A BIOGRAPHICAL DICTIONARY OF
picture which he painted for his reception being
the 'Punishment of Busiris by Hercules.' It has
been engraved by Jean Mariette, and is now in the
Louvre. Inferior to his brother in the correctness
of his design, he was still a reputable painter, and
gave proof of his talent in several public works at
Paris. For the cathedral of Notre-Dame he painted
the ' Deliverance of St. Peter from Prison,' which
has been engraved by B. Picard ; and for the church
of the Carmelites, ' Christ appearing to St. Theresa
and St. John of the Cross.' He also engraved
several plates from his own designs, and some after
the Carracci. They are etched with great spirit,
and some of them are finished with the graver.
The following are his best plates :
SUBJECTS FBOM HIS OWN DESIGNS.
The Bust of Michelangelo. SusauDab aud the Elders. St. Augustine in the midst of his Disciples. St. Bernard. Christ appearing to St. Theresa and St. John. The Bust of Monsieur, crowned by Victory. Apollo and Cupid ; a medallion. Apollo and Daphne ; the same. Mercury in the Air. Diana and Calisto.
SCB.IECTS AFTER THE CARRACCI.
St. John in the "Wilderness ; after Annihale Carracci. Christ with the Samaritan Woman ; after the samt. Two Landscapes, with St. Francis.
CORNEILLE, Michel, a French painter, was born at Orleans in 160L He was a scholar of Simon Vouet, in whose stj'le he painted several works for the churches, and was one of the twelve original members of the Royal Academy at Paris. His most celebrated work, ' St. Paul and St. Barnabas at Lystra,' was painted for the cathedra! of Notre- Dame, and has been engraved by Poilly. His plates were signed with the letters M. C- He died in Paris in 1664. Corneille etched several subjects after Raphael, the Carracci, and others ; among which are the following :
The Holy Family, with St. Elizabeth ; after Kophael. The Murder of the Innocents ; after the same. Christ appearing to Mary Magdalene ; after the same. The Virgin suckling the Infant Jesus; after L. Carracci.
CORNEILLE, Michel, (called Corneille l'AIn^,) « painter, was born in Paris in 1642. He was the «on of Michel Corneille of Orleans, and studied under his father and under Le Brun and Mignard. He gained the pension at the Academy, which enabled him to visit Italy ; but once there, he soon freed himself from the tie in order to study the antique in his own way. The works of the Carracci became eventually the model of his choice. On his return to France he became a member of the Academy in 1663, painting for his reception a picture of ' Our Lord's appearance to St. Peter after his Resurrection,'and was subsequently employed by the King at Versailles, Meudon, and Fontainebleau. He decorated with frescoes the cupola of the chapel of St. Gregory the Great in the Invalides, and painted the ' Calling of St. Peter and St. Andrew ' for the cathedral of Notre-Dame. He also painted a ' Holy Family' for the Church of the Feuillants, a ' Massacre of the Innocents ' for that of the Innocents, and a ' St. Francis ' for the Capuchin church of the quarter of the Temple. Towards the close of his life he had apartments at the Gobelins manufactorj', and is occasionally spoken of as ' Corneille des Gobelins.' The Louvre has by him a ' Repose in Egypt,' and the Bordeaux Museum a ' Baptism of Constantine. ' He drew correctly, and his works are remarkable for a careful management of the half- lights : his heads are not devoid of a certain nobility. Simonneau, Tardieu, Sarrabat, Jean Mariette, and Audran have engraved after him. He himself etched and engraved with a broad, free point up- wards of a hundred plates, which show considerable taste. He died at the Gobelins in Paris in 1708. The following are his principal works :
subjects from his own designs. The Deity appearing to Abraham. Abraham journeying with Lot. Abraham discomfiting the Army of the confederate Elings. Abraham setting out with his son Isaac for the Sacrifice.
[These four plates having come into the possession of a printseller at Rome, named Rossi, he put the name of Raphael on them ; they are now scarce.] Samson and Delilah. The Conception of the Virgin. The Annunciation ; in two plates. The Nativity. The Infant Jesus in the Manger. The Flight into Egypt. The Calling of St. Peter and St. Paul to the Apostleship. St. Francis kneeling before the Cross. Christ and the Virgin appearing to St. Francis. subjects after various MA.STERS. The Marriage of St. Catharine ; after L. Carracci. The Virgin and Infant Jesus in a Landscape ; after Agostino Carracci. Jacob wrestling with the Angel, in a Landscape ; after Annihale Carracci. St. John preaching in the Desert ; after the same. St. Jerome in a Landscape ; after the same. St. Francis receiring the Stigmata ; after the same. Silenus, a Satyr, and a Faun, in a Landscape ; after thi same. Abraham sending away Hagar ; after the same.
CORNEJO. See Duque Cornejo.
CORNELIS, Albert. It is not known where this master was born or where he learned his art. He was admitted as master-painter into the Guild of Saint Luke at Bruges between 1492 and 1498, and held the office of 'vinder " in 1518-19. He died in 1532. He was employed by the magistrates of Bruges in 1520 to paint the decorations of the streets for the joj-ous entry of the King of the Romans on July 24, 1520. Documents in the archives of Bruges shown that he executed many paintings, but only one of these is known : the ' Coronation of tlie B. Virgin,' in the church of Saint James at Bruges.
CORNELIS, Lambert, was a Dutch engraver of the latter part of the 16th century, who was chiefly employed for the booksellers in engraving portraits. He resided for a long time in France. Among others, we have by him the portrait of Tycho Brahe, the astronomer, and one of his best works is the portrait of Queen Anna of Poland, 1596.
COBNELISZ, (or Cornelissen,) Cornelis, was born at Haarlem in 1562. He was at first a scholar of Pieter Pietersz, son of Pieter Ariaensz, but betook himself to France when only seventeen years of age. On being driven back by the plague he made his waj' to Antwerp, and worked under Frans Porbus and Gillis Congnet. He afterwards returned to Haarlem, and there, in conjunction with C. van Mander, founded an Academy, from which many excellent artists were sent out. He was Regent of the Old Men's Hospital from 1614 to 1619, and died at Haarlem in 1637. His paintings comprised
allegorical, mythological, and historical scenes, to-
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