Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/349

 fruit and flowers, as she glances back at the spectator. Painted about 1555 for Niccolò Crasso; bought in Florence, in 1832, for 5,000 thalers, from Abbate Celotti, for Berlin Museum. Replica in Lord Cowper's Collection, London, with a casket, instead of fruit and flowers, on the silver dish; from the Orléans Gallery.—C. & C., Titian, ii. 136; Waagen, Treasures, ii. 497; Ridolfi, Maraviglie, i. 253, 259.

By Titian, Dresden Gallery; canvas, H. 3 ft. 8 in. × 3 ft. 1 in. A young girl, dressed in white damask silk, her yellow hair strewed with pearls, and with ear-rings and necklace of pearls, tucks up the train of her gown with one hand and waves a palmetto fan with the other. Painted about 1555; came to Dresden from Modena; transferred in 1827 to a new canvas; fairly preserved. Copy in the Cassel Museum; another by Rubens in Vienna Museum; study in Albertina Collection, Vienna.—C. & C., Titian, ii. 135.

By Titian, Dresden Gallery; canvas, life-*size; signed. A lady of mature years, in dress of green velvet, standing in a room, waving a fan of plumes. The features are different from those traditionally known as Lavinia's, and resemble those of Venus with the Whispering Cupid, in the Uffizi. Painted in 1558; sold with the Modena Collection to the King of Saxony. A masterpiece of portraiture (C. & C.). Engraved by Basan. Transferred to a new canvas in 1826.—C. & C., Titian, ii. 267.

VECELLI (Vecellio), MARCO, called Marco di Tiziano, born at Venice in 1545, died there in 1611. Venetian school; history painter, grand-nephew and favourite pupil of Titian, whom he accompanied in his journeys to Germany and Rome, and whose style, both in composition and colouring, he imitated most successfully, whence his surname. Works: Allegory on Peace of Bologna in 1529, Doge Leonardo Donato kneeling before Madonna, Victory of the Venetians in the Morea in 1148, several others, Palazzo ducale, Venice; Christ illuminating the World, SS. Giovanni e Paolo, ib.; Altarpieces in several other churches, ib.; Crucifixion and two Episodes in Life of St. Catherine, Parish church at Cadore. His son Tiziano Vecellio, the younger, called Tizianello (born in 1570), degenerated under the influence of the mannerism prevailing at the beginning of the 17th century, but was much esteemed as a portrait painter.—Lanzi (Roscoe), ii. 168; Nagler, xix. 494.

VECELLI (Vecellio), ORAZIO, born in Venice, 1515, died there in 1576. Venetian school; second son and pupil of Titian, whom he served constantly as an assistant. He accompanied his father to Rome, where he painted Battista Siciliano, a celebrated violin player, and other persons. His portraits are praised by Vasari, but he no doubt had aid and advice from his father. Being rich, dissipated, and indolent, he painted but little, and gained little distinction. His Battle of Castle Sant' Angelo, painted in competition with Tintoretto and Paolo Veronese for the Great Council Hall in the Palazzo Ducale, Venice, was burned in 1574. His only known pictures are the shutters of the altar in S. Biagio of Calalzo, near Cadore.—C. & C., Titian, ii. 484; Ch. Blanc, École vénitienne; Vasari, ed. Le Mon., xi. 322; xiii. 36; Burckhardt, 739.

VECELLI, TIZIANO. See Titian.

VEDDER, ELIHU, born in New York, Feb. 26, 1836. Genre painter, pupil of T. H. Matteson, Sherbourne, N. Y., and of Picot in Paris. In 1856 he went to Italy, where he has worked many years. Occasionally exhibits at the National Academy; elected N. A. in 1865. Studio in Rome. In 1883-84 Vedder made a series of 56 illustrations for the Rubáiyát of Omar Kháyyám (Boston, 1884). Works: Questioner of the Sphinx; The Lost Mind; Identity; Lair of the Sea Serpent, Boston