Page:Cyclopedia of painters and paintings - Volume I.djvu/357

 *ner's Widow (1835); Sunday Morning, Happy as a King, Leaving Home (1836); Scene near Subiaco, Young Lazzaroni playing Game of Arravoglio (1839); Christ in the Temple, Ave Maria, Passing Welcome (1840); Disciples at Emmaus, Caves of Ulysses, Woodcutter's Repast (1841); Prayer, Welsh Guides (1842); Madonna, Windy Day, Sultry Day (1843); Catechist, Morning—Boulogne (1844); Fetching the Doctor, Sunrise at Sea (1845); Early Morning, Mead-foot Bay (1846). His son, Charles Allston Collins (1828-1873), who married Charles Dickens's daughter, was also a genre painter, but turned to literature.—Memoir by his son, Wilkie Collins (London, 1848); Sandby, i. 365; Art Union Monthly Journal, April, 1847; Art Journal (1855), 141; Redgrave, Century, ii. 410; Ch. Blanc, École anglaise.

COLLINSON, ROBERT, born in Cheshire, July, 1832. Landscape and genre painter, student of Government Schools of Design, Manchester; removed about 1854 to London, where he was for many years professor of painting in the S. Kensington schools. Works: Hopes and Fears (1862); Ordered on Foreign Service (1864); Money Changer, Leisure Hour (1865); Close of Day (1868); Sacred Spot (1869); Dawn of Hope (1870); Absorbed in Robinson Crusoe (1871); To Win or Die (1872); The Escape (1873); Leaves from Nature (1874); Sunday Afternoon (1875); Home, Mill Pool (1878); Light in the Cottage (1879); English Home (1883); The Last Mile (1884).

COLMAN, SAMUEL, born in Portland, Me., in 1832. Landscape painter, pupil of A. B. Durand in New York. Visited France and Spain in 1860-62; went abroad a second time in 1871, and travelled in Switzerland, Germany, North Africa, Italy, France, and Spain. Elected N. A. in 1862. Studio in New York. Works: Bay of Gibraltar; Andernach on the Rhine; Street Scene in Caen—Normandy; Market Day in Brittany—Le Mans; Arab Caravansary (1879); Arab Burying-Ground, Genesee River at Avon, Dutch Boats off Coast of Holland (1880); Evening at Amalfi—Italy, Misty Afternoon in Venice (1881); Zandam—Holland, Ruins of Moorish Mosque—Algeria (1882); Tower of Giralda (1884).—Sheldon, 72.

COLONNA, ANGELO MICHELE, born in Como in 1600, died in Bologna in 1681 or 1687. Bolognese school; pupil of Ferrantini and of Dentone, with the latter of whom he painted many frescos in Bologna, Colonna painting the figures in his master's landscapes and architectural pictures. He acquired a great reputation as a decorative fresco painter. After the death of Dentone (1632) he associated with himself Agostino Metelli, and the two executed numerous works in Bologna, Ravenna, Parma, Modena, Rome, and other cities. In 1659 they went, at the invitation of Philip IV., to Madrid, and decorated several halls in the palace of Buen Retiro. After Metelli's death Colonna returned to Italy, and with Giacomino Alboresi as his collaborator executed many important works in Bologna, Florence, and elsewhere.—Malvasia, ii. 345; Lanzi, iii. 136; Ch. Blanc, École bolonaise; Gualandi, Guida.

COLOTES, painter, of Teos, about 396 He was defeated in a painting contest by Timanthes, whose famous picture of the Sacrifice of Iphigenia carried off the prize.—Quin. ii. 13, 12.

COLUMBARIUM, Hector Leroux, Luxembourg, Paris; canvas, H. 4 ft. 7 in. × 3 ft. 4 in. A funeral in the Columbarium of the Palace of the Cæsars, Rome. The procession is coming down a steep stairway, the upper part of which is illuminated by sunlight through an archway; below, at right, two musicians.—Salon, 1864.

COLUMBINE, LA, Bernardino Luini, formerly attributed to Leonardo da Vinci, Hermitage, St. Petersburg; wood, transferred to canvas, H. 1 ft. 5-1/2 in. × 1 ft. 2 in. A beautiful girl, "en déshabille," sits under a rock overgrown with ivy, looking at a columbine held in her left hand; her white dress, with yellow ornaments, is held by a jewelled brooch, leaving one breast uncover