Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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(1831), and ' Childe Harold's Pilgrimage' (1832),
it may be taken as the summing up of the impres-
sion left upon him by Italy. In 1826 Turner gave
up Sandycombe Lodge, and thenceforward spent
I more of his time in Queen Anne Street, with no
company but his father and Mrs. Danby, his ' house-
keeper' from 1801 to his death. His 'Southern
Coast' was the chief publishing enterprise with
which he was at this time concerned, and his disputes
over it with Mr. W. B. Cooke are among the most
unpleasant episodes in his life. In 1827 the first
part of his most important series, ' England and
Wales,' was published, and a year later he was
again in Italy. In 1829 he exhibited his greatest
colour dream, the ' Ulysses deriding Polyphemus.'
In 1830 occurred the death of his father, the great-
est shock, perhaps, of his life. In this same year
the illustrated edition of Rogers's ' Italy ' was pub-
lished, to be followed in 1834 by the ' Poems,' both
with 'Turner's designs. In 1830, too, his first sub-
jects from Venice were exhibited. In 1834-5 he
was at work on the series known as the ' Rivers of
France,' and four years later, in 1839, he sent the
last picture to the Academy in which his full power
was shown, namely, the 'Fighting T^m6raire
tugged to her last Berth.'

During the last ten years of his life, Turner's
/^powers failed gradually by losing their health.
It was not a case of diminution so much as of per-
version. His judgment as an artist disappeared,
and although he could still — he could perhaps even
more than ever — astonish by the splendour of his


dreams, he could no longer weigh and create.
During these last years his interest was awakened
by the new art of photography, and he paid several
visits to Mr. Mayall's studio, incognito, calling
himself a Master in Chancery. He carried his
interest in his new acquaintance so far as to lend
him, unasked, a sum of £300 at a time when liti-
gation about patents had brought him into some
financial embarrassment. About the same time he
received two oifers of £100,000 for the contents of
his house in Queen Anne Street, as well as a large
offer for his two pictures of Carthage, from a com-
mittee which numbered Sir Robert Peel and Lord
Hardinge among its members. But having already
willed his picture to the nation, he declined this
flattering proposal, very much to his honour. For
years before he died. Turner had, as many of his
colleagues divined rather than knew, an unacknow-
ledged retreat to which he was accustomed to be-
take himself. Not even Mrs. Danby, his house-
keeper in Queen Anne Street, knew its whereabouts.
Towards the end of 1861, however, she discovered
that he was living, under the name of Booth, in a
small house at Chelsea, and there, on her hints, he
was found by his cousin and executor, Mr. Harpur.
This was on December 18, 1851, and on the 19th
Turner died.

Turner's will turned out to be so confused a
document that its provisions were to a great extent
set aside. After years of litigation, in which a
large part of his wealth was made over to the^ .
lawyers, it was decided by the courts that the bulk
of his funded property and his rights in engravings
should go to the next of kin, that the Royal
Academy should have £20,000, and that all his
pictures and drawings should go to the nation. By
this decision the National Collection came into
possession of some hundred oil pictures and about
nineteen thousand drawings in water-colour and
sketches. The following list is restricted to his more
notable pictures, in the order of their production :

1802. Dolbadern Castle. (Royal Academy; Diploma

„ Kilchurn Castle.
(?) His own Portrait. {National Gallery.)

1803. Calais Pier. (DTational Gallery.)
„ The Holy Family. (Do.)

1805. The Shipwreck. (National Gallery.)
„ Storm at Sea. (Bridgwater House)

1806. The Goddess of Discord in the Garden of the

Hesperides. (National Gallery.)

1807. Sun rising in a Mist. (Do.)

1808. Death of Nelson. (Do.)

1809. Spithead : boat's crew recovering an anchor, (Do^

1811. Apollo killing the Python. (Do.)

1812. Snowstorm : Hannibal crossing the Alps. (Do.)

1813. A Frosty Morning. (Do)

1814. Dido and .£neas leaving Carthage for the Chase.

„ Apuleia in search of Apuleius. (Do.)

1815. Bligh Sand, Sheemess. (Do.)

„ Dido building Carthage. (Do.)
„ Crossing the Brook. (Do.)

1816. Temple of Jupiter, at Mgma,.

1817. Decline of Carthage.

1818. The Field of Waterloo. (National Gallery.)

1819. The Mouse; orange merchantman going to pieces

on the bar. (Do.)
Richmond Hill, on the Prince Regent's birthday.

