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VAN the eighty thousand troops he had kept together after Waterloo. On the downfall of Napoleon he was deprived of all his offices, and compelled to quit France. He resided some time in Ghent, and afterwards in America, but he was ultimately permitted to return to his native country. He died in 1830.—J. T.  VANDELLI,, a physician and naturalist, after whom, at the suggestion of Browne, Linnæus named the scrophulariaceous genus Vandellia. Vandelli's principal work was a Latin treatise on the hot baths in the neighbourhood of Padua, in which he gives an account of some cryptogamic plants found there (Padua, 1761). He obtained the appointment of superintendent of the Lisbon royal botanic garden, and whilst there he published, in 1771, a "Fasciculus Plantarum," which he dedicated to Sir Joseph Banks. He was author of some zoological tracts, and of an attack on Haller's doctrine of the insensibility of the ligaments and tendons. He lived to a considerable age, and visited London in 1815, a short time before his death.—F. C. W.  VANDENHOFF,, an eminent tragic actor, was born at Salisbury in 1790, and was of Dutch extraction. He was educated at the Roman catholic college of Stonyhurst in Lancashire. After having been an attorney's clerk and an usher, he went upon the stage, and his provincial successes were crowned by metropolitan applause when, in 1820, he played King Lear at Covent Garden. Coriolanus was his chief character. He retired from the stage in 1858, and died in 1861, the last of the John Kemble school of actors.—F. E.  VANDER-ANUS,, a celebrated jurist, was born at Louvain, and was appointed professor of canon and civil law in the university of that town in 1559. On the translation of Jean Ramus to Douai, Vander-Anus succeeded to the regius chair of the institutes (law). In 1566 he was appointed assessor to the sovereign council of Brabant, and in 1574 president of the council of Luxemburg. He died at Luxemburg in 1594. He was author of two works, one entitled "Prochiron, sive enchiridion judiciarium," in four books, with a long preface; "De ordine judiciario apud vetere Susitato," Louvain, 1558; and the other "Commentarius de privilegiis creditorum," Anvers, 1560. The latter is to be found also in the eighteenth volume of the collection known as Tractatus tractatuum juris.—R. M., A.  VANDERGUCHT,, a celebrated engraver, was born in Antwerp about 1660. He learnt engraving of one of the Boutats, and settled in London, where he met with much success. His best known plates are the portraits to Clarendon; several portraits after Kneller, including Atterbury, Congreve, and Addison; Sir Josiah Child, after Riley; and Savage, after Foster—this last being esteemed his best print. He also engraved many anatomical plates. He died in London, October 16, 1725.—His son and pupil,, born about 1695, was much employed by the booksellers in engraving portraits; and in his later years kept a print-shop and dealt in pictures. He died in 1776.—A second son,, also learned engraving of his father, and etched several plates, among others Thornhill's pictures in the dome of St. Paul's.—J. T—e.  VAN DER MEULEN,, a celebrated Flemish painter, was born at Brussels in 1634. He was a pupil of Peter Snayers, and whilst very young painted some spirited battle-pieces in the manner of his master. These being seen by Colbert, Van der Meulen was invited to Paris, and appointed battle-painter to the French king, with a handsome salary. He accompanied the king, Louis XIV., in his campaigns in the Netherlands, and made sketches and afterwards pictures of the successful sieges and battles in which that monarch was engaged. For the Château de Marly he painted a series of twenty-nine pictures, for the most part of large size. His works were greatly admired. He was elected a member of the highest class in the French Academy, and he was the intimate of many of the most celebrated persons of his time. He died at Paris, October 15, 1690. Van der Meulen's battle-pieces are esteemed for their general fidelity, spirit, and brilliancy. The landscapes are true, the costumes strictly correct, and excellent portraits of the king and leading members of his staff are generally introduced. Twenty-three of his pictures are in the Louvre. His cabinet pictures, especially those in which horses form a prominent feature, are highly valued. The prints from his works number about one hundred and forty, and many of them are on a large scale.—His brother,, came to England in 1670, and painted battle-pieces in the manner of his brother, but with very inferior success, for William III. Several of them are at Hampton court. He is said to have been originally a sculptor—J. T—e.  