Page:Bryan's dictionary of painters and engravers, volume 1.djvu/60

 63. The Contemplative Man, sitting on a stone. Hus been supposed to he the Artie's porti'ifit. 64. The Standard-bearer on the right, the 'Woman on the left. 65. A Man on the right, grasping a curtain, a woman on the left. 65. (rt) The Piper. A warrior^ with a hat and feathery is bhwin(i on a Jlide (sit/ned and dated 1510). 65. (li) Winged child, leaning forward, hohliiig a shield. 66. A 'Woman, with hat and feather, half-kugth. 67. A 'Woman bathing her feet. 68. A 'Woman seated on some armour, and holding a vessel ; after Beliani. 69. A nude female figure, with a candlestick. 70. Interior of the old Synagogue at Katisbon, with an inscription. 71. 'Vestibule of the above, with two figures, and an inscription. 72. Martin Luther. Profile, to the right, bearing in- scription D. L. M. Frohahlii after Cranach or Hopfer. 73. Head of a young man, with long hair, and no beard (signed and dated 1507). Beyond these, Meyer mentions 28 various plates of Ornaments, Cups, and Vases, and ten Landscapes.

Nos. 1 to 40. A series of cuts representing the Fall and the Redemption, aU marked V)ith monogram. 41. Abraham's Sacrifice. 42. Joshua and Caleb with the fruit. 4.3. Jael and Sisera. 44. The Annunciation (dated 1513). 45. The Adoration of the Shepherds {siijned). 46. The Murder of the Innocents {sitjned and dated 1511). 47. A magnificent Font in a chapel, with angels an<l other figures (sif/nej). 48. The Resurrection (siyned and dated 1513). 49. The 'V^irgin, in a church, with the Infant on her arm. 50. The 'Virgin, seated as on an altar, with the Infant on her arm, a Deacon praying before them. 61. The "Virgin and Child, by an altar, on the left of which are figures of St. Christopher and St. Barbara, on the right those of St. George and St. Catherine. 62. Our Lady of Eatisbon : a balustrade in front icith a vase ofJlowerSy with the legend — ein mackel ist nit in dir. Aue Maria. ^^ 53. The Decollation of St. John Baptist (signed and dated 1512). 54. A Decollation of St. John Baptist (signed and dated 1517). 55. St. Christopher stooping to take up the Infant Jesus. 56. St. Christopher carrying the Infant ,resu8 across the stream (signed and dated 1513). 57. St. George on horseback thrusting his lance into the Dragon's throat (signed and dated 1511). 58. St. George standing, the Dragon under his feet. 59. St. Jerome in a cave, before a crucifix. 60. St. Jerome. A crucifx rests against a rock on the left. 61. St. Catherine with a wheel. Two Angels with musical instruments; others hold a crown above her head. (Passavant notes this cvty but no copy of it is now kncum to ejri>t.) 62. Judgment of Paris (signed and dated 1511). 63. Thisbe and Pyramus (signed and dated 1513). 64. A Standard-bearer in a landscape. Q^. Two lovers seated in a landscape; a horse tied to a branch of a tree on the right [^signed and dated 1511). 66. A title-page. Angels playing music ; a Holy Family represented below on the left. 67. Three plates re) resenting peasants (attributed to Altdorfer by WesseUy, u-ko praise^i them highly). 68. A richly ornamental gate ; the ornaments filled in with bhifk. To this list should be added ten of the eleven subjects which adorn the round towers of " The 30 Triumphal Arch of Maximilian " (dated 1515), and thirty-eight subjects in " The Triumphal Pro- cession of Maximilian." Ei J. 0.
 * ' Gantz schon bistu mein frundttn vnd

ALTDORFER, Erhard, a painter and engraver on wood, was, in all probability, brother of the well-known artist Albreclit Altdorfer, in whose will, dated 12th Feb. 1538, lie ia mentioned as a citi- zen of Schwerin. He was court-painter to Duke Henry the Peaceable, and accompanied him, in 1512, to a royal marriage at Wittenberg. There he appears to have made the acquaintance of Lucas Cranach, as the influence of this master is seen in liis productions. He painted at Sternberg in 1516 an altar-piece (now no longer in existence), for which Duke Henry engaged to pay him 150 Rhenish florins. In 1552 he describes himself in a letter to the young Duke John Albert of Mecklenburg as ' Baumeister,' so that he appears to have followed the profession of an architect as well as his brother. We know him only by his woodcuts, two of which are indicated by a mono- gram coiiii)Osed of the letters E and S combined. His work consisted principally of title-pages and illustrations for various works, among which may be noticed the Liibeck Bible of 1533, and an edition of ' Reineke Fuchs,' containing 35 cuts, published at Rostock in 1539.

ALTHAM, —, a German painter, who flourished about 1660, painted landscapes and marine subjects with considerable ability. He is reported to have studied with Salvator Rosa. Works by him are in the Colonna Collection at Rome.

ALTICHIERO da ZEVIO (or Aldighiero), who was born at Zevio, a village near "Verona, painted, with Avanzi, the decoration of the cli.npels of SS. Felice and Giorgio, at Padua. Wliile the principal part of the frescoes in the chapel of San Giorgio is attributed to the latter artist, for the former are claimed the first seven pictures in the chapel of San Felice — formerly San .Jacopo — illustrating the life of St. James the Greater; and from documents it appears that the payment for the frescoes in San Felice was made to Altichiero. But authorities differ much as to the authors of the various works in both chapels. Liibke says that Altichiero displayed in his works a lively conception and a rich finished colouring, and, indeed, with the exception of Orcagna's, his paintings, together with those of Avanzi, were, up to that period, the best productions since the time of Giotto. It is not known when this artist died. He painted as late as 1382.

ALTISSLMO, Cristofano di Papi, dell'. See Papi.

ALTMANN, Anton, who was born in "Vienna in 1808, studied from nature, and under the instruction of Mossnier at the Academy. After being instructur in drawing to Count Apponyi in Himgary, he settled in Vienna, and became famous as a landscape painter. He died there in 1871. Among his mo*t important works are the following:

Cloister of the Convent 'Maria Schein,' in Bohemia 1838. Forest Scene. 1840. Marshy Landscape. 1846. Evening Landscape. 1847. Spring in a Forest. 1851. The Mill. 1851. Altmann executed landscapes in water-colour ; and also etched from his own designs.

ALTMANN, Karl, who was born at Feuchtwangen in 1800, studied from 1819 to 1822 in the