1820. Rome from the Colosseum. (Do.)

1823. Bay of Baise, Apollo and the Sibyl. (Do.)

1826. Cologne ; evening. (John Naylor, Esq.)

1827. Now for the Painter! passengers going on

„ Port Ruysdael (I.).

1828. The Birdcage. (National Gallery.)






1828. Dido building the Fleet. {National Gallery.)

„ Bast Oowes Castle, with the Begatta. {South
Kensington Museum.)

1829. Ulysses deriding Polyphemus. (National Gallery.)
„ Vision of Medea, (bo.)
„ The Loretto Necklace. (Do.)

Pilate washing his hands. (Do.)
Orvieto. (Do.)

Yessel in Distress off Yarmouth. (South Ken-
sington Museum.)
„ Caligula's Palace and Bridge. (National Gallery.)
1832. Childe Harold's Pilgrimage, Italy. (Do.)
(?) Vaa Tromp's barge entering the Texel. {Soane










Lake Avernus ; the Fates and the Golden Bough.

(National Gallery of Ireland.)
Mercury and Argus.

Apollo and Daphne. (National Gallery^
Phryne going to the Bath as Venus.
Ancient Italy.
Modern Italy.
Agrippina landing with the ashes of Germanicas.

(National Gallery.)
The 'Fighting T6m^raire,' tugged to her last

berth to be broken up. (Do.)
Ancient Home.
Modem Rome.

The Slave Ship. (Miss Hooper, Boston, U.S.)
Bacchus and Ariadne. (National Gallery.)
Venus and Adonis. ( W. Cuthhert Quilter, Esq.)
Peace — Burial of Sir David TVilkie. (National

■War— The Exile and the Rock Limpet. (Do.)
Snow-storm : Steam-boat making Signals. (Do.)
Shade and Darkness : The Evening of the Deluge.

Light and Colour : The Morning after the Deluge.

Approach to Venice. (Do.)
The ' Sun of Venice,' going to Sea. (Do.)
Port Ruysdael (II.). (Do.)
Rain, Steam, and Speed; The Great Western

Railway. (Do.)
Venice, Morning. Returning from the Ball. (Do.)
„ Queen Mab's Grotto. (Do.)
„ The Angel standing in the Sun. (Do.)

Turner's water-colours are so numerous that it
would here be impossible to give a complete list
of even the more important. The National Gallery
has five hundred, framed and so arranged as to be
readily accessible, from elaborate pictures like those
for the Rivers of France to hasty sketches. The
Oxford University Gallery possesses ten important
early drawings, and a series of forty sketches and
drawings presented by Mr. Euskin. In the Pitz-
william Museum, Cambridge, there is a correspond-
ing series, also given by Mr. Euskin. The following
may also be mentioned :

London. S. Ken. Mus. Hornby Castle, Lanca.shire.

„ „ VTarkworth Castle, Northumber-

„ „ Bay of Spezzia.

„ „ A Waterfall. '"™

„ ^, Interior, Tintern Abbey.

„ „ St. Alban's Abbey.

„ „ Landscape, with a tower of rock.

„ „ Corfe Castle, Dorsetshire.

„ „ Plymouth, from Turn Chapel.

„ „ Tivoli, Rome.

„ „ Brighthelmstone (Brighton). 1794.

„ „ Sketch of an Italian town.

„ „ South view of Salisbury Cathe-

dral from the Cloisters. About
„ „ Entrance to the Chapter House,

Salisbury Cathedral. About
lyand's End. (F. Craven, Esq.)
Llangollen. (Late C. F. H. BolcUw, Esq.)
Bridge over the Moselle. (G. E. Lees, Esq.)
The Rhine above Schaffhausen. (Do.)
594 ,

Swiss Pass, storm effect. (Jesse Haworth, Esq.)

Whitehaven. ( Walter Dunlop, Esq.)

St. Michael's Mount. (R. Leake, Esq.)

FoUy HiU. (Do.)

Lucerne. (Ahrdhani Raworth, Esq.)

Chain Bridge over the Tees. (Do.)

Warwick Castle. (Do.)

Lucerne. (J. Irvine Smith, Esq.)

Lancaster Sands. (Do.)

Lowestoft. (Rev. C. J. Sale.)

