Michael Bryan.

Dictionary of painters and engravers, biographical and critical online

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those of the third period the masterpieces of
Raimondi are to be found. It begins with ' The
Climbers,' which may have been finished at Rome,
and includes 'The Massacre of the Innocents,'
'The Judgment of Paris,' 'The Dance of Cupids,'
' The Five Saints,' the ' Luoretia,' &c. The fourth
period is marked by less care in drawing, less
delicacy in the management of the burin, less pa-
tience, and a greater toleration for mannerism in
the works reproduced ; these were mostly fi-om
the hand of Giulio Romano. The following list
of Marc Antonio's plates is taken from Passavant,
but Bartsch's numbers are also given. ^ j^^

1. Adam and Eve. (B. 1.)

2. Adam and Eve driven from Paradise. (B. 2.)

3. God appearing to Noah. (B. 3.)

4. Joseph and Potiphar's Wife. (B. 9.)

5. David beheading Goliath. (B. JO.)

6. David with the Head of GoUath. (B. 11.)

7. David with the Head of Goliath. (B. 12.)

8. The Nativity. (B. 16.)

9. The Massacre of the Innocents (without the ' Chi-

cot'). (B.20.)

10. The Feast at Simon's House. (B. 28.)

11. The Last Supper. (B. 26.)

12. The Entombment. (B. 30.)

13. The Descent from the Cro-ss. (B. 32.)

14. Pieta,. (B. 35.)

15. The Marys weeping over the body of Christ. (B. 37.)

16. The Descent into Limbo. (B. 41.)

17. S. Paul at Athens. (B. 44.)

18. The Marys on the Steps. (B. 45.)

19. The Virgin Enthroned. (B. 46.)

20. The Virgin in Glory. (B. 47.)

21. The upper part of the Poligno Madonna. (E. 52.)

22. The Virgin with the long thigh. (B. 57.)

23. The Holy Family ; after Michaelangelo. (B. 59.)

24. Holy Family. The Virgin suckling the Infaut

Christ. (B. 60.)

25. The Virgin with the Palm-tree. (B. 62.)

26. The Madonna with the Cradle. (B. 63.)
27-39. Jesus and the Twelve Apostles. (B. 74-76.)

40. S. Cristcpher. (B. 96.)

41. S. Francis. (B. 97.)

42. S. George. (B. 98.)

43. S. John Baptist. (B. 99.)

44. S. Jerome kneeling before a Crucifix placed in a

tree trunk. (B. 101.)

45. S. Jerome with the small Lion. (B. 102.)

46. The Martyrdom of S. Lawrence. (B. 104.)

47. S. Sebastian. (B. 109.)

48. S. Francis, S. Anthony of Padua, and S. John of

Capistran. (B. 110.)

49. The Five Saints. (B. 113.)

50. Saint Catherine. (B. 115.)

51. S. Cecilia, with four other Saints. (B. 116.)

52. The Martyrdom of S. Cecilia. (B. 117.)

53. Saint Margaret. (B. 118.)

54. SS. Lucy, Catherine, and Barbara. (B. 120.)
55-67. Christ and the Twelve Apostles. (B. 124.)
68. Christ on the Cross. (B. 137.)



Baimondi



PAINTERS AND ENGRAVERS.



