A BIOGRAPHICAL DICTIONARY OF
CORBETT.—a native of Cork, was a pupil of James Bam-, R.A. He practised portrait painting in London, but afterwards returned to Cork where he met with some success. He died in 1815.
CORBOULD, George James, the second son of Richard Corbonld, was born in 1786. He was apprenticed to James Heath, the celebrated line- engraver, and followed in his steps. He died in 1846.
CORBOULD, Henry, the third son of Richard Corbould, was born in London in 1787. He studied painting with his father, and was at an early age admitted as a student of the Royal Academy, under FuseU, where he gained the silver medal for a study from the life. While at the Academy he made the friendship of Flaxman, Stothard, West, Chantrey, and Westmacott He several times sat as a model to West, in whose picture of ' Christ Rejected ' his head was painted for that of St. John ; as also in that of ' Christ Healing the Sick in the Temple,' in the National Gallery. In 1808 he exliibited a painting of ' Coriolanus ' ; in the following year 'The Parting of Hector and Andromache,' and ' Thetis comforting Achilles,' &c. ; but his name has been comparatively little before the public except as a designer for books, his time haying been almost entirely occupied in making drawings from ancient marbles in the possession of various English noblemeiL Those of the Wobum Abbey Marbles, made for the Duke of Bedford, were en- graved, but oidy circulated among a few of his Grace's private friends. This was also the case with those executed for the Earl of Egremont. "Tlie vast collection of ' Ancient Marbles ' in the British Museum, upon which he was engaged for about thirty years, was in course of publication at the time of his death. He was also occasionally employed in making drawings for the Dilettanti and Antiquarian Societies, of which be was a member. He was devotedly attached to art, and was surpassed by few in professional knowledge; no painter of his time was more thoroughly acquainted with drawing ; and his copies from the anrique may be referred to as models of accuracy and truth. Nor was he by any means without fancy and invention : some of his book illustrations are among the most graceful and effective productions of the age ; and few designers ever more completely entered into the spirit of the author. He died at Robertsbridge, in 1844, of an attack of apoplexy, supposed to have been brought on by exposure to cold.
CORBOULD, Richard, who was bom in London in 1757, was a painter, in oil and water-colour, of portraits, landscape, and occasionally history ; of porcelain, and miniatures on ivory, and enamels ; and was furthermore an illustrator of books, and an imitator of the old masters. From 1777 to 1811 he was a constant contributor to the Royal Academy. He died at Highgate in 1831. Of his works exhibited at the Royal Academy may be noticed :
1793. Cottagers pthering Sticks. 1802. Eve caressing Adam's Flock. „ The Archangel Michael. 1806. Ulysses's Descent into Hades. 1806. View at Hampstead. {At South Kensington.)
CORBUTT. C. See Pcecell, Richaed.
CORDELLE AGI, Andrea, (Cobdegliaghi, or COEIJELLA,) who sometimes signed himself As-DEEAS Beegomessis, came to Venice at the close of the 15th centnrj-, and for several years studied there under Giovanni Bellini ; he then settled at Bergamo, and about 1515, when painting the great altar-piece at San Spirito, of St. John the Baptist and other saints, assumed the title of Pbevitali. The earliest known painting by him is a votive Madonna, now belonging to Count Ferdinando Cavalli, of Padua, dated 1502. Ridolfi mentions an ' Annunciation ' at Ceneda by him, that Titian regarded as one of the ablest productions of the period at which he lived. The late Sir Charles Eastlake possessed a ' Marriage of St. Catharine,' dated by him 1504. He died of the plague in 1528. Many of the churches of Bergamo possess paintings by this master, as do also certain of the public and private collections of Venice. We further note:
London. National Gallery A Madonna and Child, with Monk.
Venice. Sir A. Layard's Coll. Ecce Homo.
CORDES, Wilhelm, a landscape painter, was born at Lubeck in 1824, and died in 1869 at Weimar, where he was professor at the school of arts. A ' Park in Winter,' and 'Hunting the Wild Game,' are two of his productions.
CORDIER, Nicolas, called Franciosiso, a French sculptor, painter, and engraver, was born in Lorraine in 1567. Whilst still young he went to Rome, and became a pupil of Michelangelo. After having painted several pictures of merit, and engraved on wood, he devoted himself to sculpture, and acquired a great reputation. His principal works at Rome are the statues of David, Aaron, St. Bemard,and St. Athanasius, in the Basilica of Santa Maria Maggiore, the colossal bronze figure of Henry IV. of France at San Giovanni in Laterano, and the statues of St. Sylvia and St. Gregory, the latter said to have been begun by Michelangelo, in the church of St Gregory. He died at Rome in 1612.
CORDIER, Robert, a French engraver, established at Madrid in 1629. In 1653 he executed the title-page and 100 small plates for Solorzano's 'Emblemata.' On the top of the title-page, supported by figures of Faith and Religion, heirlooms of the Catholic monarchy, Philip IV. of Spain sits enthroned in all his habitual gravity, using the world, upheld by Atlas, as his footstool.
CORDIER, V., a French engraver, was a native of Abbeville, and flourished about the year 1760. His name is affixed to a plate representing a fountain, from a design of G. M. Dumont.
CORDOVA, Pedeo de, who was bom at Cor- dova, was the founder of the renowned school of that city. He was instructed in his art by Alexo Femandes. An 'Annunciation' by him, painted in 1475, is still in the cathedral of Cordova.
CORDUBA, Francesco, was an Italian engraver, by whom we have a set of plates of the principal fountains which are in the gardens at Rome, into which he has introduced several small figures, in the style of Callot They are etched with considerable spirit.
CORENZIO, Belisario, was a native of Greece, born, according to Dominici, in the province of Achaia, in 1558. He was instructed in the rudiments of the art by an unknown painter, who was so loud in his praise of the Venetian artists, that Belisario burned with impatience to visit Venice, that he might be benefited by the contemplation of those extraordinary productions, of which the description had so much excited his curiosity. He accordingly went to Venice in 1580, when he was twenty-two years of age, and became a disciple of Tintoretto. After passing five years at Venice, he
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