The red Bighi. (7. E. Taylor, Esq.)

The blue Eighi. (Do.)

Llanthony Abbey. (Do.)

Derwentwater. (Do.)

Dell in Wharfedale. (Do.)

Chryses on the Sea-shore. (R. G. L. Bevan, Esq.)

Village of Heysham, Lancashire. {John Rushin, Esq.)

Lake and Town of Geneva. (Do.)

Bggleston Abbey. (Do.)

The Splugen Pass. (Do.)

Farnley Hall, from above Otley. (Do.)

Farnley Avenue. (Do.)

The Crook of Lune. (Rev. W. McGregor.)

Knaresborough. (John Fortes White, Esq.)

City and Lake of Constance. (R. Brocklebank, Esq.)

Virginia Water. ( W. Leech, Esq.)

Rivaulx Abbey. (A. G. Kurtz, Esq.)

Dartmouth Cove. (Holhrook Gaskell, Esq.)

Dartmoor. (Do.)

Patterdale. (W. Agnew, Esq.)

Lancaster Sands. (Ayscough Fawkes, Esq.)

Falls of the Reichenbach. (Do.)

Upper Falls of the Reichenbach. (Do.)

Lake of Lucerne. (Do.)

The Devil's Bridge, pass of St. Gothard. (Do.)

Mont Cenis in a Snowstorm. (Do.)

Bonneville, Savoy. (Do.)

Vale of Ashburnham. (Sir A. Acland^Hood, Bt.)

Norham Castle. (D. Thwaites, Esq.)

Carnarvon Castle. (Do.)

Bridge over the Usk. (Henry Faughan, Esq.)

Durham. (Do.)

FouthUl. (Sir Charles Tennant, Bt.)

Edinburgh. (Mrs. Bolckow.)

Castle of Chillon. (Miss Julia Swinbarne.)

Lake of Thnn. (Do.)

Bonneville, Savoy. (-Do.)

Marxburg, on the Rhine. (Do. )

Palace of Bieberich, on the Rhine. (Do.)

TancarviUe, on the Seine. (Do.)

Scarborough. (Sir Richard Wallace, Bt.)

Grouse Shooting. (Do.)

Woodcock Shooting. (Do.)

Landscape in Yorkshire. (Do.)

Cologne. (Ahel Buckley, Esq.)

Winchelsea, from the road to Rye. (.Do.)

Val d'Aosta, and Battle of Fort Rock. {National Gallery)

Edinburgh, from the Calton Hill. (Do.)

A Mountain Stream. (Do.)

The following list gives the chief artistic publi-'
cations for which Turner supplied the material :

'Britannia Depicta: a series of views engraved from

drawings by T. Heame and J. M. W. Turner.' (1806.)
' Views in Sussex : from drawings by J. M. W. T.' (1819.)
' Picturesque Tour of Italy.' (1820.)
' Picturesque Views on the Southern Coast of England,'

&o. (1826.)
' River Scenery : engraved from drawings by J. M. W.

T., and T. Girtin.' (1827.)
' Picturesque Views in England and Wales.' (1832.)
' Liber Fluviorum, or Rivers of France, sixty-one line

engravings from drawings by J. M. W. T.' (1843.)
'The Harbours of England, &c., with notes by John

Euskin.' (1856.)

W. Thorubury, 'life of J. M. W. Turner, R.A.'

(London, 1877.)
P. G. Hamerton, 'The Life of J. M. W. Turner, E.A.'

(London, 1879.)
W. Cosmo Monkhouse, ' Turner.' (London, 1882.)
J. Burnet, ' Turner and his Works.' (London, 1859.)
J. Dafforne, ' The Works of J. M. W. Turner.' (1877.)




J. Ruskin, ' Modern Painters ; their superiority in the

art of landscape painting proved from the works of

modern artists, especially from those of J. M. W.

Turner.' (1844.)

J. Buskin, ' Notes on the Turner Gallery at Marlborough

House.' (London, 1857.)

'R. N. "Wornum, ' The Turner Gallery.' (London, 1859.)

H. Bodd, ' Catalogue of the Pictures painted by J. M.

W. Turner from 1807 to 1850, as exhibited in the

Boyal Academy, with his own maaner of describing

each picture.' (London, 1857.)

