Page:Bryan's dictionary of painters and engravers, volume 1.djvu/543

 genre painter, was a native of Ayr. His father placed him at the Trustees' Academy, under Sir William Allan, where he gained a travelling bursary, which enabled him to study in Rome fur about two years. On his return he conducted the drawing classes of the Trustees' Academy for several years, and also occasionally contributed art criticisms to Edinburgh newspapers. His crayon portraits, of which a good many were exhibited at the Royal Academy in London, were much sought after. He was elected an Associate of the Royal Scottish Academy in 1862. Among his genre paintings we may mention his 'Highland Keeper's Daughter' (1865), 'Waiting for the Ferry,' 'Return from Maying,' and ' Too Late,' a striking picture exhibited at the Royal Scottish Academy in 1869, in which year he died.

GRAYER, Gaspae de. See De Cbateb.

CREDI, Lorenzo di, whose surname appears to have been Barducci, and not Sciarpelloni, as stated by Vasari, was bom at Florence in 1459. He was a disciple of Andrea del Verrocchio at the time that Perugino and Leonardo da Vinci were studying under that master. Lorenzo displayed a preference for the style of Leonardo over that of his instructor, and copied the paintings of the former with great success ; whilst the graceful and expressive manner in which he painted Madonnas and Holy Families remind one somewhat of the style of Perugino. He died at Florence in 1637. He also practised the art of sculpture, and Verrocchio in his will expressed a desire that the completion of his famous equestrian statue of Bartolommeo Colleoni should be intrusted to Lorenzo. It was, however, given by the Venetians to Alessandro Leopardo to finish. Giovanni Antonio Sogliani and Tommaso di Stef nno were his pupils. The following paintings by him may be noted :

Berlin. Gallery. Carlsruhe. „ Dresden. Gallery. Florence. Academy. Uffizi. London. Nut. Gall. Naples. Museum. Oxford. Palermo. Paris. Loutre. Pistoja. Borne. Barghese Gall. Turin. Museum. Madonna and Child, St. Mary of Egypt. JIadonna and St. John. Madonna and Child, with SS. Sebastian and John the Evangelist. The Nativity. Portrait of a man. Christ appearing to the Magilalen. Portrait of Andrea del Terroochio. The Annunciation. The Virgin and Child. The Virgin adoring the Infant Christ. The Nativity. Madonna. Madonna dell' Olivella. Virgin and Child. Christ and the Magdalen. Madonna and Saints. Virgin and Child, with St. John the Baptist. Virgin and Child.

CREED, Carey, was an English engraver, who published, in 1731, a set of plates of the statues and busts at Wilton House, which possess considerable merit.

CREED, Elizabeth, a daughter of Sir Gilbert Pickering, Bart., and cousin to the poet Dryden, was born in 1642. She married a gentleman named Creed, of Oundle, in Northamptonshire, and, as an amateur, painted altar-pieces for several churches in the neighbourhood, and also portraits of her friends. She died in 1728.

CREGAN, Martin, a portrait painter, practised both in Dublin and London. He was born in 1788, and was a member of the Royal Hibernian Academy from its foundation in 1823, and for many years its President. From 1812 to 1821, whilst he resided in London, he exhibited j-early at the Royal Academy. His last contribution was a portrait of Miss Dance as 'Mrs. Haller.' He returned to Dublin in 1822, and was patronized by the elite of that city. He died in 1870. The Dublin National Gallery has a copy by him of Sir Joshua Reynolds's portrait of Master Crewe.

CREMONA, Antonio da, an Italian engraver on wood, who flourished about the year 1560. Among other prints, he engraved a cut representing ' Mutius Sc»vola burning his hand in the presence of Porsena.' It is executed on a single block, without any cross-hatching. He is supposed to be identical with Antonio Campi.

' CREMONA, Niccol6 da, was a native of Cremona, who flourished about the year 1518. Accord- ing to Masini ('Bologna perlustrata ') he was a good painter of history. For Santa Maria Maddalena, at Bologna, he painted a picture of the ' Descent from the Cross ; ' dated in 1518. In the Bologna Gallery is the ' Marriage of the Virgin ' from the church of San Giuseppe.

CREMONESE, II. See Caletti.

CREMONESE dei PAESI, II. See Bassi, Fean-CB6C0 Maria.

CREMONINI, Giovanni Battista, was born at Cento in 1560. At Bologna he executed several frescoes and friezes in chiaroscuro for palaces and houses, and painted several pictures for the churches of San Girolamo, San Domenico, and Madonna del Monte. He excelled, however, more especially as a painter of decorations for theatres, festivities, and tournaments ; many of his pro- ductions of that class are in the possession of the Duke of Mirandola. He had great talent, but was most superficial in the execution of his works. He died at Bologna in 1610.

CRETIN, Louis Philipfe. a French marine painter, bom in Paris in 1772, was a scholar of Regnault and Hubert Robert ; he also had lessons from Joseph Vemet, and followed very success- fully the styles of those masters. He was fond of representing engagements between French and English vessels of war, particularly where the former fought under great disadvantage. He painted many other subjects of more general interest, which will be esteemed when the battles are forgotten. He painted in water and body colour, and etched and aquatinted in the English manner. Cr6pin died in Paris in 1851.

CREPD, Jan Baptist, (often called in error Nicolaas,) was bom at Brussels in 1680. He was an officer in the Spanish service, which he quitted at about the age of forty, and devoted himself to flower-painting, in which he showed considerable talent. He composed well, and painted with a light and free pencil : his works were highly esteemed by his contemporaries. He died at Ant- werp in 1742.

CREPT, Jean and Louis, (or Crespy,) were two indiiferent French engravers and printsellers. Jean, the father, was born in Paris about 1650, and engraved some portraits, among which is a series of very small ovals of the princes of the royal family of France, remarkable for their extremely minute execution. Louis, the son, was bom iu Paris about 1680. Many prints, especially por-