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some fine plates after Gaspar Poussin, Gainsborough, Vanderneer, Smith of Derby, and the Smiths of Chichester ; and espe- cially Claude, whose works he rendered with great truth and ability. His land- scape works are very numerous. The spirited character of his foliage, and the richness of his foregrounds, were the admir- ation of Woollett. He drew with the pen in a very spirited manner. He died in Great Newport Street, where he had lived 30 years, November 26, 1780. and was buned in Paddington churchyard He had married thrice, and had 31 children.

V I V A R E S, Thomas, engraver and draftsman. Son of the foregoing, he was born in London about 1735. In 1761 he gained a Society of Arts* premium. He practised as an engraver, but he was also a teacher of drawing, and in 1783-87 exhi- bited some moonlight scenes at the Royal Academy, but his works are little known. Several of the architectural plates to the works of R. and J. Adam, published in 1773, are engraved by him, and there is a set of six landscape views near London which are both drawn and engraved by him.

VOGELSANG, Isaac, landscape and cattle painter. Was born at Amsterdam in 1688, and studied his art there. Prac- tised in London in the time of George I. ; then visited Ireland, and was much em- ployed there. He painted landscapes, animals, battle-pieces, and occasionally accessories and draperies for the portrait

{>ainters. From thence he went to Scot- and, but not succeeding, he returned to London, where he settled, and died June 1, 1753.

VON HOLST. Theodore, historical painter. Was oi a Livonian family, and oorn in London, where his father was a musical teacher, September 3, 1810. He showed an early talent for drawing, and was admitted a student of the Royal Aca- demy, where he gained the notice of Fuseli, and of Sir Thomas Lawrence, who pur- chased some of his drawings. As he advanced in art, he was led aside by the promptings of his wild genius, and chose subjects of unreal, gloomy romance, which were unsuited to the English taste ; and he frequently visited Germany, nourishing a love for German art. He exhibited at the Royal Academy in 1 829 * Students Watching the Clock of Eternity ;' in 1833, * Pleasure a Vision ; ' in 1834, * A Seducer/ and * The Treasure-Seeker ; ' and occasionally a por- trait, sending his last contribution in 1843. Hisprincipal works are 'The Drinking Scene in Faust,' 4 The appearance of the Ghost to Lord Lyttelton/ ' The Raising of Jairus 7 Daughter, 7 which is engraved, and for which the Directors of the British Institution awarded him a donation of 50 guineas. He was disappointed in his art, resolutely re-

sisted advice, and following his own bent, wasted his real powers. He died after a short illness in Percy Street, Bedford Square. February 14, 1844. asjed 33. He illustrated an edition of Shelley^s * Frankenstein/

VORSTERMAN, Luke, engraver. Was born at Antwerp in 1580, and com- menced life as a student of painting in the atelier of Rubens. He afterwards devoted himself to engraving. In the reign of Charles I. he came to England, and resided here from 1623 to 1631. He engraved several fine pictures in the King's collection for the Earl of Arundel, and made some drawings and painted some small pictures while in England, among them a portrait of Prince Henry. His last-known work is dated 1656, though this has been attributed to his son, whose Christian name was the same.

VULLIAMY, Lewis, architect. His father was celebrated as a clock-maker, and the firm had for above 130 years held the appointment of clock-makers to the Crown. He was brought up for an archi- tect, was articled to Mr., afterwards Sir Robert, Smirke, and was admitted to the schools of the Royal Academy. In 1813, he gained the Academy gold medal for his design for ' A Nobleman's Country Man- sion/ and was in 1818 elected to the Aca- demy travelling studentship, and passed several years of study on the continent, chiefly in Italy, and also visited Greece and Asia Minor. In 1822 he exhibited at the Academy * A Design for the Court of a Palace; 7 in 1823. the i Portion of a Design for a Bridge ; ' in 1824, ' Examples of Ancient Architecture, Greek, Italian/ &c, and settling in London, he soon estab- lished an extensive professional connexion. He did not again exhibit till 1830, when he sent the ' Front of the Law Institution/ then erecting in Chancery Lane ; in 1831, ' The Designs for a Church 7 he was build- ing at Highgate ; in 1833, ' The Elevation of a Church in Woburn Square ; J and in 1837-38, the front and other portions of the Royal Institution, his last exhibited works. During a practice of nearly half- a-century he was the architect of several fine mansions, and altered and enlarged several others. Among his works of this class, Dorchester House, Park Lane, and Westonbirt, Tetbury, should be mentioned. He built no less than 28 new churches, of which St. Barnabas, Kensington, is a good example, and so is, among his later works, the London and Westminster Bank. But he may well rest his reputation upon his last work — Mr. Holford's noble mansion in Park Lane — conspicuous by the classic proportion and taste of its design— the fine entrance hall and staircase, and the excel- lent adaptation of the building to its site. He died at his residence, Clapham Common,

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