Bryan's Dictionary of Painters and Engravers

Bryan's Dictionary of Painters and Engravers  (1918) 
by Michael Bryan

5th edition










Bryan's dictionary of painters and engravers, volume 1.djvu

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The Adoration of the Shepherds
from the painting by Correggio









G. Bell and Sons Ltd.jpg




First published, 2 vols. 4to, 1816
Second edition, revised by J. Stanley, I vol, 8vo, 1849
Supplement by H. Ottley, 1876
Third edition, revised by Robert Edmund Graves and Sir Walter Armstrong, 2 vols. 8vo, 1884—1889
Reprinted, 1894, 1899, 1901–2
Fourth edition, revised by G. C. Williamson, Litt. D., 5 vols., 1903-4. Vol. I. reprinted, 1904, 1909, 1913, 1918


The first edition of "Bryan's Biographical and Critical Dictionary of Painters and Engravers" was published in 1816, and since that time it has held its place without a rival as the most complete and trustworthy authority on the facts and lives of the painters and engravers with whom it deals. In 1849 it was revised by Mr. J. Stanley, and subsequently in 1876 a Supplement was prepared by Mr. H. Ottley. Between that time and 1884 not only had it become necessary to add a very considerable number of names, but the whole range of artistic knowledge and criticism had undergone most important and far-reaching changes owing to the researches of Messrs. Crowe and Cavalcaselle, Milanesi, Morelli, Bertolotti and others on the lives and works of the Italian painters; to those of Kramm, Michiels, Fétis, Havard, Hymans, Van den Branden, Weale, and Siret on the Dutch and Flemish painters; to those of Passavant, Waagen, Förster, Meyer, Bode, Woltmann, Schlie, Riegel, and Von Reber on the painters of Germany and other lands; and to those of the late Sir William Stirling Maxwell and Señor Madrazo on the art and artists of Spain. The edition issued in Parts from 1884–9 under the editorship of Mr. R. E. Graves and Sir Walter Armstrong was consequently to a great extent a new work, and extended to almost double the size of its predecessor; a considerable number of engravers especially having been added.

During the fourteen years which have intervened many more names have unfortunately become eligible for inclusion, and further researches have brought to light new facts, while fresh attributions and the transposition of numerous pictures have made much alteration necessary. In this volume, the first of five of which the new edition will consist, will thus be found seventy-two new biographies specified below, whilst upwards of six hundred corrections and alterations necessitated by the march of time have been introduced into the other lives.

The most notable of the new articles are those on Jacopo, Gentile and Giovanni Bellini, contributed by Mr. Roger E. Fry; Giotto (Bondone) by Mr. F. Mason Perkins, his latest biographer; two important contributions on Altdorfer and Blake by Mr. Oldmeadow; Burne-Jones, Vicat Cole, Sidney Cooper, Sir F. Burton by Mr. Malcolm Bell; Mark Antony and Ansdell by Mr. Dibdin, the chief authority on the Liverpool School; Dirk Bouts by Mr. Weale; Arnold Böcklin by Mr. G. Ravenscroft Dennis; Bellin by Mr. Elliot Stock; David Cox by Mr. Arthur B. Chamberlain of the Birmingham Art Gallery; Bonheur, Ford Madox Brown, Cosway, Constant, Calderon, Beardsley and others by the editor, the article on Beardsley being the result of personal acquaintance with this much maligned and very clever artist. In addition to these articles, shorter accounts have been specially written of Armitage, Absolon, Adam, Andrews, Arbo, Aivozowski, Alvarez, Anguisciola, Barnard, Barlow, Barber, Burgess, Brown, Barwell, Beavis, Beard, Bonington, Bashkirtseff, Bierstadt, Bosboom, Brierley, Benouville, Browne, Ballantyne, Bellermann, Boyce, Bryan, Brandard, Brownlie, Binet, Bles, Boudin, Baudry, Brett, Blanchard, Bloch, Brozik, Collier, Casado, Casanova, Cattermole, Cousen, Cope, Cabat, Chaplin, Calthrop, Cosway, Cazin, Clays, and Corbet, making in all a total of seventy-two new biographies. In addition to these new biographies many others have undergone revision in the light of recent research, among which may be specially mentioned, Correggio by Dr. Corrado Ricci of the Brera Gallery, Milan; Michel Angelo (Buonarroti), Paolo Veronese (Caliari), Cossa, Costa, Cimabue, Cima and Carpaccio by Mr. Charles Holroyd of the National Gallery of British Art; Sodoma (Bazzi) and Beccafumi by Mr. R. H. Hobart Cust, author of "the Pavement Masters of Siena." Dealing as a work of this sort does, with facts rather than with criticism, the labours of preceding writers must necessarily be used with a frequency which makes special reference in every case impossible; but the Editor trusts that he will not be found to have placed himself under any obligations that he may not here frankly and gratefully acknowledge. Succeeding volumes of the work will be augmented and improved in a similar manner.

