Page:Bryan's dictionary of painters and engravers, volume 1.djvu/238

 impressions, which are very scarce, the hand of St. John is not seen on the shoulder of the Virgin : in the second impressions, the hand of St. Jolm rests on the Virgin's shoulder, and the name of Van Dyck is changed from the left to the right hand corner of the plate. In the last impressions the hand was erased, probably to give tnem the appearance of first impressions, but the trick is easily discovered by the superiority of the first in point of clearness and colour.

SUBJECTS AFTER RUBENS.

The Brazen Serpent ; the best impressions are those which have the word Antwerpice at the right hand comer, without the name of G, Hendrix. The Marriage of the Virgin ; the best impressions have the name of Hetidrix, without the word Anfiverpicp. The Annunciation ; the best impressions are those with the address of M. v<ni den Eitdiyi. The Nativity ; the best impressions have the same ad- dress. The Adoration of the Magi ; the same, The Return of the Holy Family from Egypt ; the same. The Feast of Herod, with Herodias presenting the Head of St. John to her Mother. The Executioner giving the Head of St. John to He- rodias. The miraculous Draught of Fishes ; in three plates. Christ crucified between the Thieves ; G. Sendrix exe. The Crucifixion, a Soldier on horseback piercing the side of our Saviour ; dated 1631 ; extremely fine. The Crucifixion, with the city of Jerusalem in the dis- tance ; M. van din E:iden exc. The Dead Christ in the T^ap of the Virgin Mary, with St. Francis ; the same subject is engraved by Pontius. The Resurrection ; M. van den Endcn excudit. The Asceu.siou ; the same. The Four Evangelists. The Fathers of the Church ; Kie. Lanwers exc. The Destruction of Idolatry ; in two sheets ; the same. The Triumph of the Church ; in two sheets ; the same. The Immaculate Conception; Ant. Bon. Enfant exc. The Assumption ; arched ; M. van den Enden exc. The Assumption, with one of the Disciples lifting the Stone of the Sepulchre; M. van den Enden ; the im- pressions with the addre.ss of G. Hendrix are posterior, and those with the name of C. van Merlen are re- touched. The Infant Jesus embracing the Virgin Mary ; M. van den Enden exc. The Virgin Mary holding a Globe, and the Infant Jesus holding a Sceptre. The Holy Family, with the Infant Jesus and St. John caressing a Lamb. The Holy Family, with a Parrot on a Pillar; A. Bonen- fant exc. St. Ignatius and St. Francis Xa ier ; the first impres- sions are before the name of Rubens. The Education of the Virgin by St. Anne ; the best im- pressions are without the name of Hendrix. St. Cecilia ; very fine. St. Theresa at the Feet of Christ, interceding for the Souls in Purgatory ; M. van den Endtn exc. The Continence of Scipio ; the best impressions are be- fore the address of G. Hendrix. Silenus, drunk, supported by a Satyr, with another figure ; the best impressions are those with the name of Bolswert only, without the address.

LANDSCAPES AND nUNTIN'GS.

A grand Landscape, deluged by a Torrent ; iu a moun- tainous part of it the subject of Baucis and Philemon. A large Landscape, with a view of the Sea-coast and a Sliipwreck. A grand woody Landscape, with the Chase of Meleager and Atalanta. A view near Mechlin, with Haymakers and a "Waggon, and figures driving Cattle. A view of a Stable with Horses and Cows, and the sub- ject of the Prodigal Son, — These five landscapes are highly esteemed and finely executed. A set of twenty smaller Landscapes. A set of twelve Huntings of different animals, of which one is a Lion Hunt, with figures on horseback ; very spirited and fine.

BOLT, JoHANN Friedrich, an engraver who worked principally in stipple, was born at Berlin in 1769, and died there in 1836. He was a pupil of D. Berger. His best works are after Cranach, Ramberg, and Daliling.

BOLTON, James, a pupil of B. Clowes, the engraver, was known as a flower painter in water colour in the North of England. He died near Halifax in 1799 (Redgrave).

BOLTRAFFIO. See Beltraffio.

BOLZETTA. See Cadorin, Matthias.

BOM, PlETER, a Flemish artist, who painted landscapes in distemper, was bom at Antwerp in 1630. He was admitted into the Guild of St. Luke in 1560, and became dean of that corporation in 1590. The date of his death is not known.

BOMBELLI, Sebastiano, was bom at Udine in 1635. and was a schohar of Guercino. He after- wards went to Venice, where he studied and copied the works of Paolo Veronese and Tintoretto with so much success that some of his reproductions are scarci?ly to be distinguished from the originals. He painted historical pieces in the early part of liis life, but from the lucrative prospect opened to him in portraits, he was induced to devote himself to that branch of the art, although lie had already painted some historical pictures of great promise. He visited most of the courts of Germany, where he painted portraits with success. Boschini says that for portraits he could not be surpassed. He died in 1724. The Belvedere at Vienna possesses a portrait of Francesco de' Medici by him, and his own portrait by himself is in the Uffizi, Florence.

BONACINA, Giovanni Battista, an engraver, was bom at Milan about the year 1620. He engraved some plates of portraits and historical subjects in a neat style, though rather dry and stiff. They are executed entirely with the graver, and he seems to have imitated, without, however, equalling, the style of Cornells Bloemaert. We have the following by him :

rORTRAlTS. Pope Clement IX. Guide Visconti. Hermes Visconti. Giovanni Battista Conte Truchi.

SUBJECTS.

The Alliance of Jacob and Laban ; after Pietro da Cor- fona. St. Martin kneeling before the Virgin and Infant Jesus ; after the same. The Holy Family, with St. Catharine and St. John ; after A ndrea del Sarto.

BONASIA, Bartolommeo, is the author of a Pieti in the Modena Gallery, signed ' Hoc opus pinsit Bartliolomeus de Bonasciis,' and dated 1485.

BON.ASONE, GiULio, (or BuoNASONE,)an ItaUan painter and very distinguished engraver, was born at Bologna about the year 1498, and worked from 1521 to 1574. He studied painting under Lorenzo Sabbatini, and there are some of his works in the churches at Bologna ; particularly in San Stefano is a fine picture by him of the ' Souls in Purgatory.' He is, however, much more cele- brated as an engraver than a painter, and in this branch of art had the advantage of being educated by Marc-Antonio. Bonasone has engraved after the works of Michelangelo, Raphael, Giulio Romano, Parmigiano, and others, and several plates from his own designs. His prints, with a very few exceptions, are entirely worked with the graver, and although his style is neither so clear, firm, nor