W. Cosmo Monkhouse, 'The Turner Gallery' (120

engravings with notices by W. 0. M.)
J. Buskin, ' Notes on his Drawings by the late J. M. W.

Turner.' (Ijjndon, 1878.)
J. Ruskin, ' Notes on his own handiwork, illustrative of

Turner.' (London, 1878.)
W. G. Bawlinson, ' Catalogue of the Liber Studiorum.'

(London, 1878.)
' Catalogue of the Liber Studiorum.' (Cambridge,

U.S.A., 1874.)
J. Pye and J. L. Roget, ' Notes on the Liber Studiorum.'

(London, 1879.)
Stopf ord A. Brooke, ' Notes on the Liber Studiorum.'

(London, 1885.)
J. Buskin, ' Catalogue of Drawings and Sketches by J.
M. W. Turner in the National Gallery.' (Orpington,
1881.) W. A.

TURNER, William, an English water-colour
landscape painter, was born at Blackbourton
(Oxen.) in 1789. His father died while he was
young, and his art training was obtained from John
Varley. Settling in Oxford, he became known as
" Turner of Oxford," and obtained a large teaching
practice there. He was elected, in 1809, a member of
the Water-Colour Society, with which he exhibited
during the whole of his long career. His works
also occasionally appeared at the Academy, at the
British Institution, and at Suffolk Street. Many of
his subjects were taken from the neighbourhood of
Oxford, but he also painted the scenery of Wales,
Scotland, and other parts of England. He died
August 7, 1862, having been an exhibitor for fifty-
four years. There are two water-colour drawings
by him in the Kensington Museum, ' Kingly Bottom,
Sussex,' and a ' Waterfall ' (1795).

T DRONE, (TuBONi,) a native of Verona, who
flourished in the 14th century. In the Museum at
Verona there is an altar-piece by him in five panels,
dated 1360. It was formerly in the Convent of the
Holy Trinity, at Verona. The centre is a Triniti ;
on the side panels are the Virgin and Angels, with
four Saints.

TDRPILIUS, a Roman painter, (contemporary
with Pliny,) who was the author of some fine works
at Verona. Pliny states him to have painted with
his left hand.

CoMTE DE, painter and architectural draughtsman,
born in Paris in 1781, was the son of the Marquis
de Turpin de Criss^, the representative of an old
Angevin family, whom the troubles of the Revolu-
tion forced to fly from Prance. The elder Turpin
was himself an amateur of some distinction, and
had given his son his first instruction in art. When
the Marquis emigrated, Lancelot and his mother
took refuge with a relative in Anjou, where they
remained in retirement till the dawning of more
peaceful times. The young artist was taken under
the protection of Choiseul Gouffier, who took him to
Switzerland, and afterwards sent him to Rome. He
returned to France when the Empire was estab-
lished, and was patronized by Josephine and others
in power. He also continued to enjoy court favour
after tlie Bourbon restoration. In 1816 he became
, a member of the Institute, and in 1824 Inepector-
Q Q2

General of the Fine Arts. On the fall of Charles
X. in 1830, he retired into private life, occupying
himself with artistic and literary pursuits. In 1826
he published ' Souvenirs du Golfe de Naples,' with
thirty-nine plates, and in 1835, ' Souvenirs du
Vieux Paris,' with fifty plates. He formed a col-
lection of antiquities and works of art, which on
his death he bequeathed to the Museum of Angers.
He died in 1852. He exhibited a large number of
works at the Salon, and the following have found a
permanent place in French galleries :

Angers. Museum. Syrinx pursued by Pan.

„ „ View of the Temple of Vesta at

Lisieux. „ Study of Trees.

Marseilles. „ View at Boquebrune.

Nantes. „ Entry of the Austrian Emperor

into Venice.

TDRPIN, Pierre Jean FBANgois, painter of
natural history in water-colours, was born at Vire in
1775, and was self-taught. He made upwards of
six thousand drawings in water-colour on vellum,
which were engraved by Soellier, Pl^e, Bouquet,
Coutant, Massard, and others, for works on natural
histor}'. Among those so illustrated may be named,
the travels of Humboldt and Bompland ; ' Les
Plantes de la Nouvelle CaMdonie ; ' ' Les loones,'
of M. DeoandoUe ; ' L'Iconographie V^getale ; '
' L'Atlas du Dictionnaire des Sciences Naturelles ; '
' La Flore M^dicale ; ' and Duhamel's treatise on
Fruit Trees. He died in Paris, May 2, 1840.

