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Dictionary of painters and engravers, biographical and critical online

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purchased there, and thence exported to Spanish
America, thus probably giving rise to the false
tradition that he visited that country. In 1642
Pedro de Moya, who had been a pupil of J. del
Castillo, returned from his campaign in Flanders
and his study under Van Dyck in England. His
account of the glories of the Flemish school of
painting raised Murillo's ambition, and the young
artist conceived the idea of going at least to Madrid,
perhaps to Rome. He went to the Spanish capital
in 1643, and on his arrival applied for advice to
Velazquez, his fellow-townsman, then at the height
of his reputation. That artist not only admitted
him into his painting-room, but treated him with
the greatest kindness and liberality. He procured
for hinf access to the rich treasures of art deposited
in the Royal Collections, and gave him instruction.
Murillo's attention was particularly directed to the
works of Ribera, Van Dyck, and Velazquez, which
he studied and copied, thus greatly improving his
colouring. After having had, during nearly three
years, the advantage of the advice of Velazquez and
the patronage of Olivarez, Murillo, not caring any
longer to go to Rome, returned in 1645 or early in
1646 to Seville. There, in that year, he undertook

■ to paint for a very small sum his first great work,
the series of eleven pictures for the Franciscan
convent within the walls of Seville, ten of which
pictures were afterwards carried off by Marshal
Soult to France, and the eleventh sold to Mr. Ford.
And here it is necessary to observe that in the
former editions of this Dictionary it was assumed
that a picture of ' The Charity of St. Thomas de
Villanueva,' which formed one of this series, was
the celebrated one Murillo prized so highly that he
always spoke of it as "his picture." This latter
was not painted until between 1670-80 for the
Franciscan convent, called tlie "Capuchins," 'with-
out the walls of Seville. Standish, writing about
1840, tells us that it was then in the chapel of
Santa Ana in the cathedral. It is now said to be
in the Public Gallery of Seville. Murillo painted
the subject several times. The pictures painted
for the other convent in 1647 placed Murillo in the



front rank of the painters at Seville, and he was
soon busily employed on sacred and other subjects.
In 1648 he married a wealthy lady, Dona Beatriz
de Cabrera y Sotomayor, of Pilas, near Seville,
who is thought to have been the model whose
face appears in many of his beautiful Madonnas.
In 1654, on the death of Pacheco, Murillo became
the legitimate head of the Sevillian school ; and
his house was the resort of many distinguished
persons in the city. He was now much employed
by the cathedral authorities and other ecclesiastical
bodies. In 1655 he painted ' St. Isidor' and ' St.
Leander ' by order of the Archdeacon of Carmona.
In 1656 he produced ' St. Anthony of Padua' for
the cathedral chapter, and in the same year the
four large pictures — two of which represent the
legend of Our Lady of the Snow, and are now in
Madrid — for his friend the Canon Justino Neve y
Yevenes. The first of January 1669 saw tlie
foundation by Murillo of the Academy of Seville,
started under many difiSculties through the half-
heartedness of his rivals in art, the younger Herrfira
and Valdds Leal. The former and Murillo were
elected joint presidents ; but Murillo left it in its
second year, and, owing to personal jealousies and
quarrels, the Academy never really succeeded.
In 1668 Murillo executed a ' Virgin of the Concep-
tion,' and eight oval half-length figures of saints
for the chapter-house of the cathedral. In 1671 to
him was entrusted the decoration of the All Saints'
chapel on the occasion of the festival held in
honour of the canonization of Ferdinand III., and
his work was most highly praised by the poet La
Torre Farfan. In 1G71 Murillo commenced one of
his most celebrated works, the series of paintings
for the church of the Hospital of La Caridad.
They are eleven in number, and occupied him four
years. Six still remain in the hospital. Marshal
Soult carried off the other five. Cean Bermudez,
who saw all these paintings when still together,
awarded the palm to ' St. Elizabeth ' and ' The
Prodigal's Return.' In 1674, the date of their
completion, Murillo received 78,115 reals in pay-
ment for his works. From 1674 till 1680 Murillo
was employed by his friends the Franciscans to
decorate their Capuchin convent outside Seville.
It is said that for three years he remained entirely
within its waills, and executed upwards of twenty
important works (seventeen of them are now in the
Seville Museum). Of these, the most celebrated is
that of ' St. Thomas of Villanueva distributing alms.'
The subject of ' The Immaculate Conception '
was one which Murillo painted many times. The
picture in the Louvre is the best known, but it is
difHcult to dissent from the opinion of Madrazo,
who asserts that the example in the Madrid
Museum is the finest of all these pictures. Stir-
ling doubts whether Murillo painted his last work,
' The Marriage of St. Catherine,' at Cadiz, and
his contention that the picture was executed at
Seville appears very reasonable. Be this as it
may, it is agreed on all hands that Murillo died
at Seville in 1682, from the consequences of a
fall while painting this picture, which was finished
by his pupil, Menesfes Osorio. Murillo left three
children. The second, Gaspak Esteisan, was a
priest, but painted in the style of his father. As
a landscape painter Murillo had great merit, as
may be seen in the backgrounds of the series of
pictures, ' The Life of Joseph,' painted for the
Marquis of Villamanrique. He is said to have
etched one plate, a small half-figure of St. Francis.

