PAINTERS AND ENGRAVERS.
also numerous, so that he must be considered one
of the most prolif5o as well as able of the early
German school. Bartsch mentions only one etching
by him, ' Venus and Mercury,' a small print on iron.
For lists and comments on his works see Nagler's
'Kunstler Lexicon ' ; Bartsch, Le ' Peintre-Graveur,'
vol. vii. ; Passavant, vol. iii. W. B. S.
BUKGKMAIR, Thoman, or Thomas, the father of Hans Burgkmair, and the father-in-law of Hans Holbein the elder, is mentioned in the records of the Painters' Guild at Augsburg in 1460, and in public documents there in 1479. He painted in 1480 a ' Christ with St. Ulric ' and a ' Virgin with St. Elizabeth of Thuringia,' both in the cathedral at Augsburg ; the gallery of that city also possesses a picture by him of the ' Martyrdom of St. Stephen, St. Lawrence, and scenes from the Passion.' Burgk- mair died at Augsburg in 1523.
BURGOS Y MANTILLA, Fbakcisco, the son of a lawyer, studied painting under Pedro de las Cuevas, and afterwards with Velazquez. Dis- tinguished for his portraits, he painted many persons of rank at Madrid about 1658. IsiDOBO DE BUBGOS Y Mantilla, probably a relative of Francisco, painted in 1671 a series of portraits of the Kings of Spain, from Henry II. to Charles II. inclusive, for the g^est-chamber of the Chartreuse of Paular, according to Cean Bermudez, of grace- ful design and agreeable colour. He was also a poet, and printed a romance in honour of the statue of San Miguel in the Escorial by Luisa Roldau.
BUKGT. See Van deb Bubqt.
BURINO, Antonio, who was born at Bologna in 1656, was a scholar of Domenico Canuti, and also devoted much time to the study of Paolo Veronese. He proved a very reputable historical painter. Many of his works were in the churches and palaces at Bologna, the following among them : ' The Crucifixion ' in San Tommaso dal Mercato ; ' David with the Head of Goliath ' in the sacristy of San Salvatore ; and ' The Martyrdom of St. Catharine ' in Santa Caterina de Saragozza. He also painted a saloon for the Palazzo Legnani, and this has been very highly spoken of. He died in 1737. His Portrait by himself is in the Uffizi, Florence.
BURKE, Thomas, an engraver, who was born in Dublin in 1749, adopted the style of Bartolozzi, in the chalk manner, and occasionally that of Earlom. He was a pupil of Dixon, and engraved chiefly after the works of contemporary artists, particularly Cipriani and Angelica Kauffmann. He died in London in 1815. His engravings are gen- erally printed in red or brown colours, and are dated from 1772 tol791. The following are the principal :
Telemachus at the Court of Sparta; after Any. Kauffmann. 1778. Andromache at Hector's Grave ; aflir the same. The E.attle of A^court ; afta' Mortimtr. King John signing the Magna Charta ; after the same. The Nightmare ; after Fuseli. Portrait of Mrs. Siddons ; after Dance. Portrait of Lord North ; after the same.
BURKHAKDT, Jacques, studied at Mimich and in Rome. He accompanied Agassiz in his cele- brated researches on the glaciers of the Aar, and illustrated many of the works of that professor. He died at Montreal in 1807.
BURNE-.JONES, Sir Edwabd, Baronet. Ed-WABD CoLEY BuBNE, as he was christened, the only son of Edward Richard Jones and his wife Elizabeth Coley, was born at Birmingham, August 28, 1833. He was sent in 1844 to King Edward's School in the same city, where he studied to so good purpose, that in 1852 he won an exhibition which enabled him to enter Exeter College, Oxford, to which he went the same year, his father's wish and his own intention being that he should eventually be ordained as a minister of the Church of England. The pictorial work of Dante Gabriel Bossetti, however, with which he became acquainted first through an illustration to William Allingham's ' Elfin Mere-,' and later at the house of Mr. Combe, the director of the Clarendon Press, so aroused his enthusiasm that lie resolved finally to abandon his proposed career and devote himself to art. In 1855 he went to London and made the acquaintance of Rossetti, on whose recommendation he left the University without taking his degree, and, after a brief period of study in that artist's studio, began in 1856 the serious work of his life without further instruction, though for a long time under the frequent superintendence and with the constant advice of his only master. He settled to begin with at 17, Red Lion Square, where his earliest works, mostly in pen-and-ink and water-colours, were carried out. In the autumn of 1858 he returned to Oxford, no longer as a member of the University, but as a collaborator with Rossetti, and other artists under bis influence, in an extensive scheme of decoration for the reading-room of the Oxford Union, to which he contributed a painting of Merlin and Nimue, a work which, together with its companions, time has rendered utterly unrecognizable. In September 1869 he paid a visit to Italy and studied the works of the Italian masters at Florence, Siena, Pisa and elsewhere. On returning to London he removed to Russell Place, Fitzroy Square, and on June 9, 1860, was married to Miss Georgiana Macdonald in Manchester Cathedral. In 1861 he moved to Great Russell Street, and again, in 1865, to Kensington Square. In the meantime so re- solved had been his application and so steady his progress that in 1863 he was elected an associate of the Royal Society of Painters in Water-Colours, to whose Gallery he was a frequent contributor during the following years. In 1867 he changed his residence once more and for the last time, removing to the Grange, North End Road, Fulham, a picturesque old house, at one time occupied by Sanmel Richardson, which he continued to inhabit till his death. He retired from the ^'ate^-Colou^ Society in 1870, in consequence of a misunderstanding, and thenceforward, with the exception of a solitary reappearance with two pictures at the Dudley Gallery in 1873, was unknown as an exhibitor, and, to a large section of the public, even as an artist, until the opening of the Grosvenor Gallery in 1877, which, containing an important representation of his completed work, brought him once for all into popular notice, if not at once into popular estimation, in his native land at least, for the French critics to whose attention his work was introduced for the first time at the Exposition of 1878 received it at once with unqualified approval. Yet, though his first general reception was indisputably a mixed one, the public and expert appreciation of his art continued to grow rapidly and uninterruptedly. He was presented with a fellowship by his old college in Oxford,
and at the Encaenia of that University in 1881'
217