June 1903.


As confusion frequently arises in the alphabetical arrangement of biographical dictionaries owing to the arbitrary mode in which it has been customary to deal with such names as are preceded by an article or a preposition, or by both, it has been thought desirable in this work to adopt the grammatical principle sanctioned by the Belgian Academy in regard to the names of Flemish and French (or Walloon) origin, which are included in the “Biographie Nationale.”

The arrangement therefore is according to the following plan:

I. Every artist having a surname is placed under that surname, cross-references being given from assumed names and sobriquets whenever needed.

Thus, Correggio is entered under Allegri, Antonio.
Pinturicchio Biagio, Bernardino.
Sebastiano del Piombo Luciano, Sebastiano.
Tintoretto Robusti, Jacopo.
Titian Vecelli, Tiziano.

(a) When the prefix to a name is an article it remains annexed, because it is an integral part of the name; but when it is a preposition, it is disunited, because it indicates the place of origin or birth of the artist, or a territorial or seigneurial name. Thus, the French Le and La, and the equivalent Dutch and Flemish De are retained; while the French de, the Italian da and di, the German von, and the Dutch and Flemish van are rejected.

Thus, Charles Le Brun is entered under Le Brun.
Jan David De Heem De Heem.
Jean Francois de Troy Troy.
Heinrich Maria von Hess Hess.
Isack van Ostade Ostade.

(b) When the prefix is an article joined to or preceded by a preposition, as in the French du, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and de la, and the Dutch van der, van de, van den, and ver (a contraction for van der), it cannot be disunited from the proper name, because the particles together represent the genitive case of the article.

Thus, Alphonse du Fresnoy is entered under Du Fresnoy.
Laurent de La Hire De La Hire.
Niccolò dell’ Abbate Dell’ Abbate.
Girolamo dai Libri Dai Libri.
Willem van de Velde Van de Velde.
(c) English artists bearing foreign names are placed under the prefix, whether it be an article or a preposition.
Thus, Peter De Wint is entered under De Wint.

(d) Proper names with the prefix St. are placed as though the word Saint were written in full: and similarly, M‘ and Mc are arranged as Mac.

(e) Foreign compound names are arranged under the first name.

Thus, Baptiste Aubry-Lecomte is entered under Aubry-Lecomte.
Juan Cano de Arevalo Cano de Arevalo.

II. An artist having no surname is placed under the name of the place from which he is known, or failing that, under his own Christian name.

Thus, Andrea da Bologna is entered under Bologna.
Andrea del Sarto Andrea.
Fra Bartolommeo Bartolommeo.

III. Anonymous artists known as the Master of the Crab, the Master of the Die, the Master of the Rat-Trap, will be found under the common title of Master. R. E. G.

