A BIOGRAPHICAL DICTIONARY OF
cuted aome spirited platea in the French style at
the commencement of the 18 th century. There is
by him in Luis de Salazar's ' Indice de las Glorias
de la Casa Famese,' 1716, a plate representing the
arms of that house, with four allegorical figures.
COSCI. See Balddcci, Giovanni.
COSIDA, Geronimo, a Spanish painter of good family, flourished at Saragossa early in the ISth century, and was patronized by the Archbishop Don Fernando de Aragon. His best pictures were architectural decorations. According to Cean Ber- niudez, his invention was fertile and his colouring soft and agreeable. He was still living in 1572.
COSIMO, Andrea di. See Feltrini.
COSIMO, Piero di. See Piero di Lorenzo.
COSIMO DI LORENZO FILIPPI. See Rosselli.
COSMATI, were a family of mosaicists and architects, who lived at Rome during the whole of the 13th century. Their works were chiefly exe- cuted for the churches of Santa Maria sopra Minvera, and Santa Maria Maggiore in their native city.
COSME. See TnRA.
COSSA, Francesco, (or del Cossa,) an Italian painter of the school of Ferrara, flourished in the middle of the 15th century. His name first appears in a record of 1456, which proves that he was then an assistant to his father Christofano del Cossa, who was at that time employed in painting the carving and statues on the high altar in the chapel of the bishop's palace at Ferrara. He afterwards went to Bologna, where his two masterpieces still remain. The first is a canvas with the Virgin and Child enthroned, with two Saints, and a portrait of Alberto de' Catanei, signed and dated 1474, and BOW in the Gallery. The second is a fresco in the church of the ' Madonna del Barracano,' repre- senting the Virgin and Child enthroned, beneath which are the portraits of Giovanni Bentivoglio and Maria Vinziguerra ; it is dated 1472. There is a fine picture of St. Vincent Ferrer in the National Gallery, an 'Annunciation' at Dresden, and an Allegory at Berlin.
COSSALE. See Cozzale.
COSSIAU, Jan Joost van, (or Cosziad,) was a landscape painter, who was born near Breda in 1654, and died at Mentz in 1732, although he generally resided at Frankfort. His manner of treating his landscapes is Italian, and he endeavoured to imitate the style of Qaspard Poussin. His pictures are well composed, and are enriched with buildings and cattle. We find mention of the following :
Brunswick. Gallery. Two L.iQdscapes with Cattle. (Both dated 1704.) Cassel. Gallery. Egyptian Landscape. Munich. Gallery. A large Landscape. 1716.
COSSIERS, Jan, (Cotsiers, Coutsiers, or Causiers,) a son of Antonis Cossiers, a painter in tempera, (who died in 1646-47,) was bom at Antwerp in 1600. He was a pupil of Cornelis De Vo8, the elder, entered the Guild of St. Luke in 1628-29, was dean thereof in 1639-40, and died at Antwerp in 1671. There are many of his works in the churches in Flanders ; they are judiciously composed, and his attitudes are well chosen and natural. His drawing is tolerably correct, and his colouring vigorous, though a little too brown. In the back-grounds of his pictures he frequently in- troduced architecture, which he treated in a masterly manner. The following are among his best works. At Bnissels, in the church formerly of the Jesuits, the ' Nativity ' ; and at the Beguinage, the 'Martyr- dom of St. Ursula.' At Mechlin, a grand com- position of the ' Crucifixion,' and the ' Presentation in the Temple.' In the Antwerp Museum are ' The Adoration of the Shepherds,' ' Preparation for the Flagellation,' and three other works by him ; in the Hague Gallery is a 'Triumph of Silenus'; in the Madrid Gallery, ' Prometheus ' and ' Narcissus ' ; in the Cassel Gallery, ' An Old Beggar-Couple '; in the Brussels Gallery, the ' Deluge ' ; and in the Lille Museum, a ' Miracle of St. Nicholas.'
COSSIN. See Coqoin.
COSSIN, Louis, who was bom at Troyes in 1633, engraved a portrait of Franfois Chauveau after Claude Lef^vre, and also a portrait of Valentin Conrart.
COSTA, Francesco, an Italian painter, chiefly of ornaments and perspective, was born at Genoa in 1672. He was a pupil of Gregorio de' Ferrari and of A. Haffner, and worked much in conjunction with Revello. He died in 1740. A ' Landscape with the Rape of Europa,' by him, is in the Ufiizi at Florence.
COSTA, Ippolito, who was bom at Mantua in 1506, was the son of Lorenzo Costa. Although not a pupil of Giulio Romano, his style closely imitated that master. He died in 1561. He had a brother, GiROLAMO CosTA, of whom he was the instructor, as he was also of Bernardino Campi.
COSTA, Lorenzo, ' the elder,' was born at Ferrara in 14C0, and is supposed to have been the pupil of either Tura or Cossa. In early life he painted some of the frescoes in the hall of tlie Schifanoia, belonging to Duke Borso of Ferrara. Costa's first visit to Bologna seems to have been made in 1480, and he is said to have painted scenes, drawn from the 'Iliad' and Greek history, in the Bentivoglio Palace in 1483. The picture of St. Sebastian, and the portrait of Canon Vaselli, in the Marescotti chapel in Santa Petronia at Bologna, are of about this date. In 1488 he painted a votive Madonna, with the likenesses of Giovanni Bentivoglio and his wife and their eleven children, on the walls of the Bentivoglio chapel in San Giacomo Maggiore at Bologna ; he also executed on the walls of the same eliapel the landscapes surrounding an equestrian figure of Annibale Bentivoglio ; and in 14?0 the frescoes there of the ' Triumph of Life and of Death' were completed. Between 1490 and 1495 he finished the 'Annunciation' at San Petronio, and in 1492 the great ' Madonna and Child, with SS. Sebastian, James, Jerome, and George,' over the high altar of the Baciocchi Oratory in the same church. In 1497 he painted the ' Virgin and Child, with four Saints,' in the Segni chapel in San Giovanni in Monte, and the 'Glory of the Madonna' for the high altar of the same church. In the Brera, Milan, is an 'Adoration of the Magi' of 1499 ; and of the same year are the lunette frescoes in the Bentivoglio chapel, at San Giacomo Maggiore. A friendship existed between Francia and Costa during the j'ears extending from 1480 to 1500, and their works show the influence of Costa upon the Bolognese Francia, who maybe regarded as his pupil in painting. In 1481 Giovanni Bentivoglio founded the Oratory of St. Cecilia, Bologna, and in its decorations Costa, Francia, Chiodarolo, Aspertini, and, according to Frizzoni and Milanese, Cesare Tamaroccio, all had a share; Costa executing two frescoes — one of ' Pope Urban instructing his convert Valerian,' the other of ' St. Cecilia distributing her goods to the poor.' In 1509, after the expulsion of the Bentivoglio family from
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