Page:Bryan's dictionary of painters and engravers, volume 1.djvu/31

 AGLAOPHON, 'the elder,' was a native of Thasos and flourished about 500 B. c. He is famous as the father and instructor of Polygnotus and Aristophon. Quintilian mentions " the simple colouring of Polygnotus and Aglaophon," as though their manners were similar. No work can be ascribed to either of the two artists with anv certainty. The painting of the ' Winged Victory ' — mentioned by the Scholiast on the 'Birds' of Aristophanes — is supposed to be by the elder painter, though it has also been ascribed to the younger.

Aglaophon, ' the younger,' flourished about 416 B.C., and was probably the son of Aristophon. Athenasus mentions that he painted two pictures, in one of which Olynipias and P^'tliias were re- presented crowning Alcibiades, and in the other Nemea held Alcibiades on her knees. Cicero was probably speaking of him when he says that Aglaophon, Zeuxis, and Apelles were all different in their styles, yet each one was perfect in his own.

AGLIO, Agostixo, who was born at Cremona in 1777, was educated at Milan, and studied at the Brera. In 1803 he came to England to assist William Wilkins, R.A., the well-known architect, in the production of his ' Antiquities of Magna Grsecia,' which was published in 1807. For many years Aglio was employed in the decoration of theatres, churches, and country mansions both in England and Ireland. Between the years 1820 and 1830, he published several books on art, the principal of which were, ' A Collection of Capitals and Fric/^es drawn froiu the Antique,' and ' Anti- quities of Mexico,' illustrated with upuaids of 1000 plates, drawn from t!ie originals. He also painted a portrait of Queen Victoria, which was engraved. He died in 1857.

AGLIO, Andrea-Salvatoee di Astonio di Arzo, bom at Lugano in 1736, a painter on marble, who is said to hare been the first who discovered the method of fixing colours on that material. He died in 1786.

AGNELLI. Fedekigo, an Italian engraver and printer, who flourished at Milan about the year 1700. He was chiefly employed in portraits, though he occasionally engraved emblematical and architectural subjects. He engraved a set of plates representing the ' Cathedral at Milan,' to which he has affixed his name, and that of the architect. Carlo Butio.

AGNEN. See Aeken.

AGNES, a daughter of the Margrave Arnold of Meissen, and Abbess of Quedlinburg from about 1184 to 1205, practised successfully the arts of engraving and miniature painting.

AGNESE. See Sant' Agnese.

AGNOLO, Andrea d'. See Andrea.

AGNOLO, Battista. See Angolo.

AGNOLO, Francesco. was a Florentine painter, who flourished about 1545.

AGOSTINO 'D.LLE Prospettive' painted at Bologna about 1525. He was very skilful in aerial and lineal perspective, and imitated steps, doors, and windows, so perfectly as to deceive men and brute animals. He painted a piece at the Car- mine, which for its foreshortening Lomazzo in- stances, along with the cupola of Correggio at Parma, aa a model of excellence. This painter must not be confounded with Agostino di Bra- mantino.

AGOSTINO DI SANT' AGOSTINO. See Sant Agostino.

' AGOSTINO VENEZIANO See Musis.

AGOTY, D'. See Gautier.

AGRESTI, Livid. This painter was a native of Forli, a town in the Roman territory. He begun to work about 1550. He studied under Perino del Vaga at Rome, and was employed by Pope Gregory XJII. in the great works that we:a executed by order of that pontiff in the Vatican. In the grand staircase is a considerable fresco painting by this master, representing Philip of Aragon submitting his kingdom to the dominion of Pope Eugenius III. Several other works of Agresti are in the churches and public places at Rome. In Santa Catarina de' Funaii, he painted ' St. Peter and St. Paid,' and a picture of the 'Annunciation,' and in one of the chapels of San Spirito in Sassia is a fine altar-piece, represent- ing ' the Assumption of the Virgin Mary.' His best works are, however, in liis native city of Forli. Rome possesses nothing by him equal to the chapel he has ornamented in the cathedral, where he has represented the ' Last Supper,' and in the vault, some admirable figures of the prophets. He is said to have visited Germany and worked there, but no painting by him is known to exist out of Italy. 'The Britisli Museum has a drawing by Agresti of a ' Last Supper.' He died at Home about 1580, and was buried in San Spirito in j Sassia.

AGRICOLA, Christoph Ludwig, a painter of portraits and landscapes, was born at Ratisbon in 1667. He studied chiefly from nature, though, while in Italy, he was influenced by the style of Poussin. Agiicola lived several years in Naples, and some of the views which he made there have been brought to England. He died at his birthplace in 1719. His landscapes, which are executed in a masterly manner, frequently contain figures and antique buildings and ruins. Land- scapes by him are in the Galleries of Florence, Vienna, Cassel, and Dresden, and in the Museum of Brunswick, which also possesses his own portrait by himself. Amongst the engravings by him is one of a landscape, into which he has introduced the f.ible of Diana and Actjeon. It is signed Agricola fecit. Some other engravings by him bear merely his initials, C. L. A.

AGRICOLA, Fli.irro, who was bom at Urbino in 1776, received his art-education in Rome in the Academy of St. Luke, of which institution he became president in 1843. He formed his art by studying the works of the great Italian masters of the 16th century, and of the antique ; and he was considered one of the best painters of the time in Rome. He was much employed in decorating churches — San Onof rio, San Giovanni in Laternna, and others. He was engaged upon works for San Paolo fuori le Jliira when he died in 1857. Besides his paintings of mythological and sacred history, he executed numerous portraits of great merit ; amongst others those of the ' Crown Princess of Denmark' (1822), and the 'Countess Perticari.' His ' Petrarch and Laura,' and ' Dante and Bea- trice,' must also be mentioned.

AGRICOLA, Karl Joseph Aloys, was bora at Seckingen, Baden, in 1779. After a preliminary course of instmction in Karlsruhe, he went in 1798 to Vienna and entered the Academy, where he studied under Fiiger. He soon became known for his mythological pictures in nil and water- colour — of which we may mention a ' Cupid and Psyche ' — and for his etcliings and lithographs ;