189



lilurillo



A BIOGKAPI-IICAL DICTIONARY OF



Murillo



The following list includes most of the important
works of Murillo :

Althorp. Earl Spencer'' s Portrait of Himself. {Inscrihed,
Collection. " Bart"'- Murillo seipsum de-

piugens pro filiorum votis ac
precibus explendis.")
Amsterdam. Galhry. The Annunciation.
Belvoir Castle. {Duke of The Virgin with the Infant
Rutland^s Coll.) Christ on her knee, adored
by Saints.
„ „ The Holy Family with a Lamb.

„ „ Adoration of the Wise Men.

Berlin. Museum. Madonna and Child {replica of

a picture in the Seville Gall.).
„ „ St. Anthony of Padua with the

Infant Christ.
Buda-Pesth. Galleiy.'\

{Formerly Esther- VHoly Family.
hazy Collection.) J
,, „ The Virgin and Child and two

Angels.
„ „ The Virgin and Child and three

Missionaries.
„ „ The Fhght into Egypt.

„ „ Portrait of Murillo. {DouUed

by some critics. Etched hy
Paul Rajon.)
„ „ St. Joseph and the Infant

Christ.
Burghley. House. (iJ/Wr-")

quess of Exeter^ s vBeggars regaling.
Collection.) j
„ „ Diogenes throwing away his

cup.
Cadiz. Hospital. St. Francis of Assisi receiving

the Stigmata.
„ „ St. Francis de Panla praying.

„ „ The Marriage of St. Catherine.

{His last work.)
Presden. Gallery. The Martyrdom of St. Eod-

rigues.
„ „ The Virgin and Child.

Dublin. JVat. Gallery. Portrait of Josua van Belle.

„ „ The Infant St. John.

Dulwich College. Gall. The Spanish Flower Girl.

„ „ Three Spanish Peasant Boys.

„ „ Two Spanish Peasant Boys.

„ „ The Madonna del Rosario.

Florence. Pittz Falace. Virgin and Infant Christ.

„ „ Madonna del Rosario.

Glasgow. Gallery. Portrait of Josua van Belle.

„ „ The Infant St. John playing

with a lamb.
Hague. Gallery. The Virgin and Infant Christ.

{From a monastery at Ypres.)
„ „ Bust Portrait of a Young Man.

Heytesbury House. ^

{Lord Heyteshury^s >St. John and the Lamb.

Collection.) J
„ „ The Galician Woman. (Las

Gallegas.)
Kingston Lacy. Mr. \ Angel with a Cardinal's Cap.

Bankes^s Coll. ) {Frobahly part of a larger
picture.)
„ „ St. Augustin, seated.

,, „ St. Rosa of Lima.

LoEdon. JVat. Gallery. The Holy Family, known as
"The Pedroso Murillo.'"
{A masterpiece. Painted at
Cadiz, when the artist was
about sixty years old.)
„ „ A Spanish Peasant Boy.

„ „ St. John and the Lamb. {A

replica is in the possession of
the Earl of Lovelace.)
„ Apsley House, "j

{Duke of Welling- V Isaac blessing Jacob.
ton'^s Collection.) j
„ „ St. Francis of Assisi praying.

„ „ Female Saint with palm branch.

,, Bath House. (Lord ) mi, t ^ *. n i.-

Ashburton's Coll.) j ^^^ Immaculate Conception.
„ „ The Virgin with Infant Christ.

190



London. Bath House. \

{Lord Ashburton's > Ecce Homo.
Collection.) j
„ „ St- Thomas of Villanueva di-

viding his cloak among four



Collection.) j «0'^«'« F«f«'^«-
„ Dorchester House. S

(Mr. R. S. Hoi- j-The Virgin praying.
ford's Collection.) J
„ „ The head of the Virgin.