Baimondi



69. The Holy Trinity. (B. 138.)

70. The Virgin standing. (B. 139.)

71. The young Tobias and the Guardian Angel. (B. 140.)

72. S. Anthony. (B. 141.)

73. S. Anthony o£ Padua. (B. 142.)

74. S. Benedict. (B. 143.)

75. S. Bernard. (B. 144.)

76. S. John of Capistran. (B. 145.)

77. S. Christopher. (B. 146.)

78. S. Stephen. (B. 147.)

79. S. Francis of Assisi. (B. 148.)

80. The Archangel Gabriel. (B. 149.)
81-2. S. John Baptist. (B. 150-1.)

83. S. Jerome. (B. 152.)

84. Job. (B. 153.)

85. S. Joseph. (B. 154.)

86. S. Lawrence (S. Leonard). (B. 155.)
87-8. S. Lawrence. (B. 156-7.)

89. S. Michael. (B. 158.)

90. Lazarus. (B. 159)

91. S. Nicholas of Tolentmo. (B. 160.)

92. S. Peter Martyr. (B. 161.)
93-5. S. Koch. (B. 162-4.)
96-8. S. Sebastian. {B. 165-7.)
99. S. Vincent. (B. 168.)

100. A Penitent Saint. (B. 169.)

101. S. Agatha. (B. 170.)

102. S. Agnes. (B. 171.)

103. S. Anne, the Virgin and Child. (E. 172.)

104. S. Apollonia. (B. 173.)

105. S. Barbara. (B. 174.)

106. S. Catherine. (B. 175.)

107. S. Catherine of Siena. (B. 176.)

108. S. Cecilia. (B. 177.)

109. S. Helena. (B. 178.)

110. S. Lucy. (B. 179.)

111. The glorified Magdalen. (B. ISO.)

112. S. Margaret. (B. 181.)

113. S. Martha. (B. 182.)

114. S. Petronilla. (B. 183.)

115. Death. (B. 184.)

116. The Rape of Helen. (B. 209.)

117. Alexander placing Homer's poems in the tomb of

Achilles. (B. 207.)
118-121. The Four Roman Knights. {B. 188-191.)

122. Dido. (B. 187.)

123. Lucretia. (B. 192.)

124. Cleopatra (Ariadne). (B. 199.)

125. Cleopatra. (B. 200.)

126. The Triumph of Titus. (B. 213.)

127. The Plague of Phrygia. (B. 417.)

128. Parnassus. (B. 274.)

129-131. Jupiter, Mars, and Diana. (B. 253-255.)

132. Vulcan, Venus, and Cupid. (B. 326.)

133-135. Jupiter embracing Cupid; Mercury descending

in search of Psyche ; Cupid and the Three Graces.

(B. 342-344.)

136. Mars, Venus, and Cupid. (B. 345.)

137. The Judgment of Paris. (B. 245.)

138. The Qms Ego, or Neptuiie calming the Storm. (B.

252.)

139. Venus and two Cupids. (B. 251.)

140. Venus appearing to .ffiueas. (B. 288.)

141. Venus after the Bath. (B. 297.)

142. Venus stooping to kiss Cupid. (B. 311.)

143. Venus rising from the Sea. (B. 312.)

144. Venus crouching. (B. 313.)

145. Pallas standing on a Sphere. (B. 337.)

146-161. Apollo, Minerva, the Muses/ and five other
figures. (B. 263-278.)

162. The Apollo Belvedere. (B, 331.)

163. Apollo with left arm upraised. (B. 332.)

164. A Replica of the last. (B. 333.)

165. The Standing Apollo. (B. 335.)

166. Apollo, Hyaointhus, and Cupid. (B. 348.)

167. Dance of Cupids. (B. 217.)

168. Cupid and Three Children. (B. 320.)

169. Hercules — full-face — standing in a niche. (B. 256.)
170-173. The Labours of Hercules. (B. 289-292.)

174. Hercules strangling Antaeus. (B. 346.)

175. Two Fauns carrying a Child in a Basket. (B. 230.)

176. Bacchanalia, or The Offering to Priapus. (B. 248.)

177. A reversed Replica of the last, in which the Satyr is

on the left of Priapus. (B. 249.)



178. A Satyr clasping a Nymph with his left arm, and

defending himself against a Young Man. (B. 279.)

179. A Satyr seated, and a Child. (B. 281.)

180. Nymph surprised by Satyr. (B. 285.)

181. Two Votaries of Bacchus, one young and one old.

(B. 294.)

