Page:Bryan's dictionary of painters and engravers, volume 1.djvu/305

 Oasparil, Comte tie Coligny. The poet Francois Malherbe, in 4to, The poet Marini, in 4to.

SUBJECTS.

The Alliance of France with Spam. St. John the Baptist in the Desert. St. Peter weeping. L'Oraison dominicale expliqn ie par des emblSmes. Two small plates. The Virtues. Seven small plates. The Sibyls. A set of small circular plates. Ovid's 'Metamorphoses.' A set of plates published 1637. Marie Bbiot, daughter of Isaac, with her father, executed plates after Paul de La Bane, J. B. Coriolan, St. Igny, and others.

BRISEGHELLA. See Eismann Beiseghella.

BRISSART, P., was a native of France, and flourished about the year 1670. We have by him a large print, representing a bird's-eye view of the royal palace of Vinccnnes, from his own design. It is etched in a slight, neat style, but without much effect. He also engraved several plates from the works of Jean Baptiste Santerre.

BRISTOW, Edmund, an animal painter, was bom at Windsor in 1787. He exhibited his works on one occasion only, viz., at the British Gallery. He was of an eccentric character, and little is known concerning him. Some of his works are in the possession of the Queen, but a greater number belong to Mr. H. Ingalton, of Ventnor. He died at Eton in 1876.

BRITANO. See Ghisi, Giov. Batt.

BRITTON, John, who became celebrated as an architectural draughtsman, was bom in 1771 at Kingston St. Michael, in Wiltshire, where he passed the lirst few years of his life, attending the village school and assisting his father, who kept a general shop. In 1787 he went to London. In 1799 he exhibited some architectural drawings at the Royal Academy, and in 1801 he published the ' Beauties of Wiltshire,' in two volumes, in which work he was assisted by Brayley. This was followed by the ' Beauties ' of all the other counties, the whole work being completed in twenty-six volumes, which took him twenty years to produce. In 1805 he commenced his ' Architectural Antiquities of Great Britain,' which was completed in five quarto volumes, containing 360 engravings. This was followed by his 'Cathedral Antiquities of England,' in fourteen volumes, folio and quarto, with 300 engravings (1814 — 1835). In 1825, in conjunction with Augustus Pugin, he commenced ' The Architectural Antiquities of Normandy,' and in 1829 a 'Dictionary of Arcliitecture and Archceology of the Middle Ages,' besides several smaller books, including works on Norwich, York, Canterbury, and other cathedrals. He also contributed articles on British topography to Rees's 'Encyclopedia.' From 1845 till shortly before his death he was occupied upon his 'Autobiography,' which had nearly approached completion when he died in 1857, in London.

BRIXIA. See Beesoia.

BRIZE, Cornelis, a Dutch painter of still-life, was bom at Haarlem in 1635. His pictures represent musical instruments, books, papers, &c., grouped in an ingenious manner, and painted with such uncommon truth that they become interesting, notwithstanding the insignificance of the subjects. He also painted armour, and imita- tions of bas-reliefs, but his pictures of the former subjects are most esteemed. He died at Haarlem in 1679.

BRIZIANO. See Ghisi, Giov. Batt.

BRIZIO, Menechino del, (or Beizzi). See Ambrogi, Dom.

BRIZZI, FiLlPPO, (or Briccio,) the son of Fran- cesco Brizzi, and scholar of Guide, was born in 1603. In the church of San Silvestro at Bologna is an altar-piece by Brizzi, representing ' The Virgin Mary, with St. John the Baptist and St. Silvester ; ' and in San Giuliano is a picture painted by him of ' St. Giuliano crowned by Angels.' The Modena Gallery has an 'Ecce Homo.' He died in 1675.

BRIZZI, Fran-cesco, (or Briccio,) called Nosa- della, an Italian painter and engraver, was born at Bologna in 1574. He studied at first under Barto- lommeo Passerotti, but was afterwards admitted into the school of Lodovico Carracci. In archi- tecture, perspective, and landscape he surpassed all his fellow-disciples. He approached Lodovico more closely than any other artist. The graceful beauty of his cherubs excites admiration ; and here, in the opinion of Guido, he outshone even Bagnacavallo. In the Pinacoteca at Bologna are a ' Madonna and Child ' and a ' Bacchus and Ariadne ' by him. In engraving he was instructed by Agostino Carracci, and he is said to have for- warded some of the plates of that master. His own prints, though nearly equal to Agostino's in point of execution, are very inferior in correctness of drawing, and in beauty of expression. He died at Bologna in 1625. The following are his principal works as an engraver :

A large Landscape, from his own design. St. Roch ; after Farmigiano. The Holy Family ; after Correrjifio. The Keturn out of Egypt; after Lod. Carracci. Portrait of Cinthio Aldobrandini ; after L. Carracci, Three Frontispieces ; Explicatiom del sacro lenzvolo. 1599. Tempio al Cardinah Cinthio Aldobrandini, 1579. The Arms of the Duke of Modena, and in the middle some Children. 1594. St. Francis kneeling, holding the Infant Jesus, and the Virgin Mary in the Clouds ; after the same. The Virgin Mary crowned, with the Infant Jesus, and two Angels; after L. Carracci. The great St. Jerome; the plate left imperfect by Agostino Carracci, finished by Brizzi. Christand Samaritan Woman; after Ag. Carracci. 1610.

BROADIE, John. A Scotch artist of this name is known to have painted 'The Persecution of Lady Jane Grey' in 1857 or 1867, and to have exliibited in Leeds and Paris, but nothing more is recorded of his career.

BROCANDEL. See Rovika.

BROCAS, Henry, born at Dublin in 1766, was well known as a landscape painter and as a draw- ing-master in the Dublin scliools. He died in 1838, leaving three sons, Henry, Samuel, and WiLLLiM, who all followed art as a profession.

BROCKEDON, William, was born at Totnes, Devonshire, in 1787. He became a student at the Royal Academy in 1809. and in 1815 went to Paris to improve himself by painting at the Louvre. On his return he painted a picture on the subject of ' The Acquittal of Susannah,' which he presented to his native county, and which is now in the Crown Court at Exeter. He next painted ' Christ raising the Widow's Son,' forwhicli he was awarded a prize of one hundred guineas by the directors of the British Institution. During his stay at Rome, in 1822, he painted 'The Vision of the Chariots to Zechariah,' which, by the Pope's permission, was