Page:Bryan's dictionary of painters and engravers, volume 1.djvu/87

 17th of May, 1576. In 1592-93 he entered the atelier of Adam van Noort, and in 1596-97 he was free of the Guild of Painters of that city. He was holli an historical painter and a portraitist ; but no work by him exists. That lie was successful as a teacher in art is evident, for the records of the Guild mention seven pupils of his. He died in 1654 or 1655.

A-PSHOVEN, Febdisaxd vax, 'the younger,' son of the painter of the same name, and brother of the more celebrated Thomas, was baptized in 1630. He was a pupil of Teniers the younger, and in 1657-58 he was admitted to the Antwerp Guild as a master's son. In 1664 he took the oath as Captain in the 13th Division of the ' Civic- guard.' In 1678-79 he was offered, but declined to accept, the office of Dean to the Guild. In 1694 he died, and was buried in the church of St. Walburg, in Antwerp. Ferdinand van Apshoven's pictures, like those of his brother, closely resemble the stjle of Teniers, under whose name many of them have passed. An Interior, with two figures — almost equal to a Teniers — is in the Rotterdam Museum ; another Chamber, with three figures, is in the Museum at Dunkirk ; and a third, ' Peas- ants in a Tavern,' is in the possession of M. van Lerius, of Antwerp.

APSHOVEN, Thomas van (miscalled Theodob), son of Ferdinand the elder, was baptized at Ant- werp on the 30th of November, 1622. He became the favourite pupil of David Teniers the younger, whose style he imitated with much success. We find various records of Apshoven. In 1652 he took the oath as standard-bearer in the 6th Division of the Civic-guard, and in 1657 he was made Captain of the 8th Division. His death occurred between the 18th of September, 1664, and the same day in the following year. Apshoven's pic- tures, like those of his master, represent village festivals, the interiors of cabarets, with peasants regaling and amusing themselves, corps-de-gardes, and chemists' laboratories, in all of which he ap- proached so near to the admirable style of his instructor, that his pictures may easily be mis- taken for those of Teniers. His touch is un- commonly light and spirited, and his colouring clear and silvery. The works of this painter are frequently met with in Flanders, where they are judged worthy of being placed in the best collec- tions. The Dresden Gallery has a picture of fruits, &c., by him, signed ' t. v. apshoven.' The Darmstadt Gallery has a Landscape, painted in 1656 ; the Cassel Gallery ' Dancing Peasants ; ' and the Prague Gallery, an Interior, by Apshoven.

AQDA, Cbistofoeo dall'. See Daia' Acqua.

AQDILA, Abnoud. See Halen.

AQUILA, Fban'cescc Faraone, an eminent Italian engraver, was the nephew (not the brother) of the celebrated Pietro Aquila : he was bom at Palermo about 1676, and established himself at Rome about the year 1690, and laboured there till about 1740. His engravings are numerous, and some of them highly esteemed. His style of exe- cution is perhaps neater than that of Pietro, but he is very inferior to him in correctness of drawing and expression. He sometimes worked with the graver only, but his plates in that way are cold, wanting in effect, and by no means equal to those in which he called in the assistance of the point. Some of his prints are after his own designs. Among his works is a set of nineteen large plates of the ' Stanze ' of the Vatican, after Raphael, entitled Pictures Sanctij Urhinatu ex Aula et Conclavibus PcUatii Vaticani (1722) ; also as below :

St. Bosalia ; from his oum design. Mars, with his armour hung on a tree • the same. The Cardinal Casini ; after Vicinelli. The Cardinal Giuseppe Maria de Thomasijs ; after P. Kellt. La Vierge au Panier ; after Correggio. The last S-ap^per; after Albani. 1711. The First Vault in the Vatican ; after Ciro JFem ; 1696 ; circular. Two cupolas, one in the chapel of the Holy Sacrament, and the other in the church of San Sebastian ; after Pietro da Cortona ; circular. Another cupola, in the Chiesa Nuova ; after the same painter; circular. A Warrior, to whom Mars offers a sword, and Minerva a crown of laurel ; after Ant. Bonjigli. The Victory of Constantlne over Maxentius ; after And. Camassei, The Triumph of Constantine ; after the same. The dead Saviour in the lap of the Virgin Mary, with St. Mary Magdalene, and St. Francis ; after Carracci. A Bishop announcing to the Virgin Mary the arrival of the body of St. Helena. The Repose in Egypt, with St. Joseph at work in the background. The Bark of St. Peter ; after Lanfraneo.

Our Saviour with a Glory, the Virgin Mary, St. Am- brose, and St. Charles Borromeo ; after Carlo Marat ti. Three large prints — Of the vault of St. Francis Xavier at Naples ; after Paolo de Mattei.

Venus showing the arms to .^neas.; after N. Poussin.

AQUILA, GiOBGio, called ' Maestro Giorgio da Fireiize,' flourished from 1314 to 1325. He was a native of Florence, and is said to have been the first Italian artist who used nut oil in painting.

AQUILA, PlETEO, the uncle of Francesco, was born at Marsala, near Palermo, probably between 1640 and 1645. The early part of his life was passed in a seminary, preparatory to his devoting himself to an ecclesiastical life ; and on his arrival at Rome he actually became a monk, which seclu- sion, however, did not prevent his following his natural inclination for art. He died toward the close of the 17th century. According to Baldinucci he was a respectable painter, but his reputation has reached a higher rank as an engraver. His drawing is extremely correct, and he etched his plates in a bold and free manner. His best prints are those he engraved after the Carracci, which are very highly esteemed, and the five mentioned below after Pietro da Cortona are very fine. The number of liis plates is very considerable, ,^ some of which are engraved from his own fv compositions : viz.

SUBJECTS AFTEB HIS OWN DESIGNS.

The Adoration of the Magi. The Flight into Egypt ; dedicated to B. C. de Vingte- miUiis. The Holy Family, with St. John kissing the foot of our Saviour. Lions fighting ; an emblematical subject ; inscribed tpes sitscitat iras. Fourteen plates containing 160 medallions of Roman Emperors, from medals in the cabinet of Queen Christina of Sweden.

SUBJECTS AFTER ITALIAN MASTERS.

St. Luke, Patron of the Academy ; after Lazzaro Baldi. Sacrifice of Polyxena ; after Pietro da Cortana. Xenophon returned from the Chase ; aftej- the same. The Rape of the Sabines ; after the same. The Battle of Aibeli ; after the same. The Triumph of Bacchus; after the same. Moses and the Daughters of' Jethro ; after Ciro Feiri. Moses striking the Rock ; after tfte same. The Virgin Mary appearing to St. Alexis ; after the same.