„ „ Girl with a white mantilla.

., Grosvenor House, "i

(Duke of Westmivr > St. John with the Lamb.
ster's Collectioit.) J
„ „ The Infant Christ sleeping.

„ „ Laban seeking his household

gods in Jacob's tent. [Painted
for the Marquess of Villaman-
rigue.)

" ^E!!rl'ofm^h-\^°''^'f\°^ °™ ^^""^ ^«
brookicoll.) j Andrade.

„ „ A Shepherd Boy crowned with

ivy, playing the flute.

„ „ The Immaculate Conception.

,, „ The Ascension.

„ „ The Holy Family in the Car-

penter's Shop.

" (sf/'I^rF^rd'^^ ^^o-^- »' ^^^ Shep.

lace's Collection.) j "^^*^^*
'J „ The Annunciation,

» „ Joseph lowered into the well

by his brethren. {Formerly

in the Capuchin Convent at

Genoa.)
,1 ., Virgin and Child.

» „ The Holy Family and St. John

the Baptist.
*, „ Virgin a .d Child.

,, „ The Charity of St. Thomas of

Villanueva. {Formerly in the

Capuchin Convent at Genoa.)
if „ Virgin and Child.

>» „ The Virgin and Child in glory,

with Saints.
)' „ Assumption of the Virgin.

» „ The Espousals of the Virgm

Mary and St. Joseph.
„ Lansdowne House. ")

{Marquis of Ixms- >The Immaculate Conception.
downe's Coll.) j
it » The Virgin kneeling.

„ M The Infant Christ with his left

hand on a globe.
,i J, Don Justiuo Neve y Tevenes.

(Formerly in the Hospital de

COS Venei'ables, Seville.)

" (i«tf"/S«-lP°j'™^ "f Ambrosio Ignacio

land's Coll.) J deSpmola.
ij „ Abraham entertaining the An-

gels. (From the Gallery of
Marshal Soult, who took it
from La CaHdad, Seville.)
II II St. Anthony of Padua, with the

Infant Saviour.
II II The Prodigal Son. (From tlit

Gallery of Marshal Soult, wlu>
took It froftn La Cai-idad,
Seville.)
II ,1 Head of a Child.

'I I, The Nativity: mih St. John

and the Lamb on each side.
(Three pictures in one frame.)
,1 II St. Justa. 1 (From the Alta-

ic II St. Rufina. j 7iiira Gallery.)

Longford Castle. (Earl \ Euth and Naomi departing

of Radnor's Coll.) j from Moab.
L»wther Castle. (Earl 1 „ , ,. _, , ,,
of Lonsdale's Coll.) j ^"J '^«'^^'°g C***'^-



Murillo



TAINTERS AND ENGRAVERS.



Lowther Castle. (Earl ) Two boys eating fmit. (Small
of Lonsdale's Col- > replica of the picture in the
lection.) J Finakoihek, Munioh.)

Madrid. ^^I'^J;'^ I Holy Family del Pajarito.

„ „ Eebeeca and Eliezer.

„ „ The Annunciation.

„ „ The Penitent Magdalen.

„ „ St. Jerome.

„ „ The Adoration of the Shep-

herds.

„ ,, The Vision of St. Augustin.

„ „ The Virgin and Christ appear-

ing to St. Francis of Assisi
(La Forciuncula,)

„ „ The Virgin and Child.

„ „ St. James the Apostle.

„ „ The Infant Christ as the Good

Shepherd.

„ „ St. John the Baptist.

„ „ Christ and St. John (Los Ninos

de la Concha).

„ „ The Annunciation.

J, „ The My.stical Ascension.

„ „ St. Ildefonso receiving the

Chasuble from the Virgin.

„ „ The Virgin del Rosario.

,, „ The Conversion of St. Paul.

J, „ St. Anne teaching the Virgin

to read. (Said to he portraits
of his wife and daughter.)

„ „ The Criicitixion. (Two.)

„ ,. St. Ferdinand.

„ The Immaculate Conception.

(Four.)

J, „ Martyrdom of St. Andrew.

„ „ The Prodigal Son (fonr

Sketches.)
Receiving his patrimony.
Leaving home.
Wasting his substance with

riotous living.
Feeding swine.

jj „ The Infant Christ sleeping on

a cross.
The head of St. John the Bap-
tist.

„ „ The head of St. Paul the

Apostle.

