Page:Dictionary of National Biography volume 63.djvu/447

 448). The archbishop had already in 1337 established chantries, jointly with his brother Roger, in the churches of Lubbesthorpe, Leicestershire, and Clipsham, Rutland (''Cal. Pat. Rolls'', 1334–8, p. 406).

[Calendar of Papal Letters, vols. ii. and iii.; Calendar of Papal Petitions, vol. i.; Calendars of Close and Patent Rolls, Edward III; Raine's Historians of the Church of York (Rolls Ser.); Rymer's Fœdera, vol. ii.; Walsingham, Murimuth (both in Rolls Ser.); G. le Baker, ed. Thompson; Chron. de Lanercost (Bannatyne Club). The earliest life is in T. Stubbs's Actus Pontiff. Ebor. in Raine's Historians, ii. 417–19; the latest and fullest is in Raine's Fasti Eboracenses, pp. 437–49; Le Neve's Fasti Eccl. Angl. ed. Hardy, i. 393, 406, 633, iii. 106–7, 123; Godwin, De Præsulibus Angliæ, 1743, p. 686.]  ZUCCARELLI or ZUCCHERELLI, FRANCESCO (1702–1788), landscape-painter, was born at Pitigliano in Tuscany in 1702. He studied first under Paolo Anesi at Florence, and then under Giovanni and Pietro Nelli at Rome. He began as an historical painter, but afterwards confined himself to decorative landscape with figures in a pretty but insipid style, which became popular throughout Europe. On the recommendation of Joseph Smith (1682–1770) [q. v.], the British consul at Venice, he visited England. After staying five years in London, during which he was employed as scene-painter at the Opera House and painted some views on the Thames and some subjects from Shakespeare, he returned to Venice. He came to England again in 1752. He belonged to the Incorporated Society of British Artists, and was one of the foundation members of the Royal Academy. He was patronised by the royal family and the nobility. Frederick, prince of Wales, bought a great many of his works, which now fill a room at Windsor Castle. Many of his pictures were engraved by Vivares, Byrne, Woollett, Bartolozzi, and others. Five of his pictures are in the Glasgow Gallery, one in that of Edinburgh, and there is a tempera drawing by him in the South Kensington Museum. Other works by him are to be found in the Louvre, the Hermitage at St. Petersburg, the Brera at Milan, and other public galleries throughout Europe. He was a friend of Canaletti, who sometimes painted the buildings in his landscapes. He discovered the genius of Richard Wilson [q. v.] for landscape-painting, and persuaded him to leave portrait-painting for that branch of art. He returned to Italy in 1773, and was ruined by the suppression of a monastery in which he had invested his savings. He died at Florence in 1788. In the early part of his life he made some etchings after the designs of Andrea del Sarto and others.

[Redgraves' Century; Redgrave's Dict.; Edwards's Anecdotes; Nollekens and his Times; Bryan's Dict. ed. Armstrong.]  ZUCCARO, ZUCHARO, or ZUCCHERO, FEDERIGO (1542?–1609), painter, born at St. Angelo in Vado in Tuscany in 1542 or 1543, was son of Ottaviano Zuccaro, a painter of little merit, and younger brother by thirteen years of Taddeo Zuccaro, who obtained great repute as an historical painter. The family name seems to have been spelt Zuccaro, though Federigo, in such letters of his as have been preserved, usually signed himself ‘Zucharo.’ The spelling Zucchero is only found in England, or derived therefrom. Federigo when seven years of age became a pupil and assistant to his brother Taddeo, who was engaged on important works at Rome, and for several years he continued to work with his brother on paintings in the Belvedere at the Vatican for Pius IV and in the Villa Farnese at Caprarola. His own success gained him a summons to Florence by the grand duke of Tuscany to complete the paintings in the cupola of the cathedral, which had been commenced by Giorgio Vasari. He was also employed on important decorative paintings at Venice. After the death of his brother Taddeo in 1566 Zuccaro was recalled to Rome by the new pope, Gregory XIII, to paint the vault of the Cappella Paolina in the Vatican. While engaged on this work Zuccaro quarrelled with some of the papal officers, and revenged himself by painting a scurrilous picture, which he exhibited to the public at the festival of St. Luke. For this insult he had to fly from Rome and took refuge in France, where he was employed by the cardinal of Lorraine. From France he went to Antwerp and Amsterdam, and in 1574 came to try his fortune in England.

The name of Zuccaro has been attached in reckless profusion to numberless portraits of this period, especially those of Queen Elizabeth herself. The painter remained in England for only four years, and, had he met with the patronage with which he has been credited by posterity, it is hardly likely that, considering the dearth of native painters in England, he would have set forth to seek his fortunes again. It is certain that Zuccaro did paint Elizabeth, and probably Leicester, and two drawings in the print-room at the British Museum can safely be attributed to his hand. Elizabeth was forty years old when Zuccaro came to England, so that he could not have painted her in youth or old