182. Faun and Child. (B. 296.)

183. The two Satyrs and the Nymph. (B. 305.)

184. Pan and Syrinx. (B. 325.)

185. Nymph surprised by Satyr. (B. 319.)

186. The Vintage of Bacchus. (B. 306.)

187. Cupid rising from the Sea. (B. 293.)

188. The Three Graces. (B. 340.)

189. Orpheus and Borydice. (B. 282.)

190. Orpheus delivering Eurydice from the Infernal

Regions. (B. 295.)

191. Orpheus seated, playing the Violin. (B, 314.)

192. The Triumph of Galatea. (B. 350.)

193. Bacchus and Ariadne,

194. Pyramus and Thisbe. (B. 322).

195. The ' Loves of the Gods '

1. The Torso of a Woman, her head on a cushion.

2. A Bearded Man and part of a Leg.

3. 4. Figures of Young "Women. »

5. Back View of a Head.

6. Head turned to the Right, embraced by a Man's Arm.

7. Head turned to the Left.

8. Head of a Young Woman.

9. Figure of a Young Man, standing, and stretching

out his Right Arm. (These nine fragments are
all that is left of the plates which brought Bai-
mondi into disgrace with Pope Clement. They
are quite inoffensive. A complete set, however,
belonged to the collector Mariette, and after his
death passed into the French Royal Library.
They have been either lost, stolen, or destroyed.)
Trajan crowned by Victory. (B. 361.)
Fortune holding a sail swelled by the Wind. (B.

362.)
Love of Fame. (B. 363.)
Time.

Prudence. (B. 371.)
Strength. (B. 375.)
Temperance. (B. 376.)
Philosophy. (B. 381.)
Poetry. (B. 382.)

-211. The Seven Cardinal Virtues. (B. 386—392.)
Peace. (B. 393.)

' Amadous, Austeritas, Amititia, Amor.' (B. 355.)
The Four Doctors. (B. 404.)
' Le Baton Courb^.' (B. 369.)
The Woman with the Crescent. (B. 354.)
The Man with two Trumpets. (B. 356.)
Raphael's Dream. (B. 359.)
The Young Man with the Firebrand. (B. 360.)
Man and Woman holding a Sail. (B. 364.)
The Old Shepherd and the Youth. (B. 366.)
The Old Man and the Man with the Anchor. (B.

367.)
Woman with Winged Head. (B. 368.)
Man Beaten with a Fox's Tail. (B. 372.)
Woman with two Sponges. (B. 373.)
The Man and Woman with Globes. (B. 377.)
Young Woman watering a Plant. (B. 383.)
Man whipping Fortune. (B. 378.)
Man showing a Woman a Hatchet. (B. 380.)
Young Man with a Lantern. (B. 384.)
Two Naked Men, standing. (B. 385.)
Serpent speaking to a Young Man. (B. 396.)
The Two Women and the Zodiac. (B. 397.)
The Violin-Player, and the Three Naked Women.,

(B. 398.)
Young Woman in Classic Dress, between Two Men.

(B. 399.)
' II Stregozzo,' or ' Sorcery.' (B. 426.)
Man Crowning an Eagle. (B. 428.)
The Shepherd and the Nymph. (B. 429.)
Old Man and Young Woman. (B. 430.)
The Old and the Young Shepherd. (B. 431.')
Young Mother conversing with Two Men. (B. 432.)
Man Kneeling at the outskirts of a Wood. (B. 434.)
Man Asleep at the entrance to a Wood. (B. 438.)
The Old Shepherd and the Young Man with the
Violin. (B. 435.)

343



196.
197.

198.
199.
200.
201.
202.
203.
204.
205-
212.
213.
214.
215.
216.
217.
218.
219.
220.
221.
222.

223.
224.
225.
226.
227.
228.
229.
230.
231.
232.
233.
234.

235.



237.
238.
239.
240.
241.
242.
243.
244.



Kaimondo



A BIOGEAPHICAL DICTIONARY OF



Kamberg



245. The Old Man and the fat Young Man. (B. 436.)

246. "Woman tearing her Hair. (B. 437.)

