PAINTERS AND ENGRAVERS
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and well coloured, are deservedly esteemed. The Berlin Gallery has three splendid examples of his art; two are signed, and one of them bears the date 1647. His works are also found in the Gal- him the Cross in the sky.
collections on the Continent. An Assemblage of grotesque figures; inscribed Al dat
ADRIAENSSEN, ALEXANDER, the younger,' a painter of still-life, was born at Antwerp in 1625, A similar subject; inscribed Dese Jeron. Bosch drollen. and died there in 1685. In the records of the W.B.S. Antwerp Guild are fonnd several other Adriaens- sens, but they are of no great account. (See Meyer's Künstler-Lexikon.)
ADRIANO, a Spanish monk of the order of Barefooted Carmelites, born at Cordova, was a pune
states that his convent possessed for a long time & He sometimes represented these objects on a clear Magdalene' by this master, which was considered of white ground, in a manner that produced a worthy of Titian. His paintings are rare, as he was singularly natural effect. All his works are care in the habit of destroying them as soon as finished, fully finished, his style is clean aud flowing, and from a modest opinion, very uncommon to artists, he disposed the inanimate objects he represented of their inferiority. Some fine ones, however, were in a very pleasing and picturesque manner. He preserved, through the intercession of his friends. died at Delft in 1658. Pictures by him are in the He died in 1601. Galleries at Dresden and Berlin, and the Uffizi, AEKEN, HIERONYMUS VAN, commonly known Florence. as JEROM BOSCH (or Bos) from his , birthplace, Her- togenbosch (Bois- le-Duc), was born between the years 1460 and 1464. Pabeavant, as las often been asserted, is sometimes doubted, writing in 1860, says 1450. That he visited Spain, and at all events he did not make a very long stay there. In 1493 or 1494 he made a drawing for a window in the church of St. John at Her- togenbosch, for which he also executed various paintings; and he was later employed by Duke Philip le Bel. He died at his birthplace in 1518. Van Aeken made a whimsical choice of subjects for his pictures, which are generally grotesque re- presentations of spectres, devils, and incantations, which, however ridiculous, are treated with singu- lar ingenuity. He painted a few pictures of a more serious cast, among which were the 'Flight into Egypt,' and Christ bearing His Cross,' in the church of Bois-le-Duc, which Karel van Mander speaks of in very favourable terms. One of his most singular compositions was a picture repre- senting Our Saviour delivering the ancient Patri- arche from Hell.' Judas, in attempting to escape with the elect, is seized on by devils, who are in
the act of hanging him in the air. A Last Judgment' by him, is in the Berlin Gallery, and a 'St. Anthony' in the Antwerp Museum; and the Madrid Museum contains several of his works. It is said that Philip II. of Spain so much admired Van Aeken's painting, that he had an altar-piece by him frequently Guillmo) van Aelst. His pictures, perpetually in his oratory. The engravings which were formerly ascribed to him are now known to have been done by Alaert du Hameel and other masters, from Bosch's designs. The following are a few of them:
The Temptation of St. Anthony; a large woodcut, engraved four years after his death; dated 1522 The Last Judgment; Christ appears in the air, seated on a rainbow, and on each side of him are two angels
been attributed to his uncle Evert--one signed mortui, renite ad judicium. At the bottom of the print are small figures of men and devils of all shapes intermised.
St. Christopher carrying the Infant Jesus across a river, and a hermit with a lantern. Engraved on copper; very curious on account of the innumerable monstros creatures swarming in the water. A very rare print. Constantine at the head of his army, an Angel showing leries of Madrid and Antwerp, and in private The Baptism of Christ by St. John.
AELS, N. The name of this engraver is affixed to a print representing St. Joseph leading the Infant Jesus by the hand, with a landscape back-ground.
AELST, EVERT VAN, who was born at Delft in 1602, excelled in painting birds, dead game, armour, speaks of him as a great artist; and Palomino vases of gold and silver, and similar subjects.
AELST, NICOLAUS VAN, was born at Brussels about the year 1527. At an early age he estab-lished himself at Rome, where from 1550 to 1612 he carried on a considerable commerce in prints. The naines of the painter, and the engraver of the plates, executed for his collection, were frequently omitted, and his own inserted, with the word formis, to denote that he was the publisher, It is, however, sufficiently proved that he some times used the graver, as we have several plates in which the word fecit, or sculpsit, is added to his name. Heineken notices a set of twelve plates of birds engraved by this artist.
AELST, PAUWEL VAN. See KOECK, P. VAN.
AELST, WILLEM VAX, the son of a notary, was at Delft in 1620. He was the nephew of Evert van Aelst, by whom he was instructed in art. He passed four years in France and seven in Italy, and the polish and exquisite finish of his works rendered then extremely popular in both conn.tries. The Grand Duke of Tuscany employed his talents for some time, and, as a mark of his favour and approbation, presented him with a gold chain and medal. He returned to Holland in 1656, and, after spending some time in his native Delft, he settled at Amsterdam, where his pictures were so much adınired that he could with difficulty satisfy the demands for his works; and at a sale which took place shortly after his death his pictures real-ized comparatively large bums. He died in that city in 1679. He is said to have imparted instruc-tion to the celebrated Rachel Ruisch; she was, however, only fifteen at the time of his death Willem van Aelst, from his long residence in Italy, acquired the habit of signing his name in the language of that country: viz. Guilielmo (or more like those of his uncle, represent fish, dead game, and still-life; they are, however, much more neatly finished, and are even more precisely wrought up than the highly-valued works of Weenix. Some of them, even signed ones, have sounding trumpets, with labels bearing the inscription : tac est dies quem fecit dominus , Surgite W. VAELST, in the Uffizi Gallery, and two at the Hague, bearing the name of GUILLO VAN AELST, and dated respectively 1671 and 1663. Other good works by Willem van Aelst are in the Galleries of 7
