Page:The New International Encyclopædia 1st ed. v. 17.djvu/42

RENFREW. 28 here. The inhabitants arc employed in iron- works and iu sliipbuildiug. Population, in lUOl, 021t7. RENI, ra'n. Giido ( 1;j75-1G42). An Italian paiiitiT. one of the chief nasters of the Eclectic .Siliool (Bolo^'ncsc). Horn at (Jalvenzano, near Uolojina, Xovenilior 4. 1575, the son of u mu- tiiciun. he was ai)prenticcd at an early age to Denys Calvaert. He then studied under the Car- racci, es|)ecially under I^odovico, but aroused their jealousy, and soon parted company with them, and applied himself to the teclinliiue of fn'sco painting under Ferrantini. llis lir.-l short visit to Rome in 1309, in company with Fran- cesco Albani, a friend and fellow student, was given chielly to the study of Raphael, and after some years of further study at Bologna of nature and of classic models, we find him again at Kome in 1605. His development was marked by works very dissimilar in style, those of his early years partaking of tlie manner of Caravaggio, as. for example, the "Crueilixion of Saint Peter" (UHXi. Vatican I; the '•-Madoiuia della Pieta ' ( Pinacoteca, Hologna) : and "The Hermits Saint Paul and Saint Anthony" (Berlin Jhiseum). From this influence, however, he soon freed him- self, forming a style of his own, tinged with refined idealism, in strong contrast to the coarse realism of Caravaggio, and exemplified by the "Concert of Angels" (IGO81, a charming fresco in the Chapel of Santa Silvia (San (Jregorio, Rome), and the world-famed "Triumph of Phoe- bus." generally known as "Aurora" (11)0!), fresco in the Palazzo Kospiglioso, ib. ) — his great mas- lerpiece of this -period, unequaled in nobility of line and poetry of color. In 1610 Pope Paul V. commissioned Guido to decorate the chapel in the Quirinal and other private cha])els. which works increased his rep- utation, as well as the number of his enemies, even the friendsliip of Alliani turning into an- tagonism. .fter his return to Bologna in' 1612. Guido painted "Saint Paul Reproaching Saint Peter" ( Brera Gallery, Milan), quite Venetian in conception; the "ilassacre of tlie Innocents" (Pinacoteca, Bologna), a work full of vigor and resplendent in that warm golden tone char- acteristic of the artist's middle period; the "Apotheosis of Saint Dominic." an imposing fresco in San Domcnico, Rologna ; and "Four Episodes from the Myth of Hercules" ( Louvre ) . In 1620 he decorated a chapel in the cathedral at Ravenna, and in 1621 lie went to Naples, commissioned to execute frescoes in the cathedral, bit was conn)elled by the murderous jealousy of the Neapolitan painters to flee to Rome with- out accomplishing his task. Forced by in- trigues to leave Rome, too, in 1622, he returned to Bologna, where he became the acknowledged head of the Eclectic School, and resided until his death, August 18, 1642. The tone of his pic- tures gradually changed to a pale silvery gray, and in the later part of his life his manner became slight and sketchy, his constant peeu- niarj- difficulties, caused by his inveterate pas- sion for gambling, inducing him to paint with careless haste to retrieve his heavy losses. The most important works of the next decade were the "Triumph of Samson Over the Philis- tines" (Pinacoteca. Boloirna), still in his purest golden tone: a ".ludith" (Palazzo Adorno, Genoa); "Fortuna" (.ccademia San Luca, Rome), one of his finest treatments of female BENNELL. form; and, above all, the "Rape of Helen" (C.1630, Louvre). Masterpieces in his silvery maimer include the famous representations of "Saint Sebastian" (the linest in the Pinacoteca, Bologna ; others in the Capitol, Kome, and iu the Louvre), and the "Nativity" (Liechtenstein Gal- lery, Vienna, an unfinished replica in San Mar- tino, Naples), pronounced by some authorities the artist's finest creation. Favorite subjects with him and his school were the "Ecce Homo," the most celebrated specimens of which are those in the Vienna (two), London, Bologna, and Dresden galleries; the "Cleopatra." best in the Madrid Museum and the Palazzo Pitti, Florence; and the "Penitent Ma.sdalen," of which the Louvre and the Liechtenstein Gallery. Vienna, contain each two examples, the Madrid Museum, the National Gallery, London, and the Piua- kothek in ilunich. each one. The type of melan- choly beaut.v, familiar through the supposed por- trait of "Beatrice Cenci" (1599) in the Palazzo Barberini, Kome, frequently recurs in his paint- ings. In his art, Guido is an Eclectic, lacking in originality. From a technical standpoint his works are good, both as to color, composition, and drawing; but they are full of sentimentality, and he was one of the first to introduce the soft style so disastrous to the development of art. Consult : Bolognini-Amorini, Yita del cele- hre pittore Guido Rcni (Bologna, 1839) ; Lanzi (Roscoe), History of Painting in Italy, iii. (London, 1847) ; Janitschek. in Dohme, Kxnst nnd Kunstler Italiens, iii. (Leipzig, 1879) ; and the authorities referred to under Bologxese School of Paixtixg. RENIEB, rc-nya', Lfiox (1809-85). A Frrnch archaologist, born in Charlevillc (Ardennes), and educated at Kheims. For a time he was a proof- reader and then became instructor and principal in the College of Nesle in Picardy. Then be went to Paris, taught Latin and Greek for sev- eral years, collaborated with Philip Le Bas on the Dictionnaire cncycloprdique de la France i 1840-45), and on Didofs Encyclopedic, and was an editor of Courtin's Encyclopedic modcrne (1845-51). In 1860, after thirteen years in the Sorbonne Library, he became its director and in 1801 became professor of epigraphy at the Col- lege de France. His gi-eat educational work was the foundation of the Ecole des Hautes Etudes with Duruy in 1868. A part of Borghesi's works was edited under his care, and he took a promi- nent part in the excavations of the Farnesi Gardens, and in the purchase of the Campana collections. His work on the inscriptions of Gaul was not completed; his most important publica- tion was Inscriptions romaines de VAlgcrie (18.55-58). BEN'NELL, James (1742-1830). An emi- nent British geographer and explorer. He lost his father when a mere boy, but found a home in the family of Mr. Burrington, vicar of Chudleigh, from whom he received his early education. When fourteen years old he joined the frigate Brilliant as midshipman, and five years Later was an officer in the British Nai-y. He had already developed a love for geography by study and his many opportunities for sur- veying harbors and drawing charts. He made such a reputation by his harbor charts that soon after he left the navy in 1763, to take service with the East India Company, he was appointed Surveyor-General of Bengal.' For the next fif-