247. The Lion Hunt. (B. 422.)

248. Emperor sitting. (B. 441.)

249. Another Emperor sitting. (B. 442.)

250. Woman meditating. (B. 443.)

251. The Deformed Young Man. (B. 446.)

252. The Cardinal at Market. (B. 459.)
253.. The Pilgrim. (B. 462.)

254. The Climbers. B. 487.)

255. One of the Climbers. (B. 488.)

256. Man bearing the base of a Column (B. 476.)

257. Man with a Flag. (B. 481.)
258—269. The Twelve Csesars. (B. 501—513.)

270. Equestrian Statue of Marcus Aurelius. (B. 514.)

271. Constantino the Great. (B. 495.)

272. Pope Leo XII. (B. 493.)

273. Pope Adrian VI. (B. 494.)

274. Charles V. (B. 497.)

275. Raphael resting. (B. 496.)

276. The Poet Alexander AchiUini. (B. 469.)

277. Pietro Aretino. (B. 513.)

278. The Perfume Tase for Francis I. (B. 538.)

279. The Fa9ade with Caryatides. (B. 538.)

280. The Three Marys.

281. SS. Lucy, Catherine, and Barbara.

282. The Triumph of Neptune.

283. The Glorified Magdalen.

284. Cupids at a Tomb.

285. Amymona carried off by a Triton.-

286. S. Paul kneeling before Christ.

287. Pluto.

288. Venus wounded by a Thorn. (B. 321.)

289. Satyr and Bacchante.

290. Dance of Three Fauns and Three Bacchantes.

291. Pope Clement VII. (B. 493 and 494.)

292. Pius II.

293. Paul II.

294. Sixtus IV.

295. Innocent VIII.

296. Alexander VI.

297. Pius III.

298. Adam and Eve. {Copi/ from Albrecht Diirer).

299. The Last Supper. {Do.),

300. Calvary. (B. 59.) (Do.)

301. The Virgin with the Monkey. (Do.)

302. The Virgin by the Door. (Do.)

303. Holy Family with playing Angels. (Do.)

304. Holy Family in a vaulted Chamber. (Do.)

305. The Prodigal Son. (Do.)

306. S. Jerome in bis Cell. (Do.)

307. Three Bishop-Saints. (Do.)

308. The Two Cooks. (Do.)

KAIMONDO, was a. Neapolitan painter, who
flourislied about the year 1477. There is a picture
by him in the church of S. Francesco di Chieri, in
Piedmont.

RAINALDI, DOMENICO, a painter, who flourished
at Rome about 1665. He executed some worlis
for the different churches in Rome, and seems to
have been patronized by the Popes of his time.
Nothing is Icnown of his history.

RAINIERI, Fbancesoo Mama, called Lo Schi-
VENOGLIA, was born at Mantua about the year
1680. He was a scholar of Giovanni Canti, and
painted similar subjects, representing landscapes
and battle-pieces. His pictures are little inferior
to those of his instructor ; if they are less vigour-
ously coloured, his figures are usually better
'drawn. He died in 1758.

RALPH, G. Keith, an English portrait and
subject painter in the latter half of the 18th
century. He was portrait painter to the Duke of
Clarence, and exhibited at the Academy from 1778
to 1811.

RAM, Jan de. See De Ram.

RAMA, Camillo, painter, a native of Brescia,
who flourished about the year 1622. He was a
pupil of the younger Palma, and painted several
altar-pieces and other considerable works for the

344



public edifices of his native city, which prove him
to have been an able follower of the style of
his instructor. In the refectory of the Carmelites,
and in the churches of S. Giosefifo and S. Fran-
cesco, there are good examples of his work.

RAMACCIOTTI, Giovanni Battista, amateur,
a priest of Siena, who lived about the middle
of the 17th century, and practised portrait and
historical painting. In the Franciscan church at
Siena there is a 'Nativity' by him, and at Florence
(Uffizi) a 'Nativity of the Virgin.' Bloemart en-
graved after him the portrait of a Nun, Colomba
da Tofaninis.

