice about the year 1730.
He engraved several portraits, which are very in-
differently executed, and a plate, representing the
' Virgin and Infant Christ, with St. Sebastian and
other Saints,' after Paolo Veronese.

DELLA VITE, GIOVANNI. See MIEL.

DELLA VITE, TIMOTEO, called by Vasari
TIMOTEO DA URBINO, was the son of Bartolommeo
dellaVite and Calliope, the daughter of the painter
Antonio Albert! of Ferrara, in which city he was
born in 1469, and was brought up as a gold-
smith. From 1490 to 1495 he was in Francia's
workshop, where he also learned to paint, and then
returned as master to Urbino, where he practised
his art for fifteen years. In 1504, at the instance
of Giampietro Arrivabene, Bishop of Urbino, he
painted the altar-piece for the chapel of St. Martin



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