Page:Bryan's dictionary of painters and engravers, volume 1.djvu/533

 The Welsh Funeral. 1850. Broom Gatherers on Chat Moss. 1554. Peat Gatherer* returning from the Moors. The Falls of the Llugwy. 1859. 1S56.

Besides several ' Hayfield ' and ' Harvest ' subjects, full of atmosphere and summer sunshine. David Cox was the true child of nature. There was a native simplicity io his character, and a masculine vigour about his touch, which have never been surpassed ; and his effects, whether of mountain or dell or fruitful plain, of foam- ing torrent or meandering stream, such as so grandly diversify the scenery of this favoured isle, were always striking, and often imposing, though they never overstepped the modesty of nature.

Wales was the countrj- above all others which Cox loved, and in the neighbourhood of Bettws-y- coed he worked for years. " The little inn there, ' The Oak,' (writes the author of ' Our Living Painters,' in 1859,) is indeed a classic spot, and troops of painters now flock thither in the season, sit in the parlour whose wall David Cox has him- self decorated in fresco, and with pipe, and jug, and talk while the long summer twilights pleasantly away." There he painted for the ' Royal Oak ' the sign-board which in 1880 became the subject of a law-suit, which happily ended in the picture re- maining in the inn for which it was intended. Forty -two drawings by David Cox were be- queathed to the British Museum by Mr. John Henderson in 1878, and there are twenty-two in the South Kensington Museum, but most of them are comparatively unimportant. Eighteen examples were exhibited at the Manchester Art Treasures Exhibition in 1857, upwards of twenty in the International Exhibition of 1862, and thirty-two in the Leeds Exhibition of 1868. Special exhi- bitions of bis works were held at Hampstead in 1858, at the German Gallery in London in 1859, at Manchester in 1870, and at the Liverpool Art Club in 1875. Out of this last gathering arose the project of a Cox ' Liber Studiorum,' in which the plates were to have been engraved by the painter's friend Edward Radclyffe, but the death of the engraver caused the work to be abandoned when only three plates—' Dudley Castle,' the ' Outskirts of a Forest,' and ' Bala Lake.'— had been completed. An exhibition of nearly five hundred pictures and drawings by Cox was held in the Birmingham Corporation Art Gallery in 1890. This Gallery has a collection of thirt--five landscapes in oil by Cox which were bequeathed by Jlr. J. H. Nettlefold. There are also some good examples in the Bury Art Gallerj-.

A ' Memoir of David Cox ' by Mr. Xeal Solly was published in 1875, and a ' Biography of David Cox ' by William Hall in 1881.

COX, David, the younger, the only child of David Cox the elder, was b jrn at Dulwich in 1808. He was a pupil and imitator of his father. Though a good master, and socially a well-known figure, he never attained to much reputation as an artist He first exhibited at the Royal Academy in 1827. There is one water-colour drawing by hira in the Victoria and Albert Museum. From 1841 to 1846 he was a member of the New Society of Water- Colour Painters. In 1848 he was elected an Associate Exhibitor of the Society of Painters in Water-Colours. He resided for the greater part of his life in London. He died at Streatham Hill, December 6, 1885.

COXIE, MiCHIEL V.N. (CocxiE, CoxciE, Coxis, CoxciEN or CoscTEN.) a Flemish painter, was bom at MechUn in 1499. He was first instructed by his father, Michiel van Coxie the elder, and afterwards at Brussels by Barend van Orley, with whom he sited Rome, and studied especially the works of Raphael. Indeed, his almost servile imitation of that master procured for him later the appellation of the Flemish Raphael. His talents brought him soon into notice, so that he was engaged for the execution of several important works in that city, and when he became acquainted ^-ith Vasari, he had already painted two chapels in Santa Maria deir Anima. On his return to Flanders he was, in 1539, received a member of the Guild of St. Luke at Mechlin, and came to be much employed. There are many of his works in the churches of Brussels and Antwerp that establish the real worth of his talents. He also painted several large works for the Emperor Charles V. and for Philip II., King of Spain, by whom he was chosen court painter. He died at Mechlin in 1592. The following are his most important works :

Antwerp. Museum. Martyrdom of St. Sebastian. 1575. „ ,, Martyrdom of St. George. „ ., Martyrdom of St. Margaret. The Triumph of Christ. Berlin. Gallery. The Adoration of the L amb. „ „ The Ahnighty. {farts of the altar-piece hy the Van Eycks at Ghentj xrhich vcas copied by him for Philip II. o_f ^ixiin. The rest of the copy is in the Munich Gallery f and in St.Bavo at Ghent.) Bruges. Ch. of the St. Francis Savier preaching to Jesuits. the Heathen. Erusseli. Museum. The Last Supper. „ „ Death of the Virgin. „ „ Christ derided by the Jews. „ S. Gudule. The Resurrection of Lazarus. „ „ Christ wasiiing the feet of the Apostles. „ „ Christ on the Mount of Olives. Ghent. S. James. The Nativity. „ „ Christ on the Cross between the two Thieves. Resurrection of Christ. St. Cecilia. Scenes from the Life of the Virgin. Petersburg. Hermitage. The Annunciation. Vienna. Galleiy. Virgin and Child.

He also designed 32 subjects from the Fable of Cupid and Psyche, which are amongst his best works. They have been engraved by Agostino Vene2dano and the Master of the Die. In con- junction with Barend van Orley, he undertook the direction of the execution of some tapestry made after Eaphael's cartoons. His son, Raphael van Coxie, who was received as a Master in the Guild of St. Luke at Antwerp in 1585, was much inferior to his father. He was born at Mechlin in 1540, and died at Brussels in 1616.

COYPEL FAMILY. Sofl (1028— 170"). Married Madrid. Gallery. l9t, Uadeleiue H^iaolt llliSi— ie821- Antoine (1661-ir22). Ch«rIeB Antoine (18M-17S2). — 2Dd, Anne Fran*,<'ise Perm (died i;2»|. Noel Nicolas (1692— 1;34).

COYPEL, Antoine, the son of Noel Coypel, was bom in Paris in 1661. His father instructed him in the art of painting, and took him when but eleven years of age to Rome, where he had been