RAMAY, Jean, (or Delle Ramege,) an historical
painter, bom at Liege about 1530, was a pupil of
Lambert Lombard, and became a member of the
Corporation of Goldsmiths, of which he was dean
in 1585. Very late in life he is said to have
worked in the palace at Luxemburg, and to have
died during his journey back to his native city.
There is an ' Adoration of the Shepherds ' by him
in the church of Glains, near Liege. He was still
alive in 1602.

RAMAZZANI, Eecole, born at Roeoacontrada
in the Roman territory, was a pupil of Perugino
and of Raphael. He executed some works of art ,
for his native place. The dates of his birth and
death are unknown, but he is asserted to have
been still alive in 1588. Lanzi saw a picture by
one Ramazzani di Roccaeontrada in Matelica,
which was dated 1573.

RAMBALDI, Carlo Antonio, born at Bologna
in 1680, was a pupil of Domenico Viani. He
painted history with some success. There are
several of his pictures in the churches at Bologna,
which show considerable merit. The most worthy
of notice are the ' Death of St. Joseph,' in the
church of S. Gregorio ; the ' Visitation,' in S. Giu-
seppe ; and a ' St. Francis Xavier,' in S. Lucia.
Rambaldi died in 1717.

RAMBALDO, Laudadio, called Rambaldo pi
Feeeaea, an inferior Ferrarese painter, who flour-
ished towards the end of the 14th century. No
details of his life are known.

RAMBERG, Aethde-Gboeg, Feeihebe von,
painter, born at Vienna in 1819, was the son of
Field-Marshal Ramberg, but instead of following his
father's profession, he turned his attention to art.
In 1840 he entered the University of Prague, but
soon migrated to the Academy of Art, and then
to Dresden, where he studied under Julius Hiibner,
and painted a ' Combat betvi'sen King Henry and
the Hungarians.' The revolution of 1848 drove him
to Munich, where he painted humorous subjects.
He afterwards supplied illustrations for Schiller's
' Laura at the Piano,' ' Dido,' ' Drinking-Song,' and
' Expectation.' He also furnished illustrations for
Goethe's ' Hermann and Dorothea,' and Voss's
'Luise.' In 1860 he was appointed professor in
the Art School at "Weimar, and afterwards to the
same position at Munich. He died at Munich in
1876. Of his genre pictures the best are :

Meeting on the Lake.
The Embroidery Frame.
The "Water-party.

Frescoes in the Luther-hall rf the Wartburg.
Frescoes in the Palace at "Weimar (Legend of the Frog-
King).
Sunday at Dachau.
The Walk with the Hofmeister.
After the Masquerade.

RAMBERG, Johann Hfin"tch, an historical
and portrait painter and engr \cir, born at Hanover



Bambert



PAINTERS AND ENGEAVERS.



Kamirez



in 1763. He came early to England, and became
a scholar of Sir Josbua Reynolds and of Barto-
lozzi, working also in the schools of the Royal
Academy. After travelling in Italy and the Nether-
lands, he became court painter to the King of
Hanover. As a caricaturist he is at his best in his
' Reineke Fuchs ' and ' Till Eulenspiegel.' He
worked too hastily for his fame', and returned to
Hanover in 1834, where he died July 6, 1840.
Among his works we may further name :

Alexander crossing the Cranicus.

The Title-page for the edition de luxe of Wieland.

Curtain for the Theatre at Hamburg.

Illustrations for the ' Taschenbiichern zum geselh'gen
Vergniigen.'

EAMBERT, Louis db, painter, born in Paris in
1614, son of Louis Rambert, who was keeper of the
statues to Louis XIII. He studied under Vouet and
Le Brun. The king was his godfather. He painted
a portrait of Cardinal Mazarin, but finally abandoned
painting for sculpture. He died in Paris in 1670.