W. A. ... ... ... ... Sir Walter Armstrong.
M. B. ... ... ... ... Malcolm Bell.
A. B. C. ... ... ... ... Arthur B. Chamberlain.
R. H. H. C. ... ... ... ... R. H. Hobart Cust.
G. R. D. ... ... ... ... G. R. Dennis.
E. R. D. ... ... ... ... E. R. Dibdin.
O. J. D. ... ... ... ... O. J. Dullea.
R. E. F. ... ... ... ... Roger E. Fry.
R. E. G. ... ... ... ... Robert Edmund Graves.
M. M. H. ... ... ... ... Mary M. Heaton.
C. H. ... ... ... ... Charles Holroyd.
E. J. O. ... ... ... ... E. J. Oldmeadow.
F. M. P. ... ... ... ... F. M. Perkins.
P. P. ... ... ... ... Percy Pinkerton.
C. R. ... ... ... ... Corrado Ricci.
J. P. R. ... ... ... ... J. P. Richter.
W. B. S. ... ... ... ... William Bell Scott.
F. S. ... ... ... ... Florence Simmonds.
H. C. S. ... ... ... ... H. Clifford Smith.
E. S. ... ... ... ... Elliot Stock.
W. H. J. W. ... ... ... ... W. H. James Weale.
G. C. W. ... ... ... ... George C. Williamson.

