Page:Bryan's dictionary of painters and engravers, volume 1.djvu/322

 states that lie was so poorly paid for them that he lived in poverty. He is registered in the Guild at Antwerp ns early as 1560, and he was still living in 1573, and if the date on a ' Christ liealing the Sick ' by him in the Hermitage at St. Petersburg is genuine, he was still living in 1575. The Munich Gallery has by him a 'Fish-market' and a ' Christ before Pilate,' in which the persons wear the costume of the time of the painter ; it is signed with a B and dated 1561, and in the Belvedere, Vienna, is a ' Market-place ' of the year 1567. BtJRl, Friedbich, who was bom at Hanau in 1763, studied first under his father, who was a goldsmith and professor in the Academy of Design in Hanau, and then with Tischliein. In 1780 he visited Diisseldorf, and two years later went to Rome ; thence to Dresden, and finally settled at Berlin, where he was patronized by the Queen of Prussia. He painted historical pictures and por- traits. A ' Cupid triumphant ' by him is in the Hague Gallery.

BURIvEL, Heinricii, a genre and landscape painter, was born in 1802 at Pirmasens, in Rhenish Bavaria. He was designed for trade, but devoted every spare minute to drawing. His father's house, being an inn, presented him with subjects in great variety, and so early as his eleventh year he came into conflict with the police on ac- count of a caricature of Napoleon. At fifteen he entered the law, but at twenty he was incited to turn to art, and learned the technicalities of oil- painting among friends at Munich, Schleissheim, and in the Netherlands. In time he took to depict- ing popular and military scenes, cattle, and land- scapes, especially winter landscapes. He spent from 1823 to 1832 in Rome, and became on his return a popular artist, famous for imagination and humour. He was an honorary member of the Academies of Munich, Dresden, and Vienna. His death occurred at Munich in 1869. Among his best productions may be noted :

Twenty Winter Landscapes in the Tyrol (PaTi's Ex- hibition, 1867). Eighteen Views of the Environs of Rome {Paris Ex- hibition, 1867). A Troop of Bandits in the Campagna. The Overturned Hay-Waggon. Return from the Bear-Hunt. The Mule-Driver's Rest. The Reception of the Rifle-Mlnner Italian Landscape and others {in the JVem Pinakothelc, Munich). A Tirolese Fair (in the Berlin Gallery). Landscape near Velletri {in the Berlin Gallery).

LUFF, Sebastian, a Swiss portrait painter, was born about 1828. He studied at Munich and Paris, and besides portraits painted genre pictures which are much sought after. He died at Herisau in 1880.

BUFFAGNOTTI, Carlo Antonio, was a painter of perspective and theatrical decorations at Bologna and Genoa about 1690. He engraved a series of architectural subjects, and decorations for the theatre, after F. Bibiena, and others of the same kind after M. A. Chiarini.

BUFFALMACCO. See Buonamico.

BUFFORD, Robert. See Bdrford.

BUGATTI, Zanetto, was living in the 15th century, and painted the portraits of Ippolita Sforza, sent to France in 1450 ; and of Bona of Savoy, painted for Galeazzo Maria Sforza in 1467. In 1473 he painted the portraits of Galeazzo, his wife, and his child that are placed in the choir of San Celso, Milan. His latest known work was the frescoes in Santa Maria delle Grazie, Vigevano. Records remain of him up to 1476, but the date of his death is uncertain.

BUGEY, —, a French engraver who flourished about the middle of the 18tb century, was princi- pally employed in engraving portraits for the booksellers. There is by him a portrait of Marshal de Broglie, on horseback, after Alexis Loir, dated 1761.

BUGIARDINI, GiULlANO, who was born near Florence in 1475, first studied in the garden of the Medici, where he made the acquaintance of Michelangelo, with whom he continued an intimacy throughout his life, and with him he entered the atelier of Ghirlandajo; he afterwards became an assistant of Albertinelli, and was employed by Michelangelo in the Sistine Chapel at Rome in 1508. Owing to the fact that he worked much for other artists, and sometimes completed de- signs by them, there is but little originalitj' in the works of Bugiardini, though they possess many excellent qualities, which have led to their being, in some cases, classed under the names of gi-eater artists. They display a careful study of the works of Raphael, Michelangelo, Albertinelli, and Leo- nardo. Bugiardini died at Florence in 1554. The following is a list of a few of his most import- ant works, which are usually signed Jul. Flor. (Florentinus) :

Berlin. Museum. Bologna. Pinacoteca. Florence. Ufizi. „ Cappella Rucet- 1 lai in S. Maria > Novella. J London. JVat. Gall. Lucca, Mansi Collec-tion. Modena, Gallery, Oldenburg. Gallery. Madonna and Child, with Saints {signed JvL. Flob. Fac). Marriage of St. Catharinefseyncd). Madonna and Child {formerly ascribed to Leonardo). Martyrdom of St. Catharine. His most important work {from a design liy Michelangelo). Madonna, St. John, and Angels. Holy Family {signed and dated 1520). Madonna and St. John. St. Sebastian. (See Crowe and Cavalcaselle, III. p. 493, et seq.)

BUGUET, Henri, a French historical and por- trait painter, was born at Fresne (Seiue-et-Marne) in 1761. He was a pupil of David, and painted in 1817 for the chSteau of Pau ' Francis I. knighted by Bayard.' His portraits of Louis XVIII. and Charles X. have been engraved by Bertrand. He died in Paris about 1833.

BUISEN, A. VAN, (or Buysen,) was a native of Holland, and flourished from 1700 till about 1725. He was cliiefly employed in engraving for the booksellers, and appears to have resided some time in England, as he engraved a plate represenitng ' David playing on the Harp,' for the octavo edition of Cowley's 'Poems,' published in 1700. He also engraved some of the plates for the work entitled ' Figures de la Bible,' from the designs of Picart and others, published at Amsterdam in 1720.

BULARCHUS. The earliest picture of which the ancient writers have given a description is 'The Battle of the Magnesians,' painted by this artist, who appears to have flourished about 720 years before the Christian era, as, according to Pliny, this picture was purchased for as much gold as would cover its surface by Candaules, King of Lydia, who died about 700 years before Christ. After Bularchus we encounter a gap of upwards of two centuries and a half in the history of paint- ing. It appears, however, that it was practised