RAMBOUX, JoHANN Anton, painter, born at
Treves in 1790, went in 1804 to Plorenville to the
school of the Benedictine monk, Abraham, who
was then engaged on plates after Rubens, and in
1807 to David, under whom he became a good
draughtsman. In 1812 he returned to his home,
and there occupied himself with painting por-
traits. In 1815 he went to Munich, where he
applied himself to study the art of the Middle
Ages, and produced several portraits in the style
of A. Durer and Holbein. In 1816 he visited
Rome, wliere he became afiEected by Overbeck,
Veit, and Cornelius. He then took to studying
early Christian art and to copying old wall paint-
ings, votive pictures, and miniatures. In 1827 he
was back at Treves, but in 1829 was again in
Italy, returning to Treves in 1840, where he com-
pleted a collection of water-colour copies. The
King of Prussia bought from him two hundred
and forty-eight of these for the Academy of Diissel-
dorf. In 1843 he was appointed keeper of the
Wallraf Museum at Cologne, where he made a
reputation by his restoration of the old pictures,
and by supplying designs for the cathedral tapestry.
He possessed a collection of Italian pictures of the
15th and 16th centuries, from which he executed a
number of drawings in pen and ink. These were
reproduced in lithography, and published jointly
with lithographs from a series of drawings made
during a visit to Jerusalem in 1854. The whole
collection runs to a total of 125 plates. He died
at Cologne in 1866.

RAMELLI, Padeb Felice, born at Asti, in the
Piedmontese, in 1666. He was well known as a
painter of historical subjects and portraits in mini-
ature', and resided the greater part of his life in Rome,
where he became an ecclesiastic, ajid was made
a canon of S. Giovanni Laterano. The King of
Sardinia invited him to his court, where he was
for some time employed in painting the portraits
of the most celebrated painters, many of which he
copied from the originals, painted by themselves,
in the Florentine Gallery. Ramelli died in 1740.

RAMENGHI, Baetolommeo, called Bagna-
CAVALLO, from a village near Bologna, where he
was born in 1484, was a pupil of Pranoia, and
painted in Bologna in the style of his master. He
appears to have gone early to Rome, where he
studied the works of Raphael, and still more those
of Dosso Dossi. Bagnacavallo's style is a combin-
ation of that of the three masters we have named,



the simplicity learnt from Prancia preserving him
from the affectation that spoils the work of too
many of the painters influenced by Raphael. The
' Virgin in Glory ' in the Dresden Gallery, and the
large altar-piece with several saints in the Berlin
Museum, are grand works ; in them the pupil of
Prancia is to be readily recognized. After execut-
ing a certain amount of work in Rome, Raraenghi
returned to Bologna, where he died in 1642. Moi-elli
denies the influence of Raphael on Ramenghi, and
sees in him nothing but a pupil of Prancia and an
able imitator of Dosso Dossi. Works :
Berlin. Museum. SS. Petronias, Agnes, and

Louis IX. of France.
Bologna. Pinacoteca. Madonna with SS. Joseph,

Paul, Benedict, and M.



J, S. Vitale. The Visitation and other

Frescoes.
„ S. Michele in \ Copy of Raphael's ' Trans-

posed. J figuration.'
„ 8. Salvador, The Miracle of the Loaves

and Fishes.
„ „ St. Augustine's Flight from

the Manichseans.
„ .' <S Petronio, Christ Crucified.
„ is. M. del Par- \ A Crucifixion and a Depo-

racano. J sition. (Also frescoes in
the Pal. del Podesth, in S.
StefanOj and the Madonna
degli Scalzi.)
Dresden. Gallery. The Madonna enthroned with

SS. Geminianus, Peter,
Paul,and Anthony of Padua.
Milan. Brera. Mystic Marriage of St.

Catharine.
Paris. Louvre. The Circumcision.

RAMIREZ, Andeea, a miniature painter of
Seville, who in 1655 and 1558 illuminated the
choir books of the cathedral.

RAMIREZ, Benevides Juan, learned drawing
from his brother Josef, a sculptor. In 1753, exhi-
biting at the Academy a picture of the ' Election of
King Pelayo,' he was elected a supernumerary
Academician of S. Ferdinand. After studying
under Giaquinto he neglected painting for music,
and died at Saragossa in 1782.

