PAINTERS AND ENGRAVERS.
weather, he was taken ill, and died in 1609. The
merit of Caravaggio is confined to colour, and to
an extraordinary effect, produced by a daring con-
trast of light and shadow, which only belongs to
nature in abstracted situations. To give it veracity
we must suppose the light to proceed from a
partial and prescribed aperture, which alone can
sustain the illusion. He seldom ventured on
works that required the arrangement of a grand
composition, for which his wantof academic study
rendered him totally inadequate ; he contented
himself with subjects he could represent in half-
length figures, and which did not demand a correct
delineation of the nude.
Berlin. Jfuseum. Love asaniler; Conquered Love; rhyllis {from the Giustiniani ColUction), Dresden. Gallery. Card-players ; Four others. London. Xat. Gall. Christ and the two Disciples at Eimnaus. Paris. Louvre. Death of the Virgin ; The Fortune- teller ; A Concert ; Portrait of A!of. Petrsborg. Hermitage. Ecce Homo ; Martyrdom of St. Rome. .S. Maria del ) Martyrdom of St. Peter ; ^^^V Popolo. J Conversion of St. Paul. Jt »• V „ Vatican Mus. The Entombment (Ais ;«as/fr/)H;C£).
AMERLIXG, Friedrich, painter, was born at Vienna, April 14, 1803. After some hard struggles occasioned by narrow means, he succeeded in entering the Vienna Academy as a pupil, and completed his training under Lawrence in London and under Vernet ia Paris. On his return to Vienna he gained the first prize at the Academy with his ' Dido forsaken ' and ' Moses the Law- giver.' He several times visited Italy. He became a very popular portrait painter in his native city, but continued to paint occasional historical and subject pictures. Among his best kno«n works in each genre we may name : portraits of himself, of the Emperor Francis I., of Thorwaldsen, of Franz Grill- parzer, and of Prince Windischgiatz, also ' Judith,' ' Ophelia,' ' The Widow,' ' Roman Woman with her Infant.' Amerling was a member of the Vienna Academy. He died at Vienna in January, 1887.
AMICI, Francesco, was an Italian engraver, of Florence, of the 18th century, who engraved some small plates of sacred history subjects, among which are :
Christ on the Mount of Olives ; Christ before Pilate ; Christ bearing His Cross ; The Entombmeot of Chiut.
AMICO. See Aspebtini.
AMICO Di SANDRO. See Filipepl
AMICONL See Amiqoni.
AMIDANO, GltTLio Ces.ire (wrongly called PoMPONio), was a native of Parma, and painted from about 1560 to 1628. From the resemblance of his works to those of Parmigiano, he is sup- posed to have frequented his school. If not his disciple, he was certainly one of the most success- ful followers of his style. His heads are noble and graceful, and his design full of taste. His best performance was his picture painted in the church of the Madonna del Quartiere, which has been mistaken by good judges for the work of Parmigiano. Orlandi relates that many of the pictures of Araidano were purchased by foreigners.
AMIEL, Louis F^lix, a French portrait painter, was born at Castelnaudary (Aude) in 1802. He was a pupil of Baron Gros, and died at Joinville- ie-Pont in 1864.
AMIG.ZZI, Giovanni Battista, a painter of Verona, who flourished about the middle of the 17th century, was a scholar of Claudio Ridolfi ; his chief talent consisted in the excellence of his copies, and several of his works have been mis- taken for those of his master. A copy which he made of Paolo Veronese's ' Supper in the House of the Pharisee' is not only finely drawn, but its colours are fresh and vivid even at the present day.
AMIGONI, Jacopo, (or Amiconi), was born at Venice in 1675. He painted historical subjects and portraits. His first works at Venice were two altar-pieces in the church of the Fathers of the Oratorio, and a picture of ' St. Catherine and St. Andrew,' for the church of St. Eustache. He afterwards visited Rome, and from thence went to Munich, where he settled for some time ; but his chief performances are in England, wliither he came in 1729 ; he resided here ten years. Whatever may be the merit of his works, they were for some time in great vogue. He was employed by several of the nobility in ornamenting their houses. After leaving England in 1739 he returned to Venice, where he remained till 1747 ; he then went to Spain, and resided tiiere until his death, which took place at Madrid in 1752. He etched a few plates in a tame, spiritless style; the following are the principal :
Salvator Mundi ; lialf length. Jupiter and Callisto. Zephyrus and Flora. Bathsheba in the Bath. Madonna and Child, Narcissus.
AMIGONI, OiTAVio, (or Amiconi), was born at Brescia in 1605, and was a scholar of Antonio Gandini. His chief excellence was in fresco painting, which he treated with great ability, in the manner of Paolo Veronese. In the Carmelite Churcli, in his native city, is a very considerable work in fresco, executed in conjunction with Bernardino Gandini, the son of his master, which is much extolled hy Averoldi. The subjects were taken from the Life of St. Alberto. He died in 1661.
AMIL, G. P. DE LA VILLA. See De la Villa- Amil.
AMLING, Carl Gustav, (or Ambling), a draughtsman and engraver, was born at Nuremberg in 1651. He was taken under the protection of Maximilian II., Elector of Bavaria, who sent him for improvement to Paris, where he received the instruction of F. de Poilly, whose manner he fol- lowed, but whose excellence he never equalled, although he became a very good artist. After a few years he returned to Munich, and was appointed court-engraver to his patron, Maximilian Emmanuel, whose portrait he engraved, as well as those of many members of the electoral family. Amling died in 1703. He engraved a great number of plates of historical subjects and portraits, but was much more successful in the latter, many of which have great merit. His drawing, particularly in the nude, is not correct ; and in all his prints, except his portraits, there is a want of effect. The following list comprises all his plates, except those he engraved for the academy of Sandrart, and some prints after tapestry, which were private plates in the possession of the Elector of Bavaria : portraits.
Maximilian Emmanuel, Elector of Bavaria; after T,
Macolinus, dated 1670, an oval very scarce.
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