Page:Bryan's dictionary of painters and engravers, volume 1.djvu/361

 London. ..Vat. Gall. Landscape with Cattle. „ „ The Wooden Bridge. „ „ The Old Pier at Littlehamptou (ff. J., 1812). _ „ Entrance to Pisa from Leghorn (R. A., 1833). „ J, Dutch Ferry — Peasants waiting the Return of the Passage Boat {R. .^., 1S34). „ „ View on the Coast t f Holland. „ 5. KenMnqton, Italian Landscape. „ „ A Brisk Gale {ii. J. ,1830). „ ,, -Ajine Page and Slender. „ „ Dort (B.^., 1843). „ „ A Sunny Morning (JJ.^., 1313 J. „ Earl of Durham. Calm on the Med way.

CALLEJA, Andres de la. See De la Calleja.

CALLET, Alphoxse Apollodore, a French historical painter, was bom in Paris in 1799. He was the brother of F61ix Callet, the architect, and studied under David and Regnaud. He died in Paris in 1831. The Museum of Rouen has by him " The Embarcation of the Pargiotes."

CALLET, Antoine FBANgois, a French historical painter, was born in Paris in 1741. He gained the 'Prix de Rome' in 1764 with his ' Cleobis and Biton conducting the Chariot of their Mother to the Temple of Juno,' now in the Ecole des Beaux- Arts, and was made an Academician in 1780, on which occasion he painted a part of the ceiling, representing ' Spring,' in the Gallery of Apollo in the Louvre. He exhibited for a period of nearly forty years, his pictures embracing historical events of his time, and various mythological and allegorical subjects. There are four examples of his work, a series representing ' The Seasons,' on the walls of the Louvre, as well as a ' Triumph of Flora,' which is pleasing and harmonious in tone, in the La Caze Collection at the same place. He also painted the ceiling of the Spinola Palace at Genoa, on which is represented the ' Apotheosis of Ambrogio Spinola.' There are by him at Versailles allegories of the battle of Marengo, the surrender of Ulm, and the battle of Austerlitz, as well as the well- known full-length portrait of Louis XVI. in his coronation robes, of which there is a replica in the Madrid Gallery. This portrait has been engraved by Bervic. Callet belonged to that school of French art of which Vien was the most distin- guished representative, and which, by rescuing it from the degeneracy of Boucher, prepared the way for the epoch of David. He died in Paris in 1823.

CALLLAT, Pierre Victor, an architect and etcher, was born in Paris in 1801. He studied imder Vaudoyer and Chatillon, and was appointed in 1845 Inspector of Works for the H6tel-de-Ville, and later for the city of Paris. He died in 1^81.

He published, amongst other works, The Hotel de Ville, Paris, xcith 48 etched plates ; 1844-56. The Houses of Paris, built from 1830—1864, icith 246 etched plates ; 1850-64. The Church of St. Eustache, with 11 etched plates ; 1S50.

CALLISTO DA LODL See Piazza.

CALLOT, Jacques, a French engraver and draughtsman, was bom at Nancy in 1592. He was the son of Jean Callot, who was of a noble family and Herald at Aims for Lorraine. The story of Jacques Callot's eariy life, as usually given, runs to the effect that his father had in- tended him for government service, but that his desire for studying the arts was so strong that he ran away to Italy at the age of twelve, and on his being accidentally discovered there by some Nancy merchants, was brought home, only to escape again shortly aftem'ards with no better success, one of his brothers encountering him in the streets of Turin, and conveying the runaway again forthvith to the parental roof. To the patient and laborious inves- tigations of M. Edouard Meaume we owe the know- ledge of one or two facts which bring parts of the above story within the range of probability. That author has discovered that no fewer than four of CaUot's brothers became members of religious orders, and he suggests, not without reason, that the impetuous character of the future artist was the cause of his rebelling against the character of the preliminary training which was intended to produce a like result in his case. He has further pointed out that there is ample proof of the ex- istence of an intimate friendship, in spite of some little disparity of years, between Henriet Israel, the son of the court painter to the Duke of Lor- raine at that day, and Jacques Callot, as well as of the fact that the lad was getting aid from the counsels of the court painter himself, and some early lessons in the graver's art from the royal engraver, Dumange Crocq. The death of the painter royal in 1603, and the appointment of Bellange, then recently arrived from Italy, to the vacant post, led to the departure of Henriet Israel for Rome. And Rome became naturally enough the point on which the youthful Callot's eyes were fixed when it became a questioi with him whether he should any further submit to the home treat- ment which was so irksome to him, or take_ refuge in flight. At Rome were the treasures of art of which he had heard so much ; at Rome was a friend with whom he was sure of a welcome, at whose side he longed once more to place himself. The fact that he made his way as far as Florence in the company of a party of gipsies, the men of the party being, as seems to have been gipsy custom in those good days, armed to the teeth, is well established ; and it is equally clear that at that city he worked for some time in the graver's atelier of Canta-Gallina. That artist did him good service in compelling him for a time to moderate his natural tendency for the grotesque by copying from the best masters. But Rome, the goal of his wishes, had not yet been reached, and so, after some months of life in Florence, the boy was away on the march again, and this time reached the Eternal City. It would seem not improbable that his friend Henriet Israel, after giving him a most cordial welcome there, may have sent word to his family of the boy's whereabouts, in order to relieve their anxiety, and thus it may have been arranged for him to travel home under the convoy of the local merchants. It is not quite so easy to suggest the real account of the difficulties that terminated his second attempt to reach Rome. His father's Court influence may have probably enough put the authorities of some of the principal towns on the qui vive for the young fugitive, and so a second time have led to his being taken back to Nancy. Eventually his father, finding it the best course to yield to his son's inclination, consented to his going to Italy, and obtained him permission to travel in the suite of the envoy whom the new Duke Henry II. was just sending to the Papal Court As there exists an early engraving of Callot's of a portrait of Duke Charles painted in 1607, it is probable that the boy's skill was known at Court, and that, in making the above concession, his father yielded to the representation of