Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/68

 *vas, H. 2 ft. 7-1/2 in. × 3 ft. 7-1/2 in. Armida, armed with a dagger, is bending cautiously over Rinaldo, who, clad in splendid armour, lies sleeping at the foot of a tree; overcome by love, as she contemplates his beautiful face, she withholds the blow, her arm being restrained by a cupid who has alighted beside her. Engraved by J. Audran; P. Dupin.—Smith, viii. 145.

By Nicolas Poussin, Hermitage, St. Petersburg; canvas, H. 3 ft. 1 in. × 4 ft. 6 in. Armida bends affectionately over the sleeping Rinaldo and places her hand on his breast; at his head are two cupids, a third plays with his shield, and a fourth is on the farther side of a bank; on opposite side, emblems of fertility and abundance; on a cloud, Armida's splendid car, with spirited coursers, held by two nymphs. Engraved by Sanders.—Smith, viii. 146.

Subject treated also by Alessandro Tiarini, Munich Gallery; François Boucher (1734), Louvre; Auguste Leloir (1879).

RINALDO AND ARMIDA, HISTORY OF, David Teniers, younger, Madrid Museum; copper. Series of twelve pictures, each H. 9 in. × 1 ft. 3 in.:

1. Armida arrives at the Christian camp and presents herself to Godfrey de Bouillon.

2. Godfrey deliberates with his companions concerning the means of giving Armida the aid she asks for; in the background, the death of Gernando at the hands of Rinaldo.

3. Charles and Ubaldo, seeking for Rinaldo, who has fled the camp to escape the punishment of his deed, arrive on the banks of a river near Ascalon, where they hear of his ensnarement by Armida.

4. Rinaldo in the Island of Orontes.

5. Armida, in her chariot, conveys Rinaldo asleep to the Fortunate Isles.

6. Charles and Ubaldo land in the Fortunate Isles.

7. The Gardens of Armida; Rinaldo, disarmed, with his head on the breast of the enchantress.

8. Separation of Rinaldo and Armida.

9. Rinaldo and his companions flee from the Fortunate Isles, and Armida disappears into the air in her chariot.

10. Prowess of Rinaldo against the Saracens.

11. Armida in her chariot incites the Saracens against Rinaldo.

12. Armida is about to stab herself when Rinaldo arrests her hand and is reconciled to her.

RINCON, ANTONIO, born in Guadalajara about 1446, died in Seville about 1500. Spanish school; doubtfully said to have studied in Italy, either with Andrea del Castagno or Domenico Ghirlandajo; painted chiefly at Toledo; became painter to Ferdinand and Isabella, whose portraits he frequently painted. Best extant work, altarpiece in Church of Robleda de Chavila, containing seventeen panel pictures of the Life of the Virgin. His son Fernando was also a painter.—Stirling, i. 89; Ch. Blanc, École espagnole.

RING, HERMAN TOM, born at Münster in 1521, died there in 1597. German school; history and portrait painter, son and pupil of Ludger the elder, but influenced by the Italians. Works: Waking of Lazarus (1546), Crucifixion, Companion-*piece to do., Münster Cathedral; Crucifixion and others, also portraits, Art Union, Münster; twelve Prophets and Sibyls, Augsburg Gallery; Portraits of John of Leyden and Wife (1535), Schwerin Gallery. His son Nicolaus, who flourished second half of 16th and beginning of 17th century, was a follower of the Italian schools. Work: Entombment (1598), Ludgeri Church, Münster.—Kugler (Crowe), i. 268; Schlie, 524; W. & W., ii. 504; Zeitschr. f. b. K., xii. 256, 319.

RING, LUDGER TOM, the elder, born at Münster in 1496, died there in 1547. German school; a versatile master, of a family of painters that flourished in Münster in the 16th century. Works: Portraits of Man and Wife, Bust Portrait of Young Man (1536), Museum, Münster; God the