„ „ St. Jerome reading.

J, „ St. Francis de Paula, leaning on

a stick.

jj „ St. Francis de Paula, kneeling.

I „ Old woman spinning.

„ Galician woman with money.

IJ „ St. Francis de Paula. (Bust.)

„ „ Ecce Homo.

„ The Virgin de las Dolores.

"^ „ Portrait of P. Cavanillas.

j| „ Hilly Landscape. (Two.)

„ Academy of San \ Eesurreotion of Christ. [Painted
Fernando. j for the chapel of La Espira-
cion, in the Convent of Mercy
(now the Museum) at Seville.']
„ The Dream of the Eoman Sen-

ator and his Wife. (Formerly
in the church of Santa Maria
la Blanca at Seville.)
„ The Eoman Senator and his

Wife telling their dreams to
Pope Liberius. (The same.)
St. Elizabeth of Hungary tend-
.ing the Sick. (Ffl Tinoso.
Formerly in the Hospital of
Charity at Seville^
Munich. Finakothek. Two boys, one eating grapes,
and the other melon. (A re-
plica is at Kingston iMcy.)
„ Two boys eating bread and

fruit, with a dog.
„ Three boys, two throwing

dice.
„ A girl with a basket of fruit,

and boy.



Munich. Finakothek.



Paris.



Louvre.



„ Selliere Coll.

Petersburg. Hermitage.



Seville.



Cathedral.



Santa Maria la
Blanca.
Church of the Ca-
puchins (beyond
the wait).



Murillo

St. Francis de Paula healing a
Cripple at the door of a
church.

An old woman with » child in
her lap.

The Immaculate Conception.
(Two.)

The Birth of the Virgin.

The Virgin, with Angels.

La Vierge au chapelet.

Holy Family.

Christ on the Mount of Olives.

Christ at the Column.

Muraole of San Diego (The
Angel Kitchen).

The Young Beggar. (El Pio-
joso.)

Portrait of Himself. (Formerly
in the Collection of Louts
Philippe.)

Jacob's Ladder.

Isaac blessing Jacob.

The Annunciation. (Similar in
composition to a picture in the
Madrid Gallery.)

The Conception.

The Adoration of the Shep-
herds.

The Adoration of the Shep-
herds,

St. Joseph holding in his arms
the Infant Christ.

St. Joseph leading the Infant
Christ, with two angels.

Eepose in Egypt.

The Flight into Egypt.

Holy Family.

Christ on the Cross.

The Assumption of the Virgiu.

St. Peter released from Prison.

The Vision of St. Anthony.
(Original Study for the altar-
piece of the Cathedral at
Seville.)

The Death of Pedro Arbuez.
(Formerly in the Baptistery of
the Cathedral at Seville.)

A woman and her daughter in
prison.

A boy with a dog.

Young peasant with a basket
and dog.

Young peasantgirlwith flowers.

St. Justa. 'j

St. Rufina. |

St. Ferdinand.

St. Leander.

St. Lawrence.

St. Hermangild.

St. Isidor.

St.- Pius. J

The Immaculate Conception (in
the Cliapter Room).

St. Leander, seated. (Full-
length portrait: in the Sa-
cristia Mayor.)

St. Isidor, seated. (The same.)

St. Ferdinand (full-length: in
the Contaduria Mayor).

St. Ferdinand (bust: in the
Library).

St. Anthony of Padua visited
by the Infant Saviour.

The Guardian Angel leading a
child. (In the Sacrtstia de
los Calices.)

Head of the Infant Christ.

The Baptism of Christ.

Christ after the Scourging.
) The Last Supper (an early
J work).

> Christ on the Cross.

191



Bust-por-
traits : in the
Chapter
Room.



Murphy

Seville.



A BIOGRAPHICAL DICTIONARY OF



Musi



La Caridad.



Moses striking the rock.
Tobit burying the strangled

man (a sketch on a tablet).
The Annunciation.
St. John the Baptist with a

lamp.
The Infant Christ standing on



„ „ The Miracle of the Loaves and

Fishes. {Pan y Feces.)

„ ^^ St. John, sinking under the

weight of a sick man, assisted
by an angel.

„ Provincial \St. John the Baptist in the

Museum. J desert. (Formerly in the Ca-
puchin Convent.)

„ ,, St. Joseph and the Infant

Saviour. (The same.)

„ „ St. Augustine praying.

„ „ The Virgin with the Infant

Christ. (La Vircjen de la Ser-
villeta. Formerly in the Ca-
puchin Convent.)