RAMIREZ, Ceistobal, a native of Valencia, a
skilful illuminator, was in the service of Philip II.
in 1566, and did most of his work in his native
city. Returning to the Esoorial he died there in
1577, leaving his daughter and two sons under the
king's protection. Among the books illuminated
by this artist were the ' Oficio di difuntos,' the
' Intonario,' and the ' Brevario Nuevo en Cantoria,'
for the Escorial.

RAMIREZ, Felipe, probably a relation of Gero-
nirao, flourished at the same period. He painted
hunting-pictures, dead game, birds, and various
other subjects. He was a correct draughtsman and
understood the figure, as may be seen in his picture
of the ' Martyrdom of St. Stephen ' at Seville. His
pictjires of still-life are distinguished by their truth
and freshness, and his work generally was held in
much esteem in his lifetime.

RAMIREZ, Gebonimo, a painter of Seville, and
a disciple of Ro^las, flourished about the middle of
the 17th century. In the church of the hospital
de la Sangre, near Seville, there was a beautiful
picture signed with his name, representing the
pope surrounded by cardinals and other personages.

RAMIREZ, Josef, a Spanish painter, born at
Valencia in the year 1624. He was a sohoLir
of Geroniiiio de Espinosa, and painted historj- in
the stylo of his master. Palomino mentions, as his

345



Bamirez



A BIOGRAPHICAL DICTIONARY OF



Bauda



most esteemed performances, liis workB in the con-
vent of San Felipe Neri at Valencia, particularly
his picture of Nuestra Seiiora de la Luz. He died
at Valencia in 1692. He was a learned ecclesiastic,
and wrote the Life of St. Philip Neri.

RAMIREZ, Juan, a Spanish portrait painter,
who lived about the middle of the 16th century.
A great number of his portraits exist at Seville and
in its neighbourhood. Of his other works there are
no vestiges, though it is supposed that, being em-
ployed in the chapel of St. Christopher andother
places of note, he must have been an artist of
considerable talent.

RAMIREZ, Pedeo, painter, another of the numer-
ous artist-family of this name who flourished in
Spain in the 17th century. He practised at Seville,
and was one of the first members of the Academy
established in that city.

RAMSAY, Allan, portrait painter, the son of
Allan Ramsay, the author of the pastoral drama of
' The Gentle Shepherd,' was born at Edinburgh in
1713. He was a scion of the house of Dalhousie,
his great-grandfather being the Laird of Cockpen,
a brother to the chief. After acquiring the ele-
ments of design in London, under Hans Huyssing,
he returned to Edinburgh and worked for two
years from such remains of ancient art as he could
there encounter. He went to Italy in 1736, where
he was first a scholar of Solimena, and afterwards
of Imperiali. He did not, however, long prosecute
his studies in historical painting, but devoted
himself entirely to portraits. On his return from
Italy he established himself for some time at
Edinburgh, where he painted the portrait of Archi-
bald, Duke of Argyll. He afterwards, about 1762,
settled in London, where he met with very flat-
tering success. He was introduced by Lord Bute,
whose portrait he painted, to the Prince of Wales,
afterwards George HI., whose Painter in Ordinary
he became on the death of Shackleton in 1767.
From that year onward Ramsay conducted a sort of
picture factory, from which he turned out Georges
and Carolines by the score. His chief assistants
were David Martin, Mrs. Black, Eikhart, Vandyck,
Roth, and Vesperier ; to whom was added in later
years the well-known Philip Reinagle. Ramsay
was a good linguist and an accomplished writer.
Many of his essays were collected into a volume
under the name of ' Investigator. ' He corresponded
with Voltaire, Rousseau, and Hume. For the last-
named he painted a portrait of Rousseau. Of
Ramsay Dr. Johnson said, " You will not find a man
in whose conversation there is more instruction,
more information, or more elegance than in Ram-
say's." Without reaching the highest rank in his
profession, he painted portraits with very consider-
able ability.- He paid four visits to Italy during
his lifetime, and it was on returning from the last



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