TURRITL See Tobeiti.

TUSCHER, Kabl Marcus, painter, etcher, and
architect, was born at Nuremberg in 1705. Wal-
pole says he was painter and architect, while Fiissli
calls him painter, copper-plate engraver, sculptor,
carver in wood, and gem engraver. He was the
natural son of a lacemaker, and was brought np in
the hospital for orphans, at Nuremberg. He was
afterwards placed under J. D. Preisler, with whom
he remained about ten years. From the school of
Preisler he went to Italy, on an allowance from the
municipality, and was employed by Stosch at
Leghorn, to make drawings from gems. In 1741
he visited France, England, and Holland. In
England he made the acquaintance of the Danish
traveller, H. v. Norden, for whose 'Travels in
Egypt and Nubia,' published in London in 1757,
he engraved some plates, one of which is inscribed
F. L. NSrden del. M. T. fecit, 1748. Most of his
plates are marked with his name in full, and consist
of historical subjects, portraits, vignettes, and other
book illustrations. Prom England Tuscher went
to Copenhagen, where he became a professor at
the Academy. He died in 1755. In the Copen-
hagen Gallery there is a ' Sappho and Cupid ' by

TUSON, 6. E., painted ' The Reception of a Depu-
tation from the Corporation of Manchester by the
Sultan, in Buckingham Palace,' for the town-hall
of Manchester. He afterwards painted genre sub-
jects and portraits in Turkey, and afterwards in
Monte Video, where he died in 1880.

TUTIANI, Babtolommeo, an engraver on wood,
to whom are ascribed some prints with this Gothic

monogram, ^. Bartsch, however, mentions

only one wood-cut with this mark : it represents
' Christ insulted by the Jews,' and occurs in a work
printed at Augsburg in 1515.

TUTILO, a famous miniaturist of the 10th
century, who acquired a wide reputation as painter,





poet, musician, and sculptor. He was a monk of
the Benedictine Order at Saint Gall, and died about

TWEEDIE, William Menzies, a Scottish por-
trait painter, born at Glasgow in 1826. The son
of a naval officer, he was himself intended for the
Navy, but showed an early bent towards art. In
1842 he entered the Edinburgh Academy, where
he gained a prize, and in 1846 came to London to
study in the Royal Academy, subsequently com-
pleting his training in the studio of Couture, in
Paris. He exhibited chiefly at the Royal Academy,
and had many distinguished sitters. But the rejec-
tion of his pictures in 1874 and afterwards, dis-
heartened him. His health gave way, and he died
in 1878. His portrait of the present (1888) Duke of
Devonshire hangs in the University of London.

TYBOUTS, WiLLEM, a famous Dutch glass-
painter, born at Haarlem about 1526. His best
known works are portraits of Philip II. and
. Elizabeth of Valois, painted for the church of St.
1 Ursula at Delft ; ' The Taking of Damietta,' for the
church of St. John at Gouda ; and the glass windows
in the ' Schiitzenhaus ' at Leyden. He is further said
to have painted portraits of the Counts of Holland.
He died in 1599. Several other glass-painters of
the same family are mentioned in the city registers.

TYMMERMAN, Franz, a native of Hamburg,
was one of the pupils of Lucas Cranach, under
■yyhom he was working from 1538 to 1540.

TYN, Lambebt den, born at Antwerp, in 1770,
was a scholar of P. Van Regemorter. He painted
interiors by candle-light, landscapes by moon-
light, and genre subjects generally. He died in

TYR, Gabriel, painter and lithographer, was
born at Saint-Paul-de-Mons, in 1817. He was a
pupil of Victor Orsel, in conjunction with whom he
worked for twenty years, and completed his paint-
ings in the chapel of Notre-Dame-de-Lorette. He
himself painted chiefly portraits in oil and pastel.
He was commissioned to decorate the cathedral at
Le Puy with mural paintings, but his death pre-
vented his carrying out the work. He made the

designs for some good windows in the church of
S. Etienne, in which town he died February 18,
1868. There are pictures by him in the museums
of Le Puy, S. Etienne, and Lyons.

TYROFF, Martin, a German engraver and
publisher, who resided at Nuremberg about 1750,
and engraved a considerable number of portraits
and plates for books. Among the former is that of
Charles a Linne, architect to the King of Sweden.