„ „ St. Felix of Gantalisi, and the

Infant Christ. (From the
Capuchin Convent.)

„ „ St. Augustin and the Holy

Trinity.

„ „ The Immaculate Conception.

„ „ St. Augustine kneeling at the

feet of the Virgin.

„ „ St. Anthony with the Infant

Christ in his arms.

„ „ The Virgin with the Infant

Christ in her arms,

„ „ The Immaculate Conception

(larffe: formerly in the Ca-
picchin Convent).

„ „ The Virgin with the Infant

Christ in her arms.

„ „ A Pieta.

„ „ St. Pedro Nolasco kneeling be-

fore the Virgin.

„ „ St. Bonaventure and St. Lean-

der.

„ „ St. Thomas of Villauueva giv-

ing alms at the door of his
cathedral. (From the Ca-
puchin Convent.)
„ The Birth of Christ.

„ „ St. Francis of Assisi supporting

the body of Christ on the
Cross. (Formerly in the Ca-
puchin Convent.)

n ,1 St. Felix of Gantalisi, with the

Virgin and Infant Christ.
(From the Capuchin Convent.)

), „ St. Anthony, with the Infant

Saviour seated on an open
book. (From the Capuchin
Convent.)

„ ii The Immaculate Conception,

with the Almighty. (Form-
erly in the Capuchin Convent.)

n „ St. Jnsta and St. Bufina, with

la Giralda.

„ „ The Annunciation. '

„ „ The Immaculate Conception.

Stockholm. Soy. Mus. Boy with a basket.

n )» Boy with a glass of wine.

Valladolid. Public Mus. St. Joseph and the Infant

Christ.
Vienna. Belvedere. The young St. John the Bap-

tist with a lamb.
'Woburn Abbey. (Duke'\

of Bedford's > Cherubs scattering flowers.
Collection.) )

I. „ The Virgin and Child.

MURPHY, John, a designer and engraver, was
born in Ireland about the year 1748, and flourished
till the early part of the present century. He
worked in London, and followed both the mezzo-

192



tint and dot systems. He engraved some plates
in the Houghton Collection, and also some after
other works of Italian masterH ; and also after
Reynolds, Northcote, Romney, Stothard, Ramberg,
and B. West. All his productions are good, but
perhaps the following are the best :

Mark Antony's Oration over the body of Cssar ; after
West.

Elisha restoring the "Widow s Son ; after Northcote.

The Tiger ; after the same.

The Eoyal Family ; after Stothard. 1787.

The brothers of Joseph showing his bloody Garment to
Jacob ; after Guercino,

Joseph's interpreting Pharaoh's dream ; after the same.

MURR, Hans von, an obscure German painter,
who lived from about 1644 to about 1713. There
is a ' Sibyl ' by him at Copenhagen.

MURRAY, Elizabeth, was the daughter of
Thomas Heaphy, a painter in water-colours and
the first President of the Society of British Artists.
As Miss Heaphy she exhibited at the Royal Academy
in 1838 and in subsequent exhibitions, a portrait
of a lady and other works. After her marriage
with Mr. Henry John Murray, H. B. M. Consul at
Tangiers, she frequently contributed, from 1846,
subjects of an Oriental character. In 1863 she
became a member of the Institute of Painters in
Water-colours. She died on the 8th December,
1882, at St. Remo.

MURRAY, John. In the ' Gentleman's Magazine,'
for 1 735, there is a short notice of the death of an
artist of this name in Southampton Row : "a famous
face-painter, worth £40,000, died June 1 ".

MURRAY, R , a portrait and subject painter,

practised in London about the middle of tie 18th
century. J. Watson mezzotinted a picture by him
called 'The Enchantress.'

MURRAY, Thomas, portrait painter, a native
of Scotland, was born in 1666, and coming early
to London, became a scholar of John Riley, at the
time when that master was painter to William and
Mary. He was esteemed in his own time, and was
employed to paint the portraits of the royal family
and many of .the principal nobility. He d ed in
1724. The portrait of Murray, painted by himself,
is among those of the great artists in the Florentine
Gallery. Several other works by him are at Ox-
ford ; his portraits of William and Mary are at
the Fishmongers' Hall, and those of Halley and
Sir Hans Sloane at the Royal Society and the
College of Physicians respectively.

