DOSSI Church, ib.; Christ blessing the Children, HolinensChurch, ib. ; Give unto Caesar! Christ and Disciples at Emmaus ; Young Wife awaiting Husband's Return (1867); Little Girls playing in the Downs (1868), Catch- ing Homfish (1880), Copenhagen Gallery. Sigurd Muller, 79 ; Weilbach, 135. DOSSI, BATTISTA. See Dossi, Giovanni. DOSSI, GIOVANNI ( Giovanni di Lutero, called Dosso Dossi), born at Dosso, near Ferrara, about 1749, died at Ferrara in 1542. Lombardo-Fer- rarese school ; scholar of Lorenzo Costa ; be- came a favourite of Duke Alfonso I. of Ferrara, for whom he painted a large picture, and an altarpiece, Cathedral of Ferrara, representing St. Bar- tholomew and St. John at Patmos (1527). Many of his works, in the Ducal Palace at Ferrara, were destroyed by fire in 1718. His brother Battista (died 1548), a noted landscape painter, assisted him in painting the Labours of Hercules, in the Cortile of this palace, a Madonna with Saints (1522), Cathedral at Modena, and frescos in the Castle at Trent, now destroyed. Ariosto, in the Orlando Furioso (xxxiii. 2), mentions the brothers together with Leonardo da Vinci, Mantegna, and Gian. Bologna. Dosso Dossi is said to have spent six years in Home and five in Venice. Other works : Annun- ciation, Madonna with Saints, Ferrara Gal- lery ; Bacchanal, Palazzo Pitti, Florence ; Justice, Diana and Endymion, One of the Hours, Peace, the Four Doctors of the Church, a Dream, and Judith, Dresden Gal- lery ; Circe, Palazzo Borghese, Rome ; St. Sebastian, Brera, Mi- lan. Vasari, ed. Mil., v. 96 ; Baruffaldi, Vite degli Artifici Ferraresi (Taddei, 1844); Seguier, 59 ; Rio, Art. Chre- tien, iii. 445 ; Cittadella, Notizie relative a Ferrara (1864), 530, 605; Liibke, Gesch. ital. Mai., ii. 387 ; Lermolieff, 136 ; Zeitschr. f. b. K, x. 264, 269. DOU (Dov, Dow, Douw), GERARD, born at Leyden, April 7, 1613, died there, buried, Feb. 9, 1675. Dutchschool; received first in- struction in draw- ing in 1622 from the engraver Bar- tholomeus Dolen- do, in 1 624 appren- ticed to the glass painter Kouwenhoven, and in 1628 entered Rembrandt's studio, where he remained three years. To Rembrandt he owed his harmonious treatment of the chiaroscuro and depth of colour, but his careful and delicate touch, which, especially in his por- traits, is incalculably minute, precluded the free and energetic treatment of his master. Choosing his subjects mainly from the nar- row circle of the family life of the middle and lower classes, he frequently represented them at dusk or by candlelight, with mas- terly skill "Works : Poulterer's Shop, Ar- tist's Portrait, Artist's Wife, National Gal- lery, London; Girl scouring Pan, Girl chopping Onions, Grocer's Shop, Old Woman ! watering Flowers, Portrait of Old Man, | Buckingham Palace ; Violin Pkyer (1637), Artist's Portrait, Bridgewater Gallery ; Vil- lage Lawyer, Old Couple with Hurdy-Gurdy, Earl of Lonsdale, Lowther Castle ; Hermit Praying, Old Man in a Cellar, Ashburton Collection ; Young Girl at Window convers- ing with Boy, Man teazing with a lighted
Candle Old Woman asleep, Hope Collection;
Painter in his Room writing, Baring Col- lection, London; Lady playing Virginal, Dul- wich Gallery ; Dropsical Woman, Reading the Bible, Cook-Maid, Greengrocer, Tram- peter and 7 others, Louvre; Le Menage, Young Woman with a Lamp at Window (2), Hermit (2), one dated 1664, Portrait Fig- ures in Landscape by Berchem, Old Woman 422
