A BIOGRAPHICAL DICTIONARY OF
Paris. Louvre. St. Bernardino of Siena. 1477.
„ ,, Pieta.
Pesth. Esterhaxy Gall. Madonna and Ckild.
Eome. J'atican. Pieta.
„ Lateran Mus. Virgin and Saints.
„ „ Madonna.
(See Crivelli, by G. M. Riishforth : Lend., 1900.)
CRIVELLI, Jacopo, the son of Angiolo Maria Crivelli, painted birds and fish. He worked much at the court of Parma, and died in 1760.
CRIVELLI, Taddeo, a miniature painter of Ferrara in the 15th century, was engaged from 1455 to 1461, in company with Franco de' Russi, in painting the pictures in the co.stlj' Bible of Duke Borso of Ferrara ; he also illustrated a number of other works. He died about 1484.
CRIVELLI, VlTTORlO, was a relation, some say a brother, of Carlo Crivelli, and learned his art from him. He lived in the 15th century, and closely imitated his namesake. At Fermo, in the possession of Cavaliere Vinci, is an altar-piece signed and dated by him in 1481. In the church of Santa Maria del I'ozzo, Monte San Martino, the altar-piece representing the 'Virgin enthroned, the Child giving the keys to St. Peter,' is dated 1489 ; and at Alia Matrice in the same town, the altar- piece by him is dated 1490. The South Kensing- ton Museum possesses a ' Virgin and Cliild,' with other subjects, painted by Vittorio Crivelli. A 'Birth of Christ,' and various Saints, by him, are in the Brera, Milan. No dates are known as to his birth or death.
CRIVELLONE. See Crivelli, Angiolo Mauia.
CROCE, Baldassare, was born at Bologna in 1563. He was instructed by Bartolommeo Passarotti, and visited Rome during the pontificate of Gregory XIII., by whom he was employed in the Vatican. He painted with great power and freedom, both in oil and fresco. His principal works at Rome are the cupola of the chapel of San Francesco in the church of the Gesii ; the vault of the choir in St. John Lateran ; and the ' History of Susannah,' in the church of her name. He executed also some paintings in the town-hall at Viterbo. He died at Rome in 1638.
CROCE, Santa. See Santa Croce.
CROCE, Teodoro della. See Verkruts.
CROCIFISSAJO, GiROLAMo del. See Macchi-ETTI.
CROCIFISSI, Simone del See Bologna, Simone DA.
CROISEY, P., a French line-engraver and publisher, who worked at Versailles, and died at the commencement of the present century, executed a large number of maps. He also engraved an oval medallion of Queen Marie Antoinette, when Dauphiness of France, which is one of the best portraits extant of the youthful princess.
CROISIER, Marie Anne, a French engraver, born in 1765, was a pupil of Augustin de Saint-Aubin. She at first engraved some subjects after the old masters, but these she abandoned for political pieces in the days of the Revolution. There is by her a beautifully executed plate representing, in three small medallions, the Duke of Orleans, the Duke of Chartres (Philippe Egalite), and the Duchess of Oiiartres.
CROLA, Gf.org Heinrich, a Gei man landscape painter, was born at Dresden in 1804. He went to Munich in 1830, and was uTitil 1840 a prominent member of the group of landscape painters estab- lished in that city. In the latter year he married and settled in the Harz, where he died at Ilsenburg in 1879.
CROLL, Francis, was born at Edinburgh in 1827, and was first articled to an engraver, naturalist, and excellent draughtsman of that city, named Dobbie. He was subsequently placed with R. C. Bell, with whom he remained two years. Besides his labours for Bell, Croll had found time to attend the drawing lessons given by Sir William Allan, the then director of the schools of the Scottish Academy, by which he greatly profited. Besides the por- traits with which he was entrusted by the publishers of Edinburgh for their various works, Croll en- graved ' The Tired Soldier,' after Goodall, for the Vernon Gallery. The Scottish Society for the Encouragement of Art commissioned him to engrave one of the series of plates from the designs of John Faed for ' The Cottar's Saturday Night,' but this unhappily he was not able to complete before his death, which took place in 1854.
CROME, John — or ' Old Crome,' as he is usually styled to distinguish him from his eldest son, John Bernay Crome, who was also a painter — was born in a small public-house in Norwich, in 1769. His father was a journeyman weaver by trade, and his early surroundings were of the poorest description, and it is not likely that he received more than the mere rudiments of education. At twelve years of age he started in life for himself in the capacity of errand-boy to Dr. Rigby, a physician in Norwich ; but finding the distribution of medicine an unsatis- factory employment for his youthful energies, he soon gave it up, and of his own accord apprenticed himself for seven years to a certain Frank VVhisler, a house and sign painter in Norwich. Here he learnt the use of the brush, and quickly became ambitious of applying it to other subjects than the painting of cornices and coaches. After his apprenticeship was over he worked for a time as journeyman to Whisler, and is said to have been the first painter who practised graining in imitation of the natural marks in wood. During this period he formed an intimate friendship with Robert Lad- brooke, who was then an apprentice to a printer. The two youths spent all their spare time in drawing and studying together, sometimes from old prints, but more often from nature.
Among Crome's earliest patrons were Sir William Beechey, and a Mr. Harvey, who let him copy from his collection of Flemish and Dutch paintings. Whenever Crome went to London he passed a great part of his time in Beechey's painting-room, gaining all the practical instruc- tion he could. He was also patronized by Mr. John Gurney, of Earlhara, and Mr. Dawson Turner ; but in spite of the help aiforded by these and a few other Norfolk gentlemen, it is to be feared that Crome had a hard struggle before assuring a position. He found himself obliged to devote more and more time to teaching, which brought him for a long period far better remuneration than landscape painting. Insensibly, also, it brought him into greater local repute, for it made him known in many families of high stand- ing around Norwich, who commissioned pictures and spread his fame at all events in his own county, and he became the founder of the only local school of painting in England of any importance. He was not even an exhibitor at the Royal Academy until 1806, and during the whole of his
career the total number of his works sent for exhibition amounted only to fourteen.
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