TYSON, Michael, a fellow of Bennet (Corpus
Christi) College, Cambridge, who about 1770
painted for his amusement, and etched some plates,
among them portraits of Archbishop Parker, Sir
William Paulet, Thomas Gray, and Jane Shore.
He died May 4, 1780. (See Anderdon's ' Collec-
tanea,' British Museum, vol. 99.)

TYSSENS, Augustine. See Thys.

TYSSBNS, Nicolas, was born at Antwerp, in
1660, learned the first principles of design in his
native city, and is said to have visited Italy, and
passed some time at Rome, Naples, and Venice.
He was a painter of still-life. His pictures repre-
sented dead game, flowers, fruit, armour, sabres,
and other military weapons. He is said to have
visited Holland and England, and to have practised
for a time at Diisseldorf. He died in 1719.


TYTLER, Geoegb, held the appointment of
lithographic draughtsman to the Duke of Glouces-
ter. About 1820 he made a journey in Italy, and
on his return published some lithographic views
of Italian scenery. He was further known by a
large panoramic view of Edinburgh, also by a
pictorial alphabet, which was first published as a
lithograph, and afterwards on copper. He died in
London in great poverty, Oct. 30, 1859.

TZANPURNARI, Emanuel, a Byzantine painter
of the 9th century. He is known only by a curious
relic of early Byzantine art in the 'Museo Cristiano '
in the Vatican. It was brought into Italy by
means of Squarcione, and is a picture of the Death
of St. Ephraim, with numerous monks and suflering
poor, and, in the background, scenes illustrating the
life of the anchorite.






UBALDINI, Pethuccio, an Italian calligraphist
and illuminator on vellum, who was working in
England in the reign of Elizabeth, and seems to
have enjoyed the favour of the Court. Vertue says
that he taught the Italian language. One of his
illuminated books, presented by him to Elizabeth,
is in the Bodleian Library, and Walpole gives a list
of other works, formerly in the King's Library, and
now, most of them, in the British Museum. (See
'Anecdotes of Painting,' vol. i. p. 170.)

UBEDA, Pray Tomas de, a member of the short-
lived Academy of St. Barbara of Valencia. In
1764 he painted a picture of Judith, which was
famous for a time.

UBBLESQUI, (or UsiELESQni,) Albxandkb,
painter, called Alexandre, was born in Paris in
1649. He was a pupil of Charles Lebrun, and
completed his studies in Eome, where he became
a member of the Academy, and where he painted
the dome of a chapel in Santa Maria Transpontina.
On his return to France he was patronized by the
Court, became a member of the French Academy
in 1682, and Professor in 1695. He died in Paris,
April 21, 1718.

UBEETI, P. F. DEGLi. See Farinati, Paolo.

UBERTINI, Francesco d'Albertino, called II
Bacchiacca, was a native of Florence, and pupil of
Perugino. He was born March 1, 1494. His father
was one Ubertino di Bartolommeo, a goldsmith, of
the Verdi family. Their pedigree is given by
Milanesi (' Vasari,' vol. vi. p. 454). He painted his-
torical subjects with success, and also excelled in
grotteschi and ornamental painting. He frequently
painted predellas for altar-pieces by other masters,
and panels for the decoration of furniture. His
works are generally on a small scale, with numerous
figures. The latter part of his life was passed in
the service of the Grand Duke Cosirno, for whom
he designed some tapestries, painted some historical
pictures, and was employed on decorative works
generally. At a late period iir his life he painted,
in fresco, the grotto of a fountain in the garden of
the Palazzo Pitti. Several of nis rare easel pictures
have passed into England and France. He died at
Florence, October 5, 1557. Works :

Berlin. Museum. Baptism of Christ.

Florence. Uffizi. History of S. Acasius (predella

in' three compartments).
„ S. Lorenzo. History of the Martyrs (predella

to an altar-piece by Giov.
Antonio Sogliani).
„ S. Maria d. Pazzi. Deposition from the Cross (?).
London. Nat. Gallery. Two Scenes from the History
of Joseph.

His brother Baccio Ubertini, born 1484, was
also a pupil of Perugino, and a successful designer
and painter. There is a ' Crucifixion ' by him in
the Ufiizi. His other brother, Antonio, born 1499,
followed the art of embroidery, and executed many

Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 156 of 201)