Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/343

 *cellent pictures. Established himself at Amsterdam, where he obtained right of citizenship, March 15, 1688; painted also genre scenes and views of towns. Works: Portrait of Willem van de Velde, Mr. Baring, London; Artist's Family (1681), Hague Museum; Mother with Two Children, Aremberg Gallery, Brussels; Family Group, Portraits of Hendrik Bicker and Wife (1682), Portrait of Gaspard Fagel, Amsterdam Museum; Portrait, Six Collection, ib.; Three Children making Garlands (1690), Rotterdam Museum; Male Portrait, Berlin Museum; Female do., Turin Gallery; Artist's Family, Historical Society, New York.—Immerzeel, ii. 249; Kugler (Crowe), ii. 401; Kramm, iv. 1178; Ch. Blanc, École hollandaise; Burger, Musées, i. 251; ii. 103, 258; De Stuers, 97.

Contest between the Muses and the Pierides, Il Rosso, Louvre.

MUSSINI, CESARE, born in Berlin in 1808. History painter, pupil of Florence Academy, where he became professor and court-painter to Grand Duke of Tuscany. Works: Death of Leonardo da Vinci (1828), Echo Weeping (1829), Tasso reading his Poem to Eleonora d'Este (1831), Death of Atala (1830), Florence Academy; Raphael and the Fornarina; Conspiracy of the Pazzis; Ganymede.—Cotta's Kunstbl. (1838), 304; (1843), 271, 402; (1844), 358, 400; (1845), 338; (1846), 67.

MUSSINI, LUIGI, born in Florence in 1813. History painter, brother and pupil of Cesare. Director of Siena Academy. Medal, Paris, 3d class, 1849; L. of Honour, 1877. Works: Sacred Music (1840), Alms of the Christian and the Philanthropist (1844), Abelard and Heloise (1842), Florence Academy; Christian Martyrs, Siena Cathedral; Christ driving out the Money-Changers; Spartan Education, Luxembourg Museum; Marino Faliero contemplating Revenge on Michele Steno, Wiesbaden Gallery; Sienese Lad, Museo Civico, Turin; Last Day of Nero; Triumph of Truth; Platonic Academy of Lorenzo de' Medici; Summer Hour (1878); St. Elizabeth, St. George (1882); Chess Tournament at Court of Spain (1883).—Cotta's Kunstbl. (1844), 363; Müller, 387; Kunst-Chronik, xix. 171.