Page:Bryan's dictionary of painters and engravers, volume 1.djvu/548

 1847. Englaud. 1847. The London Eoad a hundred years ago. 1849. Passing Showers. 1860. The Wind on shore. 1850. First glimpse of the Sea. 1850. Old Trees. 1850. South Downs (the sheep are by Ansdell). 1851. The VaUey Mill. 1851. Over the Sands. 1852. A Mountain Lake — Moonrise. 1854. The Blithe Brook. 1859. The Village Bridge. 1861. In the North Countrie. 1864. Across the Beck. 1865. Changeahle Weather.

A Dream of the Future (the girl is by Frith, and the doy by A nsdell). Upwards of a hundred of Croswick's works were exhibited at the International Exhibition in Londun in 1873.

CBETI, DoNATO, was born at Cremona in 1671, and was educated at Bologna, under Lorenzo Pasinelli, whose style he blended with an imitation of the works of Simone Cantarini, and so formed R manner which has little claim to originality. His colouring is distinguished by a hardness and crudity, occasioned by his never properly blending his tints. He resided chiefly in Bologna, where he painted several pictures for the churches — for San Pietro an altar-piece of ' St. Charles Borromeo asking Charity for the Poor;' for San Domenico, 'St. Vincent of Ferrara resuscitating a Child;' for San Luca, the 'Coronation of the Virgin,' one of his best works; and for the Mendicanti, the 'Adoration of the Magi.' In the Palazzo Pubblico, he painted four pictures of the 'Life of Achilles' and other works. He was also employed in the churches at Rimini, Bergamo, Lucca, and Palermo. The Bologna Gallery possesses a 'Coronation of Charles V. at Bologna' by him. He died at Bologna in 1749.

CREUSE, AnoDSTE de, a French portrait painter, who was born at Montrond (Doubs) in 1806, and died in Paris in 1839. He was a pupil of Gros, and painted many of the historical portraits which are at Versailles.

CREUTZFELDER, Johann, a portrait painter, was born at Nuremberg in 1570. He was a scholar of N. Juvenel, and painted also historical subjects. His paintings representing Martyrdoms are beauti- fully executed. He died at Nuremberg in 1636. There are by him :

Nuremberg. & iSiiaWtts. Adam and Eve. 1603. Vienna. Gallery. The Martyrdom of St. Ignatius. He signed his portraits with this monogram Qj

CREVOISIER, Marie Jeanne. See Clemens.

CRISCUOLO, Giovanni Anqelo, was the younger brother of Giovanni Filippo Criscuolo. Although he showed an early inclination for art, his father would not permit him to make it his profession, but obliged him to follow the business of a notary. On the death of his father, the reputation his brother had acquired induced him to abandon hit. occupation, and place himself under the tuition of Marco di Pino da Siena, by whose instruction he became a reputable artist. Dominici describes many of his works in the churches at Naples, among which is an altar-piece in the church of San Stefano, representing the ' Martyrdom of St. Stephen'; in Monte Calvario, a picture of the 'Virgin and Infant, with St. Jerome,' dated 1572; in San Severino, an ' Annunciation ; ' and in San Giacomo degli Spagnuoli, an ' Assumption of the Virgin.' He wrote a ' History of the Neapolitan Artists to 1569.' The exact date of his death is not known ; some say about 1580.

CRISCUOLO, Giovanni Filippo, was born at Gaeta in 1495. He was instructed in painting by A. Sabbatini, but afterwards devoted his attention rather to the works of Perino del Vaga. He died at Naples in 1584. His best works are as under : Naples. S. Patri:ia. The Adoration of the Magi. S.M.Donna Thfs Death, Ascension, and Coro-Regina. J nation of the Virgin.

CRISCUOLO, Mamangiola, who married Gio- vanni d'Amato the younger, is apparently known only by some finely-executed 'Madonnas' in two of the churches of Naples.

CRISPI, Soipione, was a Piedmontese painter, born at 'Tortona, wlio flourished, according to Lanzi, from the year 1592 till 1599. It is uncer- tain by whom he was instructed; but he was an artist of considerable merit, as is evident from hia picture of the ' Visitation of the Virgin to St. Eliza- beth,' in the church of San Lorenzo, at Voghera, and an altar-piece at Tortona of 'SS. Francis and Dominic,' which is dated 1592.

CRISPIN US. See Van den Broeck.

CRIST ALL, Joshua, was born in 1767 at Cam- bourne in Cornwall. His father was Scotch, and was bitterly opposed to his son's artistic tastes, but his mother secretly aided him in his struggles to study art. He was first apprenticed to a china dealer at Rotherhithe, but, finding that business too irksome, he left both his master and his home, and went to the Potteries, where he found some employment as a china painter. Finding this too monotonous, he came to London, and commenced a life of great privations and hard efforts to study the fine arts. It is said that at this period of his life he seriously injured his health by trying to live for a year on nothing else but potatoes and water. Aided in secret by his mother, who shared in and had herself directed his taste for classic art, he persevered in his endeavours, and finally gained admission to the school of the Royal Academy, where he made rapid progress. He became personally known to Dr. Monro, and visited at nia house, where he met the rising water-colour artiste of that day. At the foundation of the Society of Painters in Water-Colours in 1805, he first publicly exhibited his works, and continued to do so for many years. He was one of the foundation members of this society, and afterwards became its President, and was always its warm and active supporter. In 1822, finding his health much impaired, Cristall went to Goodrich on the Wye, where he had already bought a house, and where he spent many happy years until the loss of his wife, who died in 1840, drove him again to London, where he died in 1847. His body was carried to Goodrich, and buried by the side of his wife, at his ovn earnest request. Cristall's usual Subjects in his early years were classical figures with landscapes, such as his 'Lycidas,' 'Judgment of Paris,' 'Hylas and the Nymphs,' and 'Diana and Endymion,' but he afterwards produced genre sub- jects and rustic groups. About 1813 lie tried portrait painting, generally small full-lengths with landscape backgrounds, in which he used no body-colour. As a water-colour painter Cristall will always hold an honourable position from the freedom and simplicity of his style and manner of execution. Five of his drawings, viz. ' The Young Fisher-Boy,' ' The Fish Market on Hastings Beach,' and three others,