AMES Italian Girl, Oriental Woman, Felnor Col- lection, ib. ; Sleeping Children, Count Ber- oldiugen, ib. ; Greek Woman, Muse of Tragedy (1863) ; Girl with Doves (1868). Brockhaus, i. 551 ; Meyer, Kiinsi Lex., i. 627 ; Miiller, 12 ; Kunstblatt (1834), 294, 308 ; (1842), 122 ; Wurzbacb, L 29. AMES, JOSEPH, born in New Hamp- shire in 1816, died in New York in 1872. Portrait painter ; studied in Rome. Passed his professional life in Boston and New York. Elected an A. N. A. in 1869, and N. A. in 1870. Ideal works : Miranda ; Night ; Morning ; Death of Webster (1871) ; Ideal heads and a few landscapes. Portraits : Pius IX., Portrait of himself (1872, N. Academy); Ristori ; Prescott ; Daughter of Benjamin F. Butler ; Clarence H. Seward ; R. W. Emer- son ; Rachel ; Webster ; Choate. AMIDANO, GIULIO CESARE, nourished at Parina, 1560-1628. Pupil of Pamiigia- nino, or at least a close imitator of that mas- ter ; painted afterwards also in the style of other masters, and shows on the whole little individuality or independence. Meyer, Kunst. Lex., i. 629. AMIGONI (Amiconi), JACOPO, born in Venice in 1675, died in Madrid in 1752. Venetian school. After having attained a cer- tain reputation in Italy, he went to Munich, and in the service of the Elector frescoed several ceilings in the castle at Schleissheim ; also painted oil paintings for churches and the court. In 1729 he went to London, where he found many patrons, and, besides painting frescos, was soon in great demand as a portrait painter ; through the Russian ambassador he also received orders for the court of St. Petersburg. In 1736 he was, for a short time, in Paris, and in 1739 returned to Venice a wealthy man. In 1747 he re- paired to Madrid as court painter to Ferdi- nand VI. In his time this master stood in high repute, but later was severely criticised ; he is in fact a weak follower of Sebastiano Ricci and Solimena, though a certain ease and mastery of treatment cannot be denied to him, which, wherever his art is confined to a decorative character, produces graceful effects. Works : Children playing with a Goat, Boys playing with a Lamb, Hampton Court ; Joseph in Pharaoh's Palace, Benja- min, St. Ferdinand receiving the Surrender of Seville, Portrait of an Infanta, Madrid Museum. Meyer, Kunst. Lex., i. 631; Ccan Bennudez. AMSTERDAM MUSKETEERS. See Sortie. AMULIUS. See Fabullux. ANASTASI, AUGUSTE PAUL CHARLES, bora in Paris, Nov. 15, 1820. Landscape painter, pupil of Delaroche and Corot, entered the Kcole des Beaux Arts in 1849. Style classical, inclining to the real- istic. Though his pictures are attractive, their treatment is decorative and often superficial, and their colouring mannered. Medal, 2d class, 1848 ; medal, 1865 ; L. of Honour, 1868. In 1869 he became blind. Works: The Last Rays (1850); Harvest- Time (1852); Huts in Normandy; The Seine near Chatou ; View near Bougival ; Banks of the Spree (1855) ; Banks of the Maas (1857) ; Lake in Tyrol, Return of the Herd (1861) ; Villa Pamfili (1864), Luxem- bourg Museum, Paris ; Sunset near Dord- recht ; Forum Romanum, Banks of the Tiber (1865). Others in museums of Marseilles, Lille, and Reunes. Meyer, Kunst Lex., i 1 671; Miiller, 13; Gaz. des B. Arts (1864), xvii. 13, 14. ANATOMIST, Gabriel Max, Private Gal- lery, Munich ; canvas. The anatomist, an elderly man with a thoughtful face, is seated in an arm-chair, gravely contem- plating the features of a fair young girl, whose dead body, lying upon the dissecting table beside him, is draped with a sheet, ex- cepting the face and neck which he has un- covered ; in the background a table, with books, papers, and several skulls upon it. Munich Exhibition, 1869. Art Journal (1881), 177. ANATOMY, LESSON IN, Rembrandt, National Gallery, Amsterdam ; canvas, H. 5 ft 4 in. x 7 ft 1 in.; signed, dated 1632. 37