MURRER, JoHANN, painter and etcher, was a
native of Nuremberg, where he was born in 1644.
He was a pupil successively of Haberlein, J. F.
Heinsel, and Luca Giordano. At Copenhagen
there is a ' Sibyl ' by him; at Nuremberg a ' Samson
and Delilah.' He etched a ' Diogenes and Alex-
ander,' and a ' Silenus with Bacchantes.' Murier
died in 1713. His daughter Anna Bakbaka was
scarcely inferior to himself as an artist.

MURRI, JACQtJES, a French miniaturist, who
worked in Paris with some repute about 1490.

MUSI, Agostino de', or Agostino de Musis,
called Agostino Veneziano, an eminent engraver,
was born at Venice about the year 1490, and was
pupil of G. Carapagnola, and afterwards formed
his style on a study of Albrecht Diirer. He was
also a disciple of Marc Antonio Raimondi, of whose
fine style he was one of the most successful fol-
lowers. Several of his earliest plates were exe-
cuted in conjunction with Marco da Ravenna, who
had been his fellow-student under Marc Antonio.



Musi



PAIJTTERS AND ENGRAVERS.



Musscher



After the death of Raphael, in 1620, they separated,
and each of them worked on his own account.
On the sacking of Rome, in 1527, the artists re-
sident in that capital sought refuge in the other
cities of Italy; and Agostino went to Florence,
where he applied to Andrea del Sarto for employ-
ment. But having engraved, in 1516, a plate
from a picture by him, representing a dead Christ,
supported by Angels, which did not meet with the
painter's approbation, he would not permit any
more of his pictures to be engraved. The earliest
dated print by Agostino is in 1509 ; and as none
of his works bear a later date than 1636, it may
be presumed, that he did not long survive that
period ; and he is said by Huber to have died
at Rome about the year 1540. This artist holds
a distinguished rank among the engravers of his
time. His burin is scarcely less neat and finished
than that of Marc Antonio ; but he is very inferior
to that celebrated artist in the purity and correct-
ness of his drawing, and in the tasteful expression
of his heads. The prints of Agostino de Musis
are extremely scarce, particularly fine impressions.
He sometimes marked them with a tablet similar
to that used by Marc Antonio, but more frequently
with the initials A. V. with the date. The following
are the best :

PORTRAITS.

Pope Paul III., in profile ; inscribed Paulus III. Port.

Max. 1534.
The same Pontiff, with the papal crown ; dated 1536.
Charles V. holding a sword ; after Titian.
Another Portrait of Charles V. ; dated 1536.
Ferdinand, Eling of the Eomans ; inscribed Proximus a

summo Ferdina-ndus, ^c. 1536.
Francis I. of France ; dated 1536.
The Saltan Soliman ; dated 1535.

SUBJECTS FROM SACRED HISTORY.

The Creation ; engraved in conjunction with Marco da

Eavenna ; after RapJiael.
The Sacrifice of Isaac ; after the same.
The Benediction of Isaac ; dated 1522 ; after the same.
The same subject ; dated 1524.
The Israelites passing the Bed Sea ; after the same.
The Israelites gathering the Manna; after the same.

This plate is supposed to have been begun by Marc

Antonio.
Samson bound by the Philistines ; circular ; from his

own design.
The Nativity ; after Giulio Romano. 1531.
The Four Evangelists ; in four plates ; after the same.

1518.
The Murder of the Innocents ; copied from the print by

Marc Antonio. A. V.
The Nativity ; copied from a woodcut by A. DUrer.
Christ bound to the Pillar ; the same.
The Last Supper ; the same. 1510.
The dead Christ, with Angels; after A. del. Sarto.

1516.
The Archangel Michael ; after Raphael.
The Virgin and Infant Christ, with St. John ; after

Francia.
St. Jerome, with the Lion ; after Raphael.

HISTORICAL AND MYTHOLOGICAL SUBJECTS.

\
Diogenes seated by the side of o River ; after Baccio

Bandinelli.
Tarquiu and Lucretia ; after Ba^phael.
The Death of Lucretia ; copied from the print by Marc

Antonio, after Raphael.
Cleopatra ; after Baocio Bandinelli. 1518.
Vulcan giving Cupid's Arrows to Venus ; after Raphael.

1530.
Venus riding on a Dolphin, with Cupid holding a

Torch ; after Raphael.
VOL. II .



Jupiter and Leda.

Apollo and Daphne; after Raphael; attributed by

some to Marc Antonio.
The Fall of Phaeton ; marked A. V. on a tablet.



Online LibraryMichael BryanDictionary of painters and engravers, biographical and critical → online text (page 50 of 201)