merit; worked for churches and monasteries. Works: Landscapes (2 with figures by Pieter Bout), Dresden Gallery; three, formerly in Pommersfelden Gallery; three, Museum, Bruges; two, City Hall, ib.; others in churches at Brussels.—Meyer, Künst. Lex., i. 50; Weale, Bruges et ses environs (1846), 21.
ACKER, JACOB, flourished in Ulm, second half 15th century. German school. He is the only one of a family of painters of whom a well-authenticated work exists, viz., the pictures on the side wings and the predella of an altarpiece painted in 1483, which is preserved in the chapel of St. Leonard at the Cemetery of Risstipen, Ehingen. They represent Christ and the Disciples, and male and female saints.—Meyer, Künst. Lex., i. 51.
ACKERMANN, JOHANN ADAM, born in Mentz in 1780, died in Frankfort in 1853. Landscape painter; studied in Mentz and in Paris under David, then in Aschaffenburg, and from 1804 in Frankfort. Most successful in his winter landscapes taken in the Taunus, Spessart, and Odenwald. Works: View of Auerbach, View near Borghetto, Darmstadt Gallery. His brother, Georg Friedrich (1787-1843), was also a landscape painter.—Meyer, Künst. Lex., i. 51.
ACQUA, CESARE DELL', born in Pirano, Istria, July 22, 1821. History, genre, and portrait painter; pupil from 1842 of the Venice, and from 1847 of the Paris Academy, then in Brussels of Gallait, whose influence is, next to that of the Venetian school, most observable in his pictures. From 1857 to 1868, after a previous journey to Italy, he won his greatest success with historical paintings, among which are a series executed in 1858-66 in the Villa of Miramar for the Arch-duke Maximilian. Works: Last Moments of Niccolò Macchiavelli; Provenzano Silvani begging for Ransom of a Friend; Cromwell on the Battlefield; John preaching in the Desert (1851); Jesus calling Little Children (1854); The Brothers Degli Uberti in the Battle of Monte Aperto (1851); Mary Stuart derided by the People of Edinburgh (1854); Ferruccio at the Defence of Volterra (1854); Trieste proclaimed a free Port; Ugon da Duino entrusted with the Government of Trieste (1855); Reception of the Milanese in Brescia in 1162 (1857); Confession of Louis XI. (1858); Cornelia, Mother of the Gracchi; Tintoretto and his Daughter; Last Moments of Marino Faliero; Anna Erizzo rejecting Mohammed's Love; Erasmus and Bolognese Students; Youth of Spinoza; Dante received in Verona by Cane della Scala; Sally of the Milanese against Barbarossa (1863); The Kelts as first Inhabitants of the Rocks at Miramar; Roman Festival; Emperor Leopold I. visiting Grignano Monastery; Archduke Maximilian receiving the Delegation from Mexico; Departure of the Imperial Couple from Miramar; Arrival of Empress Elizabeth at Miramar; Allegory representing Maximilian planning the building of Miramar.—Meyer, Künst. Lex., i. 54.
ACTÆON. See Diana and Actæon.
ADAM, ALBRECHT, born at Nördlingen, April 16, 1786, died in Munich, Aug. 28, 1862. Painter of military genre and of horses; at Nuremberg in 1803 painted portraits and small hunting scenes, but afterwards, under the influence of Rugendas in Augsburg, took up military subjects, for which he found ample material during the Austriau campaign of 1809. Went with Eugene Beauharnais as court painter to Italy, and in 1812 to Russia; returned in 1815 to Munich, and found employment at court. In 1829 he worked in Stuttgart for the king of Würtemberg, and in 1850 painted in Vienna the battles of the Austrian army under Radetzky. Works: Battle of Leoben (1811); Battles of Moschaisk and Malojaroslawetz, besides 85 other scenes from campaign of 1812; sixteen battle pieces from Life of Eugene Beauharnais (1841, St. Petersburg); Battle of Abendsberg (1826); Painter's studio (1835), Berlin Museum; Battle on the Moskwa (1835); Battles of Custozza, Novara, and Sta. Lucia (1850); Battle of