List of Illustrations

Antonio Allegri, called Correggio
The Adoration of the Shepherds (Photogravure Plate) Dresden Frontispiece
Apostles and Genii in the Cupola Parma Cathedral To face p. 22
Four Lunettes and Roundels of ChildrenConvent of S. Paolo, Parma 24
Pietro Alemanno, or Almanno
Altar-piece, 1489 Ascoli 16
Angiolo Allori, called Bronzino
Ferdinando de’ Medici Uffizi Gallery, Florence 26
Michel Angiolo Amerighi, called Caravaggio
The Lute Player Vienna 32
Andrea d’Agnolo, called Andrea del Sarto
St. John Baptist Pitti Palace, Florence 36
Portrait of the Artist National Gallery 36
Antonello da Messina
St. Jerome in His Study National Gallery 44
E. Armitage
Judas Iscariot Tate Gallery 52
Alesso Baldovinetti
The Annunciation Uffizi Gallery, Florence 74
Giovanni Francesco Barbieri, called Guercino
The Annunciation Forli 82
Federigo Baroccio
The Appearance of Christ to Mary Magdalene Corsini Gallery, Rome 84
Bartolommeo di Pagholo, called Fra Bartolommeo
The Virgin and Child enthroned with Saints Lucca 90
Portrait of Savonarola Florence 90
F. Bartolozzi
Mildness 92
Venus in her Chariot 92
Pompeo Battoni
The Holy Family Brera Gallery, Milan 94
Mary Magdalene Dresden 94
Giovanni Antonio Bazzi, called Sodoma
St. Victor Palazzo Pubblico, Siena 98
Domenico Beccafumi
The Story of Moses and the Tables of the Law The Pavement, Siena 104
Sir W. Beechey
The Brother and Sister Louvre To face p. 106
Gentile Bellini
The Miracle of the Holy Cross (Photogravure Plate) Accademia, Venice 112
Giovanni Bellini
The Transfiguration Naples 114
Thomas Bewick
The Chillingham Bull, 1789 130
Bernardino Di Biagio, called Pinturicchio
Æneas Piccolomini on his way to the Council at Basel Library, Siena 130
Francesco Bianchi
The Madonna and Child with St. Benedict and St. Quentin Louvre 132
Domenico Bigordi, called Ghirlandaio
St. Jerome in his Study Church of the Ognissanti, Florene 134
The Adoration of the Magi Hospital of the Innocenti, Florene 134
Giotto di Bondone, called Giotto
The Final Judgment Arena Chapel, Padua 162
The Funeral of St. Francis Sta Oroce, Florence 162
Bosa Bonheur
The Horse Fair National Gallery 164
Bonifazio Veronese
Moses brought to the Daughter of Pharaoh Brera Gallery, Milan 166
The Adoration of the Magi Accademia, Venice 166
B. P. Bonington
A Coast Scene (Photogravure Plate) Hertford House 166
The Old Governess Louvre 166
Francesco Bonsignori
Details of a Polytych San Giovanni e Paolo, Venice 168
Alessandro Bonvicino, called Moretto
Portrait of an Italian Nobleman National Gnllery 170
St. Bernardino of Siena with other Saints National Gallery 170
Paris Bordone
The Fishermen bringing the ring to the Doge Gradenigo Accademia, Venice 170
Portrait of a Lady National Gallery 170
François Boucher
Madame de Pompadour (Photogravure Plate) South Kensington 176
Dirck Bouts
St. Christopher Munich 184
John Brett
The Stone-Breaker Collection of James Barroio, Esq. 194
Ford Madox Brown
Cordelia (Photogravure Plate) 200
Christ washing St. Peter’s Feet Tate Gallery 202
Chaucer at the Court of Edward III Sydney Gallery 202
Buonarroti, called Michelangelo
The Creation of Man Sistine Chapel, Rome 210
The Three Fates Pitti Palace, Florence 212
The Madonna and Infant Christ, St. John and Angels National Gallery 214
Hans Burgkmair
The Emperor Maximilian, 1518 To face p. 216
Sir E. Burne-Jones
King Cophetua and the Beggar Maid (Photogravure Plate) Tate Gallery 218
P. H. Calderon
Renunciation Tate Gallery 228
Paolo Caliari, called Veronese
The Marriage of Cana Louvre 230
Antonio Canal, called Canaletto
View on the Grand Canal, Venice National Gallery 242
Regatta on the Grand Canal National Oallery 242
Vittore Carpaccio
The Dream of St. Ursula Accademia, Venice 254
St. Ursula and the Pope Accademia, Venice 254
Annibale Carracci
The Artist by Himself Uffizi Gallery, Florence 256
Christ in Glory in the Clouds Vatican, Borne 256
Lodovici Carracci
The Madonna and Child, Angels and Saints Bologna Gallery 258
Rosalba Carriera, called Rosalba
A Lady (Pastel) Louvre 260
Andrea del Castagno
Giovanni Boccaccio Sant’ Apollonia, Florence 266
P. de Champaigne
Three Portraits of Cardinal Richelieu National Gallery 282
The Madonna and Child Sta Maria Novella, Florence 294
G. B. Cipriani
Cupids on a Goat 296
Vincenzo Civerchio
The Birth of Christ Brera Gallery, Milan 298
Charles Collins
Convent Thought Oxford 314
William Collins
Happy as a King Tate Gallery 316
Giovanni Battista da Conegliano, called Cima
St. Peter Martyr and two Saints Brera, Milan 318
The Virgin and Child with Saints Parma Gallery 318
The Madonna and Child Bologna Gallery 318
John Constable
Salisbury Cathedral (Photogravure Plate) South Kensington 320
The Valley Farm National Gallery 322
The Hay-wain National Gallery 322
Benjamin Constant
Her Majesty Queen Alexandra 322
T. Sidney Cooper
Cattle Piece Cambridge 326
J. S. Copley
The Siege of Gibraltar National Gallery 326
J. B. C. Corot
Landscape, 1518 Louvre To face p. 332
Francesco Cossa
St. Vicentius Ferrer (Dominican) National Gallery 336
The Madonna and Child with Angels Bologna Gallery 336
Lorenzo Costa
The Madonna and Child with the Bentivoglio Family Bologna 336
John Sell Cotman
A Galiot in a Gale National Gallery 338
Lucas Cranach
The Agony in the Garden Dresden 348
Lorenzo di Credi
The Madonna and St. John Uffizi Gallery, Florence 350
Thomas Creswick
The Pathway to the Village Church Tate Gallery 352
Carlo Crivelli
Madonna and Saints, the Infant Christ giving the Keys to St. Peter Berlin 354
The Annunciation, 1486 National Gallery 354
Vittorio Crivelli
Madonna and Child Torre de Palme 356
Adelbert Cuyp
River Scene with Cattle (Photogravure Plate) National Gallery 362

Chapters (not listed in original)

This work is in the public domain in the United States because it was published before January 1, 1927. It may be copyrighted outside the U.S. (see Help:Public domain).