Page:Bryan's dictionary of painters and engravers, volume 1.djvu/131

 of Banyan's 'PUijrim's Progress' in 1880, and about the same time produced his ' Character Sketches from Dickens.' Barnard also painted a few pictures in oil which were exhibited at the Royal Academy. He was suffocated in a fire at a friend's house at Wimbledon in 1896.

BARNARD, William, who was bom in 1774, was a mezzotint engraver. Among his most suc- cessful plates were 'Summer' and ' Winter,' both after Morland, and a portrait of Nelson. He died in 1849, having held for some years the post of Keeper of the British Institution.

BARNEY, Joseph. There are engravings executed in stipple by this artist, after the paint- ings of Bissano, W. Hamilton, and others, which were published .it the end of the 18th century.

BARNEY, Joseph, a fruit and flower painter, was born at Wolverhampton in 1751. He came to London in early life, and studied under Zucchi and Angelica KaufEmann, and in 1774 received a premium from the Society of Arts. He exhibited historical or poetical subjects, or flower pieces, at the Royal Academy from 1786 until 1827, and, in 1815, received an appointment as flower painter to the Prince Regent. Barney left two sons who followed in his footsteps — Joseph Barney, a flower painter, who lived chiefly at Southampton, and exhibited occasionally at the Water-Colour Society (1815 — 1818) ; and William Whiston Barney.

BARNEY, William Whistok, a mezzotint en- graver, was a pupil of Samuel William Reynolds. He is best known by his portraits of Sir Arthur Wellesley, after Hoppner, and the Marquis of Blandford, after Cosway, and by various repro- ductions of Reinagle's sporting subjects. About 1805 he bought a commission in the army, and served with credit during the Peninsular war.

BARNUEVO, Sebastiano de HERRERA. See HeRRERA BABNnEVO.

BAROCCI, Ambbogio, the father of Federigo, was a sculptor of some note in the 15th century. His portrait, painted by himself, is in the UflBzi at Florence.

BAROCCI, Federigo, (orBAROCCio) — sometimes called FlORE — was born at Urbino in 1528. He was the son (?) of Ambrogio Barocci, a sculptor of some eminence, and was placed — after he had received instruction in design from his father — under Battista Franco, with whom he studied until that painter left Urbino. Barocci then went with his uncle, Bartolommeo Genga, the architect, to Pesaro, where he copied some works by Titian. In 1548 he went to Rome, and studied the works of Raphael. He was favoured with the protection of the Cardinal della Rovere, who received him into his palace, where he painted some pictures in fresco. and the portrait of his patron. After passing four years at Rome, he returned to his native city, where his first work was a picture of ' St. Margaret,' executed for the Confraternity of the Holy Sacrament. This work gained him great celebrity ; and he was in'ited by Pope Pius IV. to assist in the decoration of the Belvedere Palace at Rome, where he painted the ' Virgin Mary and Infant Saviour, with several Saints,' and a ceiling in fresco, representing the ' Annunciation.' While working in the Vatican he was nearly killed by poison, and though he did not actually lose his life, tie was unable to work for four years, and even after that time he could paint no longer than about two hours each day. Having finished these and other works, he returned to Urbino, where he painted a fine picture for the cathedral of San Lorenzo, at Perugia, of the ' Descent from the Cross.' He again visited Rome during the pon- tificate of Gregor}' XIII., when he painted two admirable pictures for the ChiesaNuova, represent- ing the ' Visitation of the Virgin Mary to Elisabeth,' and the ' Presentation in the Temple,' which are considered his best productions, and for the Chiesa della Minerva, a fine picture of the ' Last Supper.' Barocci spent nearly all the remaining j-ears of his life at his native Urbino, where he died in 1612, nged 84 years. He was buried in the church of San Frai'.i tsco, with much honour. In the works of Barocci we admire an elegant taste, and there is great amenity and hannony in his colouring. He seems to have adopted the manner of Correggio as the model for his imitation ; and although he has succeeded in giving a graceful air to his figures, hi° style must be allowed to partake of something approaching to affectation, and can never be put in competition with the beautiful and touching sim- plicity of that inimitable painter. He was a better draughtsman than many of his contemporaries, but his colouring was not good. Mengs remarks that his pictures lacked yellow tints ; and Bellori says that he used too much vermilion and ultramarine. Among his pictures in public galleries are :

Dresden. Gallery. Hagar in the Desert, „ „ Madonna and two Saints. Florence. Vj^zi. Virgin pleading for the poor, „ „ Noli me tangere. „ „ Portrait of the Duke of Urbino. Ix>ndon, Xat. Gallery. Holy Family, del Gatto. Milan, Brera. Martyrdom of St, Vitale {dot I 15S3), Munich, rinakothck. Saviour appearing to the Mf. - dalene (dated 1590), Paris. Louvre. The Circiuncision {signed and dot 1580). „ „ Madonna in glory, with Saints. Petersburg. Hermitage. Holy Family. „ „ Portrait of a Man. And four others. Rome. Boriihese Pal. Burning of Troy. „ I'atican. ' The Annunciation. „ „ The Ecstasy of St. Michelina. „ ,, Madonna. Windsor. Castle. Nativity. We are indebted to Barocci for some engravings, which, although not very commendable for the delicacy of their execution, possess the higher qualifications of correctness of design and beauty of expression. He has loft us the following [plates :

The Virgin and our Saviour appearing to St. Francis; a large plate, arched. Hi.< principal plate. The Virgin holding the Infant Saviour ; a small plate, of ichick the lojcerpart is left unfinished. The Vu-gin in the Clouds, with the Infant Jesus; marlied F. B. V. F. The Annunciation ; on the left of the print a Cat sleep- ing ; fine. St. Francis receiving the Stigmata.

B.-VRON, Bernard, an eminent French engraver, was bom in Paris about the year 1700. He was instructed in engra^-ing by Nicolas-Henri Tardieu, whose style he followed. He engraved several plates for the Crozat Collection, and afterwards came to England, where he resided the remainder of his life, and died in London in 1766. Many of his engravings are in the Boydell Collection: they are executed in a coarse manner, but are not without considerable merit. The following are his principal works :