VANDER-MYLE,, a Dutch minister, was born at Herenberg on the 13th of May, 1558, old style. He died at Dordrecht on the 27th of March, 1637, and was buried in the principal church of the town. The words, "Hîc expecto carnis resurrectionem," are inscribed on his tomb. Vander-myle is said to have been a man of very profound and extensive erudition. He was author of the following works—"De antiquitate linguæ Belgicæ, deque communicatione ejusdem cum Latinâ, Græcâ, Persicâ, et plerisque aliis," Leyden, 1611; "Consolatio super morte Eilardi ab Alma, Frisii," Heidelberg, 1587; "The Battle of Lepanto," in Dutch verse, translated from the Scotch of James I. of Scotland. He was engaged on a Glossarium Linguæ Belgicæ when he died.—R. M., A.  VANDEVELDE,, a distinguished marine painter, was born at Amsterdam in 1633. Having learned drawing from his father, the elder William born in 1610, he studied marine painting under Simon de Vlieger. Both the Vandeveldes were established in England in 1665, and they both enjoyed pensions of £100 a year—the elder "for taking and making draughts of sea-fights," and the younger "for putting the said draughts into colours." The father therefore does not appear to have been employed here as a painter. They lived at Greenwich, where the father died in 1693; the son died in London in 1707. Vandevelde painted chiefly small pictures, which are remarkable for their exquisite finish. His larger pictures are somewhat hard and monotonous.—, the exquisite painter of small figures, animals, and landscapes, was the younger brother of William, and studied under Wynants. He was born at Amsterdam in 1639, and died there in 1672. He occasionally painted the figures in the pictures of Ruysdael and Hobbima, and other landscape painters.—R. N. W. <section end="488H" /> <section begin="488I" />* VAN DE WEYER, Belgian minister in England, was born at Louvain in 1803. He went to the bar at Brussels, but quitted the profession on being appointed librarian of the city. In 1825 he edited the "Œuvres Philosophiques de Hemsterhuys," with a sketch, biographical and critical, of their author. Taking as a journalist an active part in politics, and on the popular side, he was dismissed from his post of librarian; but the Belgian revolution supervening, he was appointed a member of the provisional government, and represented Belgium at the conferences of London which established the independence of the kingdom. Afterwards as Belgian minister of foreign affairs he aided in placing King Leopold on the throne of Belgium, which he was sent to represent as ambassador at London. In 1845 he was recalled and made prime minister, but succumbed to the "religious difficulty" in the settlement of the education question, and resigned in 1846. For many years M. Van de Weyer has been Belgian minister in England—a country with which he is connected by other than diplomatic ties, being married to an Englishwoman. M. Van de Weyer is an assiduous cultivator of literature and art, and is the possessor of a large and choice library. He is an active member of the Philobiblon Society, to the miscellany published by which he has contributed on a curious and neglected subject a series of interesting papers, entitled "Lettres sur les Anglais qui ont écrite en Française."—F. E. <section end="488I" /> <section begin="488Zcontin" />VANDYCK,, one of the greatest of modern portrait painters, ranking with Titian, Velazquez, and Rubens, was born at Antwerp on the 22nd of March, 1599. His father, Francis, was a respectable merchant, and Anthony was the seventh of twelve children; but he had the misfortune to lose his mother, Mary Cuypers, in his eighth year: she died in April, 1607. When only ten years old, he had already commenced his career as a painter, having become the pupil of Henry van Balen in 1609; he afterwards became the pupil of Rubens. In 1618 he was admitted into the guild of St. Luke as a master, though not then of age. In the spring of 1620 he was still working under the direction of Rubens, and in 1621 he was in London working for James I., and he was absent from Antwerp the greater part of 1622. At the end of that year he lost his father. In 1623, by the advice of Rubens, Vandyck set out for Italy, and he spent four or five years in that country, chiefly at Genoa; but he visited also Venice, Florence, Rome, and Palermo. He painted many portraits in Italy, and they are all very carefully elaborated. In 1628 he was again busy in his native city. In this year he painted an altar-piece for the church of the Augustines, and in 1629 he presented a picture of the crucifixion to the Dominicans <section end="488Zcontin" />