A BIOGRAPHICAL DICTIONARY OF
Florence. Convent of Monte oliveto (outside Porta St. Frediano). Fragment of the Last Supper (fresco).
Naples. Picture Gallery. The Resurrection,
Rome. Villa Borghese. Holy Family.
„ „ Pietà.
„ Palazzo Spala, St. Ciiristopher, (on the back) St. Luke.
„ Palazzo Chiai. Rape of the Sabines (?).
„ Villa Malta (Bolrinsky) Caritas (tondo)
Turin. Picture Gallery, Holy Family.
„ „ Madonna with Saints.
„ „ Lucretia stabbing herself .
Asinalunga.
Colleyiata.
Madonna enthroned with Saints.
Trequauda. „ Ascension (fresco).
Montepnlciano. Picture Gallery. Holy Family.
Milan. Brera. Madonna and Child
Collection Ginhoulhiac. Madonna and Child.
„ Collection, Frizzoni. Magdalen.
„ Collection, Vittadini. Holy Family.
Vaprio d'Adda (near Milan). Villa Melzi. Madonna and Child (large fresco).
Bergamo. Collection Morelit ( Pub. Gall.). Madonna.
„ „ ,„ Portrait of a man.
Vercelli. Coll. Aw.Borgoyna. Madonna and Child and an angel.
Munich. Pinakothek. Holy Family.
Vienna. Imperial Gallery. Holy Family.
Frankfort. Städel Gallery. Portrait of a lady.
Hanover. Kestner Museum. Lucretia.
„ Coll. Cumberland. Holy Family.
Berlin. Museum. Caritas.
Hamburg. Weber Coll. Lucretia.
London. Nat. Gallery. Madonna and Child with Saints (small).
„ „ „ Head of Christ.
„ Coll. Dr. L. Mond. St. Jerome.
„ „ „ Ecce Homo. „ „ „ Madonna and Child. „ „ Mr. Walter Sickert.
Holy Family.
Dr. J. P. Richter. Madonna and Child.
„ „ „ Dead Christ.
„ „ Dorchester House. Holy Family with Angel.(tondo).
„ „ Surrey House. Madonna and Child.
Richmond „ Sir F.Cook. St. George and the Dragon.
High Leigh, Cheshire.
Col. Cornwall, Leigh
Holy Family {tondo).
Gosford House, Longniddry.
Coll. Earl of Wemyss.
Holy Family (tondo).
Corsham Court. Coll. Lord Methuen. Ecce Homo.
Paris. Coll. Count Costa di Beauregard, Christ bearing His Cross.
Brussels. Coll. Baron de Sonze Leda and the Swan.
„ „ Pieta.
R.H.H.C.
BEACH, TnoMAS, was born at Milton Abbas, in Dorsetshire, in 1738. He was a pupil of Reynolds, and became distinguished as a portrait painter. He lived for many years at Bath, and sent his pictures to the exhibitions of the Incorporated Society of Artists, and afterwards to the Royal Academy. Three of his works were included in the Exhibition of National Portraits, 1867. His picture of 'John Kemble and Mrs. Siddons. in " Macbeth," ' is his most celebrated production. He died at Dorchester in 1806.
BEALE, Mary, an eminent portrait painter, was born in Suffolk in 1632. She was the daughter of the Rev. J. Cradock of Walton-on-Thames, and having shown a great inclination for art, she was placed under Sir Peter Lely, and soon became proficient. By copying several paintings by Van Dyck, she acquired a purity and sweetness of colouring for which her portraits are distinguished. Of an estimable character, and very amiable manners, she was patronized and employed by many of the most distinguished persons of her time. Her husband was also a painter, but of no celebrity. Mrs. Beale died in London in 1697. In the National Portrait Gallery, London, there are by her two portraits — one of Charles II., and the other of Abraham Cowley. (See Walpole's 'Anecdotes.')
BEARD, Thomas. This engraver was a native of Ireland, and flourished about the year 1728. He worked in mezzotint, and engraved principally portraits ; among which are the following : The Archbishop of Armagh ; after P. Ashton. The Countess of Clarendon ; after Kiteller. John Sterne, Bishop of Clogher ; after Carlton.
BEARD, William H., was an American, born at Painsville, Ohio.in 1821, his grandfather having been a Judge of the Supreme Court, but his father a ship's captain. From his earliest youth he delighted in drawing, especially of odd, grotesque or dreadful figures, and it was this ability which caused him in later years to become the clever humourist of America. He began as a portrait painter, but the comic element was too strong in him for success in that branch of art, and he speedily turned to works of imagination. His delineations of animal life and his rebukes of the frailties of human nature under the transparent guise of animal scenes rendered him very popular in his own country, where he rose to the highest honours and became one of the earliest associates of the National Academy of Design. His work is but little known in England, but is full of subtle aualysis of character, profound satire and clever colouring. Imagination, humour and satire are the qualities by which his work is distinguished. His drawing was too often weak and at times inaccurate, but his works were always impressive and often dramatic. He died in 1900.
BEARDSLEY, Aubrey, was one of the most original draughtsmen who have ever lived. He attained his utmost celebrity before he was twenty-two years old, and he was but twenty-five when he died. He was really never more than a wonderful precocious boy all his life, with all the frank merriment, enthusiasm and exuberance of a boy. His earliest published work was a programme and book of words for the annual entertainment of the Brighton Grammar School in December 1888. There were eleven drawings in the book, 'the work of a boy at the school,' as the programme stated, and they were all strikingly individual and instinct with life and movement. His next published work was in the 'Bee' magazine, Blackburn, December 1891, and at that time he was a clerk in the Guardian Fire Office. He was always in the very worst of liealth, suffering from frequent attacks of hsemorrhage, but during his evenings found time to prepare a large portfolio of drawings. These attracted the attention of Mr. Aymer Vallance, and later on of Mr. Peiinell, and it was
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