PAINTERS AND ENGRAVERS.
he did not succeed, and that he died in prison.
He muflt have been quite old when he died, aa Zani
says he was living in 1664.
BARABE, — , a French architect and engraver, a native of Rouen, flourished about the year 1730 at Paris and Versailles. He engraved prints of architectural subjects, and was one of the first to work in aquatint.
BARATTA, Antonio, (or Babatti,) an Italian designer and engraver, was bom at Florence about the year 1727. He engraved several plates for a volume of prints from pictures in the collection of the Marquis Gerini, published at Florence in 1759. He also engraved, among other portraits, that of the painter Giovanni Bettini Cignaroli, after Delia Rosa.
BARBALONGA, Antonio, a membe"- of the noble family of the Alberti, is often confused with Antonio Ricci. He was bom at Messina in 1600, and was there instructed in painting by Simone Comand^. He went to Rome, where he became a disciple of Domenichino, whose style he imitated with great skill. He executed a great number of paintings for churches, his chief work being the ' Conversion of St. Paul,' in the convent church of St. Anna at Messina ; others are to be met with at Rome, Palermo, and Madrid. He died at Messina in 1649.
BARBALONGA, Antonio. See Ricci, Antdkio.
BARBALONGA, Juan de. See Vebmeijen.
BARBARELLI, Giorgio, (or Babbarella.) See GlOEGIONE.
BARBARINI, Franz, an Aust.ian artist of Italian origin, was bom a', Znaim in 1804. He excelled as a painter of landscapes and as an en- graver. He studied at Vienna, under Jos. Kem- pel, a sculptor, but devoted himself afterwards to landscape painting, in oil and water-colour, in which branch he improved himself by visiting Salzburg, the TjtoI, and Switzerland. He died at Vienna in 1873. Among his etchings may be mentioned :
A Mountainous Be^on in Austria. The Country-honse. On the Road to Schonbrnnn. 1827. The Must Waggon, 1827 ; after J. A. Klein. The Saddled Horse ; after the same. The Country of the Bernese Oberland ; after Ville- neuve. A series of 17 landscapes ; after EothmuUer.
BARBARJ, Jacopo de', called also Jacob Walch, and the ' Master of the Caduceus,' was bom at Ve- nice about 1450, and was working at the beginning of the 16th century. The history of this master has long been a matter of dispute among critics. It now seems satisfactorily established that Barbarj and Walch, who were formerly considered as two different artists, were really the names of the same master, who was simply called Walch (that is, a foreigner), in Germany, because of his Italian birth. The evidence for this birth rests chiefly on a state- ment made by Durer in a MS. preface to his ' Book of Human Proportions,' preserved in the British Museimi. He speaks in this of " a man named Jacobus, bom at Venice, a delightful painter," who showed him, when he was quite young, a figure of a man and a woman, drawn to scale, which greatly delighted him, and " moved him to try to arrive at like results." When Diirer went to Venice in 1506 he mentions in one of his letters that Jacopo was not there, and indeed it is generally believed that in this year he accompanied Count Philip of Burgundy to the Netherlands, stopping on the way at Nuremberg. M. EmOe Galichon, who was the first to throw light on the history of this master, supposes that lie first went to Nuremberg at this date ; but an eariier residence there of some length is more probable, considering that Walch is mentioned by Neudorffer, the historian of the Nuremberg artists, as belong- ing to that town. He says also that Hans von Kulmbach was his pupil. M. Ch. Ephrussi, in his recent rnonograph on Barbarj, considers that he resided in Nuremberg between the years 1494 and 1500, and even an earlier date may well be sur- mised. But some time before 1500 Barbarj must have been back in Venice, for at that date he executed an immense plan or bird's-eye view of that city, which was engraved on wood, and pub- lished by Anton Kolb, the head of the German merchants settled in Venice. After his journey to the Netherlands we lose sight of him, until his name appears in 1510 in the accounts of Margaret, Regent of the Netherlands. He is here called " Valet de chambre and Court-painter " to this princess, and it is recorded that a sum of seventy- six livres and six deniers was paid to him in order that he might buy a velvet doublet and a robe lined with lamb's-skin. In 1511, also, a yearly pension was accorded to him " in consideration of his good, agreeable, and continual service," he being then " weak and old, and receiving no other wage." Before 1516 we know he must have died, for in that year he is spoken of in an inventory of the Archduchess Margaret's effects as " the late Master Jacopo." In 1521, when Diirer was travelling in the Netherlands, he saw a sketch-book by Jacopo, which he admired so much that he asked the archduchess to give it him, but she said she had already promised it to Bemhard van Oriey, Jacopo de' Barbarj' s art forms a point of contact between the German and Italian schools, but his style is more that of a Germanized Italian than of an Italianized German. His subjects are chiefly chosen from classical mythology, and a classic grace and feeling are seen in his treatment of them, though in execution his prints are often entirely German. Very few paintings can be with certainty ascribed to this master. One of these, a still-life subject, in the Augsburg Gallery, is signed Jac° de barbarj. P. 1504, with the Caduceus undemeath on a conspicuous folded sheet of paper, painted in one comer of the picture. There seems, therefore, no doubt about the authenticity of this work, though it is a strange subject (a pair of gauntlets, and a bird, hanging against a wooden wall) to find painted by such a master. Other paintings ascribed to him are :
1. St. Jerome in his Cell ; also ascribed to Van Eyck and Memling, and by Crowe and Cavalca«elle to Antonello da Messina. Now in the possession of Lord North- brook, 2. A bust figure of Christ, signed with the Caduceus and the initials I. A, D, B., in the "Weimar Gallery. 3. Virgin and Saints, formerly in the Galichon Oolleo- tion, signed with the Caduceus and initials I. A, F. F 4. A Bast of Christ. 5. St. Catharine. VAll in the Dresden Gallery. 6. St. Barbara. But it is as an engraver that Jacopo de' Barbarj is chiefly known. Bartsch enumerates 24 copper- plates by him, and more recent critics 29. These
are:
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