CONRADER AUgein. d. Biogr., iv. 441; Kunst-Chronik, viii. 675 ; Brockhaus, iv. 564. CONRADER, GEORG, born in Munich in 1838. History painter, pupil of Munich Academy and of Piloty ; was in 1860 profes- sor at the Art School, Weimar, and in 1862 professor at the Munich Academy. Works : Tilly in Gravedigger's House in Leipsic (1860); Destruction of Carthage (1861), Max- imilianeum, Munich; Tasso in Prison, Char- lotte Corday (1869) ; Mary Stuart and Rizzio (1876); Death of Joseph II. (1874); Meeting of Joseph II. and Pius VI. in 1782. In fres- co : Foundation of Academy of Sciences, Natural Museum, Munich. Brockhaus, iv. 565 ; Muller, 111. CONSONI, NICCOLA, bora at Rieti, Pe- rugia, iu 1814. History painter, pupil of Perugia Academy under Giovanni Sangui- netti and in Rome of Tommaso Mainardi. Works in fresco : Scenes from New Testa- ment (1840), Vatican, Rome; Minerva's Con- test with the Pierides (1845), Library, Pa- lazzo Corsini, ib.; Raphael's Hours, Buck- ingham Palace, London ; Crucifixion, Ascen- sion, The Patriarchs (1861), Prince Albert's Mausoleum, Osborne. Muller, 112. CONSTABLE, JOHN, born at East Berg- holt, Suffolk, June 11, 1776, died in London, March 30, 1837. Landscape painter, pupil of Royal Academy in 1799, and later of Joseph Farrington and R R Reinagle. After painting por- traits and history, k lie turned to landscape art as his real voca- tion, exhibiting his first picture in 1802. He did not, however, become a member of the Royal Academy until 1829 (A.R.A., 1819), and never during his lifetime enjoyed any great popularity in his native country. In France, on the contrary, he found early rec- ognition, and is of all British painters the most highly esteemed, especially since he has become more widely known through the two landscapes, the Rainbow and Weymouth Bay, presented to the Louvre by Mr. Wilson, in 1873. The influence he exerted upon the modern school of French landscape paint- ing, which is incontestable, fully entitled him to a place in the great national French col- lection. While there are many landscape painters who can paint nature in her tran- quil moods, when she sits motionless as a model, there are but few who, like Con- stable, can fix upon canvas the coming storm, the rising wind, and the rapidly changing sunset. In treating masses of cloud driving across the sky or brooding over the tree- tops he has no rival. His pictures are some- times heavily loaded, his foregrounds not free from spottiuess, but their brilliancy, vigour of tone, and truth in representing accidental effects is such as to condone all shortcomings. Works : Cornfield (1826) ; Valley Farm (1835), Cornfield with figures (sketch), Barnes Common, National Gallery, London ; Weymouth Bay (1827), Cottage (1818), Rainbow (sketch of Salisbury Cathe- dral), Landscape (sketch of Hampstead Heath), Louvre ; Salisbury Cathedral (1823), Dedham Mill (1820), Hampstead Heath (2, 1827 and 1830), Boat Building, Water Mead- ows, S. Kensington Museum ; Salisbury Cathedral, Yarmouth Pier (1831). Leslie, Memoir (London, 1842); Ch. Blanc, Ecole anglaise ; F. de Couches ; Lucas, English Landscape Scenery from Constable's pictures (London, 1855); Art Journal (1855), 9; Sand- by, ii. 54 ; Portfolio (1873), 93, 108, 117. CONSTANCE DE BEVERLEY, TRIAL OF, Toby Kosenthal, Irving M. Scott, San Francisco ; canvas, H. 5 ft. x 8 ft. Scene from Marmiou, Canto H. Constance, who ran away from her convent to follow Marmi- on, is tried for her crime before the holy fathers in the subterranean dungeons of the monastery and condemned to be immured alive in the wall. Painted in 1883. CONSTANT. See Benjam in-Constant CONSTANTINE, BAPTISM OF, Raphael (?) and II Fatlore, Sala di Costantino, Vati- 325
