Page:Bryan's dictionary of painters and engravers, volume 1.djvu/544

 traits, which bear the name of Cr^py, were not engraved, but simply published by them. We have, however, the following plates by them:

Mary Magdalene ; Crepy, inv. et fecit. The Nativity ; after Albani ; their best print. The Descent from the Cross ; after Carlo Cignani. The Holy Family ; after Lehrun. The Presentation in the Temple ; after the same.

CRESCENZI, Babtolommeo. See Cavarazzi.

CRESCENZI, Giovanni Battista, Mabquis de LA ToBRE, an Italian painter and architect, was born at Rome in 1595. He was a pupil of Pomerancio, and was brought to Spain by Cardinal Zapata shortly before 1617, in which year he was invited amongst others to send in his plans for the building of the Panteon in the Escorial. A well-executed flower-piece by him is said to have attracted the attention of Philip III. His plans approved, in 1619 he was sent to Italy, with an allowance of 2000 ducats, and letters were forwarded to the Spanish ambassadors at foreign courts to collect models and artisans in their respective countries. Returning in 1620 with eight Italian and Flemish assistants, he began the building of the Panteon, which occupied him 33 years, being interrupted in 1621 by the death of Philip III. By Philip IV. Crescenzi was loaded with favours, crented Marquis de la Torre, and appointed head of the Board of Woods and Works, with a monthly pension of 140 ducats. He died at Madrid in 1660.

CRESCENZIO, Antonello, known as Anto- KELLO DA Palermo, who, according to De Marzo, was the son of Antonio Crescenzio, was born early in the 16th century, and practised both as a sculptor and a painter. He was an assistant to the sculptor Gagnino in 1527. In 1537 he com- pleted two copies of Raphael's 'Spasimo;' one of them is in the Carmelite Church at Palermo, and the other in the Monastery of Fazello, near Sciacoa. The date of his death is uncertain. Palermo. La Ganzia. Madonna and Child, dated 1528.

CRESCENZIO, Antonio, a native of Parma, the dates of whose birth and death are not known, flourished from about 1417 to 1440. He painted a fresco in the hospital of Palermo, representing 'Death on the Pale Horse smiting and threatening the rich ones of this world, whilst the poor and wretched in vain beg for their release.' The chapel of the Vanni family, close to the church of Santa Maria e Gesii, near Palermo, contains the remains of wall-paintings in monochrome representing different saints assigned to this artist. In the University Gallery of the same city there is a painting by him of the ' Enthroned Madonna and Saints,' and two panels.

CRESPI, Antonio, the son and pupil of Giuseppe Maria Crespi, painted much for the churches of Bologna. He died in 1781. A picture of St. Francis of Paola by him is in the Bologna Gallery.

CRESPI, Benedetto, called Busting, a native of Busto Arsizio, near Milan, worked in Como about the middle of the 17th century. In the Pinacoteca at Milan is a ' Circumcision of Christ ' by him ; and the Madrid Gallery has a ' Roman Charity.' He had a son, Antonio Maria, who was his pupil.

CRESPI, Daniele, was born at Busto Arsizio, near Milan, in 1590, and was first a scholar of Gio- vanni Battista Crespi, called Cerano, but afterwards studied-under Giulio Cesare Procaccini. Although he did not survive his fortieth year, he undoubtedly surpassed his first instructor ; and, according to Lanzi, in the opinion of many, ho was equal to the second. He was an able artist of the Milanese school, though little known except in his own country. ^ To an acute and penetrating genius, and an uncommon readiness of hand, he added a judgment that enabled him to take advantage of the excellences of those who had preceded him, and to avoid their defects. Although he never frequented the school of the Carracci, he appears to have approved and adopted their principles and their practice. In the expression of his heads he is varied, yet select ; and is particularly admired for the fervid devotion expressed in the character of his saints. His colouring is excellent, both in oil and in fresco, and partakes of the strength, as well as of the amenity, that we admire in Titian. The most esteemed works of this artist are the ' Taking down from the Cross,' and several portraits in fresco, in the Chiesa della Passione at Milan ; and his celebrated series of pictures of the Life of St. Bruno, at the Certosa. Nine paintings by him are in the Brera, and others are to be met with in the palaces and churches of Mihm and the neighbour- ing towns, as well as in the following galleries :

Florence. UJizi. An Old Beggar. „ „ His own Portrait. Madrid. Gallery. Pieta Vienna. Gallery. The Angel appearing to Joseph in a Dream. His works have been engraved by Weggers, Fer- roni, Longhi, and Felsing. This able painter was unfortunately carried off, in the prime of life, with all his family, by the plague which visited Milan in 1630.

CRESPI, Giovanni Battista, was born at Ce- rano, a small town near Novara, in the Milanese, m 1557, and is frequently called II Cebano. He was descended from a family distinguished in the art, who educated him for the learned professions ; and he was a student of great promise in litera- ture and science. A strong attachment to paint- ing, however, induced him to follow the art in which his family had acquired its celebrity. He attended the school of Procaccini, visited Rome and Venice, and established himself at Milan, where he was patronized by the duke and by Cardinal Federigo, made director of the Academy, and employed as an architect, e.culptor, and painter. In his works as a painter are found many beauties, accompanied by unaccountable defects. His style is free and spirited, and his colouring harmonious ; but his design is occasionally conceited and absurd, from an affectation of the grand and the graceful. Of these deficiencies we have evidence in his pictures in the Chiesa della Pace, where his drawing of the nude is heavy and tasteless, and the movement of his figures distorted by the violence of their attitudes. His merits, however, must be allowed to outweigh his defects, and some of his works may be compared with the best productions of the Milanese school at his time. Such is his picture of the ' Baptism of St. Augustine,' in San Marco, which disputes the palm with Giulio Cesare Procaccini, and in the judgment of some is superior. Soprani, in the 'Life of Sinibaldo Scorza,' says that this artist excelled in painting animals and birds, of a cabinet size. He died at Milan in 1633. Other paintings by him are as follow :

Berlin. Gallery. An Assembly of Franciscans. Milan. Brera. Madonna del Rosario. Vienna. Gallery. Christ appearing to the Apostles SS. Peter and Paul.