A BIOGRAPHICAL DICTIONARY OF
Copenhagen. Gallen/. View in & Village.
Vienna. Gallery. .£neas and Auchises.
SCHAUFUS, a German painter and etclier, who flourished at Dresden in the 18th century. He was a pupil of J. E. Suhonaii, and painted miniatures, He also engraved some plates after Vaudyck, Mengs, and Solimena.
SCHAUR, Philip. This name is appended to an etching of a bearded old man in spectacles, mending a pen, with an hour-glass and books before him.
SCHAW, William, There are some important drawings of Holyrood Palace prei^erved in Scotland amongst the Crowu property believed to be the work of William Schaw, who was Master of Works in the household of James 'I. He was born in 1550, and when about forty years of age was employed in connection with some alterations to Holyrood, and some repairs at Dunfermline. He accompanied King James to Denmark, and some sketches of Danish scenery, his work, are preserved at Fredensborg Palace. lie attracted the attention of Queen Anne of Denmark when in her own country, and became her chamberlain in Scotland, and the Queen erected a tomb at Dunfermline Abbey to his memory. He died in April 1602, and was a .man who appears to have been greatly esteemed by all who knew him.
SCHEBOUYEFF, Wassilvi KonsjinsRn. painter, born at Cronstadt, in 1777, was a pupil of the St. Petersburg Academy. In 1803 he went to Rome, where he painted a ' Decapitation of John the Baptist.' In 1807 he returned to St. Peters- burg, and became Professor of Historical Painting, and afterwards Director, of the St. Petersburg Academy. His ' St. Basil the Great,' ' St. Gregory,' and ' St. John Chrysostom,' are in the cathedral at Kasan ; his 'St. John in the Wilderness,' 'As- sumption of the Virgin,' and ' The Patriot Igolkine,' in the Hermitage. He died in 1865.
SCHEDLER, Johann Georg, (Schaedler,) painter and etcher, was born at Constance in 1777. He devoted himself first to miniature painting, but afterwards took to landscapes in gouache. He settled at Innsbruck, where he died in 1845.
SCHEDONE. See ScniDONE.
SCHEDRIN. See ScnTSCUEDRiy.
SCHEELE NEEL. See Molesaer, Cornelis.
SCHEERES, Henduik Jan, an obscure Dutch painter, the pupil of Van Hove, was born at the Hague in 1829, and died in 1864.
SCHEFFER, Arnold, the son of Henri Scheffer, was born in Paris, and studied under his father and Picot. From 1859 to 1870 he exhibited occa- sionally at the Salon, chiefly scenes from French history. In the Museum at Besanfon there is a ' Funeral Procession in honour of the Duke of Guise,' by him. He died during a visit to Venice, in 1873, while still young.
SCHEFFER, Ary, painter, born at Dordrecht on the 12th February, 1795, was the son of Johann Baptist Schetfor, an artist of German extraction, settled in Holland, and practising as court-painter at Amsterdam ; and of his wife, Cornelia Lamme, of Dordreclit, also an artist. Ary and his brother Hendrik received their first instruction from their father, and Ary is said to have shown a precocious talent, and to have exhibiteii a picture when only twelve years old. In 1810 lie sent a portrait to the Amsterdam Exhibition. In the following year 1ms father died, and Cornelia Scheffer, a woman of much energy and strength of character, resolved to take her three sons to Paris to complete their education. Settling in the French capital, she- placed both Ary and Hendrik with Pierre Gu^rin as pupils ; and in 1816 Ary gained the chief prize for painting at Antwerp, the subject of his picture being 'Abraham and the Three Angels.' Ary soon began to be favourably known in Paris as an indus- trious painter of small genre pictures, of which his ' Soldier's Widow,' 'Sailor's Family,' 'Sister of Mercy,' ' Orphans in the Churchyard,' are examples. These became widely popular by means of litho- graphs. A few more ambitious works dating from this early period are : ' Death of St. Louis ' (1817), 'Socrates and Alcibiades' (1818), 'The Surrender of the Burghers of Calais' (1819). The year 1822 was a marked one in his career, his reputation being greatly enhanced by a picture then exhibited, ' The Shades of Francesca da Rimini and her Lover appearing to Dante and Virgil ; ' and in this same year he painted the ' St. Louis visiting his plague- stricken Soldiers,' for the church of St. Francois- d'Assife, in Paris.
His early works, though painted in the French, manner, show a strong leaning towards the pathetic and emotional vein which was the characteristic note of his mature art. In his second period Ary Scheffer sought inspiration from the greater poets and from the Scriptures. Typical examples in both styles are the ' Beatrice ' and ' Francesca da Rimini,' exhibited at the Salon of 1835; and the 'Christ bearing His Cross,' ' Christ the Consoler,' and ' Ruth and Naomi.' Like David, Scheffer combined with his artistic pursuits an enthusiastic interest in politics, and was a warm partisan of the Orleans family. Introduced to them by Gerard in 1826, he became drawing-master to the children of Louis Philippe, and his professional relations with them soon developed into an affectionate intimacy, the- Princess Marie in particular being greatly attached to him. In 1830, when the events of the Revolution placed Louis Philippe on the throne, Scheffer rode to Neuilly in company with Thiers to tell the Prince he was king. Faithful to him in misfortune, Schefler was also with him when the outbreak of 1848 forced him from the Tuileries.
A journey through the Netherlands in 1829 to study Rembrandt and the Flemish masters had a certain influence upon Schefler's later manner. To this belong the works suggested by Goethe's 'Faust,' and many others inspired by the poems of Byron, Biirger, Schiller, Dante, &c. For the historical gallery at Versailles he painted several pictures, which will be found mentioned below. At the death, in 1839, of his mother, to whom he was greatly attached, he made his first and only essay in sculpture. Desiring that no other than himself should undertake the monument to her memory, he designed and carried out in marble a full-length figure for her tomb, but the result is interesting only as evidence of filial affection.
Scheffer, who was an officer of the Legion of Honour, commanded a battalion of the National Guard during the disturbances of June, 1848, and his services were recognized by an offer of the cross of a commander, which, however, he declined. His political activity brought him into contact with all opinions and classes, and he is said to have been a man of much culture and intelligence, and of great kindliness and benevolence of disposition. His open-handed generosity prevented him from amassing a fortune, and in spite of the large sums which he received for some of his pictures, at his death he left no savings. In his-
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