Page:Bryan's dictionary of painters and engravers, volume 1.djvu/197

 Sibylla Persica ; after Guercino. Ascension of the Virgin ; after Gutdo, Madonna and sleeping Infant ; after Raphael. Judgment of Solomon ; after the same. Magdalene ; after Schidone. Maria div. Sapientise ; after Titian. The Virgin Mary reading a book; after the same. Portraits of Galileo, Macchiavelli, and Poliziano.

BETTES, John, bom c. 1530, an eminent miniature painter in the reign of Queen Elizabeth, by whom he was patronized. A portrait of Edmund Butts, son of Sir William Butts, in the N.P.G. dated 1545, is believed to be his work. He died about the year 1576. His brother, Thomas Bettes, was also a miniature painter as well as an illuminator.

BETTI, BiAGio. This painter was bom at Carigliano in 1535, and was a disciple of Daniele da Volterra. He became, in 1557, a monk of the order of the 'Padri Teatini,' of San Silvestro, and his works are principally confined to the monastery of that order on the Quirinal at Rome. In the refectory he painted the ' Miracle of the Loaves and Fishes,' which was restored by Anesi in 1847 ; and in the library, ' Christ disputing with the Doctors.' He died in 1605.

BETTINI, DoMEXico. According to Orlandi, this painter was bom at Florence in 1644. He was first a scholar of Jacopo Vignali, but after- wards went to Rome, and became a disciple of Mario Nuzzi. His pictures, which are well painted, represent, like those of his instructor, fruit, flowers, birds, and fish.

BETTINI, PlETEO, an Italian engraver of the 17th century, who etched a few plates in a slight manner. By him, among others, we have : Christ appearing to Pet€r ; after Domenico Ciampelli. The Martyrdom of St. Sebastian ; after JJomenichino.

BETTO, Bersaedino di (Pistubicchio). See BlAGIC.

BETTOLI, Cajetano. The name of this artist is afiixed to an etching representing the ' Death of St. Joseph,' after Marc Antonio Franceschini. It is executed in a free, spirited style, and appears to be the production of a painter.

BEUCKLAER (or Beukelaar). See Bueckelaer.

BEUEELEIN, Haxs, an old painter of Nurem- oerg, highly rrais.-d by Neiidorfer, painted a Crucifixion, on the wall of the Prediger Kloster in Nuremberg, now destroyed. He died about 1500.

BEURS. WiLLEM, was born at Dordrecht in 1656. He was a scholar of Willem van Drillen- burg, and painted landscapes, portraits, and flowers with some dexterity and skill. He also published works upon art.

BEUSEKOM, Feass van, a Dutch engraver, flourished from about 1640 to 1650. He was principally employed by the booksellers in engrav- ing portraits. Among others, lie engraved that of Ant. le Bmn, after a picture painted by Anselmus van Hulle.

BEUTLER, Jakob, a German engraver, who, according to Professor Christ, was a native of Ravensburg, flourished about the year 1593. The prints he engraved are generally very small, on which account he is ranked among the artists distinguished by the name of the Little blasters. He usually marked his prints with the initials of his name, /. B. As this mark was occasionally used by other German engravers, particularly Jacob Binck and Hans Burckmair, who lived about the same period, it requires great attention to distin- guish their works.

BEUTLER. Matthias. See Bettlee.

BEVEREN, Charles van, bom at Mechlin in 1809, was instructed in the rudiments of art in the academy of his native city and at Antwerp. He settled in Amsterdam in 1830, subsequently visiting Paris, Rome, and other cities of Italy, and dis- tinguished himself as a painter of history, genre, and portraits. He died at Amsterdam in 1850. The best known of his works are :

The Confession of a Sick Girl {in the Finafcotheli at Munich). Male Figure. A study (in the Botterdam iluseum). The Vision of St. Ignatius. The Death of St. Anthony of Padua {in the church of Moses and Aaron at Amsterdam. His chef'd'ceuvre).

BEVILACQUA. See Salimben-i, VExmiA.

BEVILACQDA, Ajibrogio and Filippo, Milanese painters, were brothers and partners, and flourished at the end of the 15th century. They were em- ployed at the Palace and in the Duomo, and Anibrogio painted an allegory of Charity on the front of the Milan Poor-house in 1486. The ac- knowledged picture by hira is a ' Virgin and Child between King David and Peter Martyr,' in the Brera, See also Vigevano, Ambeogio da.

BEWICK, John, a younger brother of Thomas Bewick, was bom at Cherrybum, in the parish of Ovingham, in 1760, and in 1777 was apprenticed as a wood-engraver to his brother and Ralph Beilby, in Newcastle. He assisted in the cuts of ' iEsop's Fables,' and drew and engraved illustrations for Goldsmith's and Pamell's Poems, as well as for 'The Looking Glass for the Mind,' and ' Blossoms of Morality,' published in 1796. He also made the designs for ' Somerville's Chase,' but did not live to engrave them all. He died in 1795, at Ovingham. Though he was not so clever an artist as his more celebrated brother, many of the works of John Bewick deserve much praise.

BEWICK, Thomas, the eminent restorer of the art of engraving on wood, was bom at Cherrybum, in the parish of Ovingham. about twelve miles westward of Newcastle, in 1753. At the age of fourteen he was apprenticed to Ralph Beilby of Newcastle, a copper-plate engraver. He might have had a master of more eminence, but he could not have had one more anxious to en- courage his talents, and to point out to him his peculiar line of excellence. It happened that Charles Hutton (afterwards the distinguished Dr. Hutton of Woolwich), then a schoolmaster at Newcastle, was preparing his great work on men- suration, and applied to Beilby to engrave on copper the figures for the work ; he judiciously advised that they should be cut on wood, that each figure might accompany the proposition it was intended to illustrate. "The young apprentice was employed to execute many of these ; and the beauty and accuracy with which they were finished led his master strongly to advise him to devote his attention to the improvement of this long-lost art. At the expiration of his apprenticeship, Bewick spent a short time in London and in Scotland, and on his return to Newcastle, entered into partner- ship with Beilby. About this time, Thomas Saint, a printer of Newcastle, was at work on an edirion of the cuts. One of these, the 'Old Hound,' obtained the premium offered by the Society of Arts for the best specimen of wood-engraving, in the j-ear 1775 ; but the work was not published until 1779. His success in this and an edition of ' Select Fables ' by
 * Gay's Fables,' and Bewick was engaged to furnish