A BIOGRAPHICAL DICTIONARY OF
in order to devote himself entirely to engraving. Among his most important are those in Webster's 'Spelling Book,' Bell's 'Anatomy,' Josephus's 'His- tory,' and Shakespeare's Plays, all from original designs. An engraving of the ' Last Supper' (from an English design), which was made between 1820 and 1830, was the last work he produced on copper. He afterwards confined himself to wood engraving. Anderson worked on to a very great age, and died in Jersey City in 1870. His works are in the style of English wood engraving of the earlier part of the 19th century. (For a full account of his life, see 'Art Journal' for 1858, p. 271.)
ANDERSON, Robert, born in 1842, was a Scottish engraver of some repute. In the latter part of his life he devoted himself to painting in water-colour. He was elected an Associate of the Royal Scottish Academy in 1879, and died in Edinburgh, April 24, 1885.
ANDERSON, William, who was born in Soot- land, in 1757, was a painter of marine subjects, chiefly of small dimensions. His subjects are treated in a very pleasing manner, with a soft pencil and great amenity of colour. He exhibited at the Royal Academy from 1787 to 1814. He died in 1837.
ANDERSSON, Nils, a Swedish painter, who was bom in East Gothland, in 1817, was the son of a peasant. After he had received a course of instruction in Stockholm, he travelled through Europe, and went in 1854 to Paris, where he stayed for two years, and studied under Couture. On his return to Stockholm, he was made a mem- ber of the Academy, and in 1858 a professor. He died at Vaxholm, near Stockholm, in 1865. He painted historical pieces, pictures of genre subjects, and landscapes with animals. Good examples of his work are in the National Museum at Stockholm.
ANDERTON, Henby, an English painter, who was born in 1630, was a scholar of Streater, and afterwards went to Italy for improvement. He painted historical subjects and portraits, but was principally employed in the latter. He acquired the patronage of Charles II. by a portrait he painted of Mrs. Stuart, afterwards Duchess of Richmond, and almost rivalled Sir Peter Lely. He died soon after the year 1665.
ANDRE, Jean, (or Andray), who was bom in Paris, in 1662, became a Dominican in 1679. He went to Rome, where he received lessons from Carlo Maratti, and studied the works of Michel- angelo and Raphael. He painted portraits and historical subjects, and has the character of being very correct in his designs, and a good coloiirist. He died at Paris in 1763. Amongst his best works may be mentioned the 'Feast of the Phari- see,' in the Dominican Church at Lyons ; his own Portrait, in the Louvre ; the 'Marriage of Cana,' and the ' Miracle of the Loaves,' at Bordeaux ; and the ' Adoration of the Kings,' and numerous others which he painted in various churches in Paris. Andre imparted instruction in art to Taraval, Chasle, and Dumont.
ANDRE, Jules, who was bom in Paris in 1807. studied under Jolivard and Watelet, and became a landscape painter of merit. He travelled in Belgium, the south of France, and the Rhine country ; and he was also employed at the porce- lain manufactory at Sevres. He died at Paris in 1869. The Galleries of the Luxembourg and Lille possess paintings by him. He executed several decorative panels in the new Louvre, and in the Hotel d'Albe. He obtained a second-class medal in 1835, and the decoration of the Legion of Honour in 1853. Andre painted in a manner half- way between the style of the old French classic landscape painters and that of the modem school His son, Edmond Marthe Alphonse Andre, who studied under him, and with Pils, became a genre painter of some repute. In 1876 he painted a 'Halt of Zouaves at Patay.' He died in Algiers in 1877.
ANDRE, S. R. DE SAINT. See Saint-Andre.
ANDREA, Alessandeo, according to Heineken, flourished about the year 1578, at which time he engraved the portrait of Gilles de Noailles, Abbe de St. Amand, the French ambassador at the court of Constantinople.
ANDREA, Zoan, an engraver of the early part of the 16th century, of whom little is known, is called by Zani, a Venetian. He executed a number of plates after Albrecht Durer and other masters. Meyer mentions 35 plates by him.
ANDREA DA FLORENTIA. See Floreniia, Andrea da.
ANDREA d' AGNOLO is commonly known as Andeea del Saeto, from the profession of his father, who was a tailor. He has till lately been miscalled Vannucchi. Giovanni Cinelli, writing in 1677, was the first to call him by that name. The mistake arose through the misreading of Andrea's monogram of two A's for an A and a V crossed. It may be here noted that he is in no case called Vannucchi by a contemporary. His name was Andrea d' Agnolo di Francesco di Luca di Paolo del Migliore. He was born at Florence in 1487, and, having shown an early dis- position for drawing, he was placed with a gold- smith, to learn the business of engraving on plate. In this situation he was noticed by Giovanni Barile, an artist of little note, who persuaded his father to entrust him to his care. Andrea remained under that master for three years, and afterwards entered the school of Piero di Cosimo, who was a better colour- ist than draughtsman, and from him he acquired the habit and knowledge of painting those beautiful landscape backgrounds which are seen in many of his works. Andrea was, however, more indebted, for the cultivation of his talents, to his studies from the frescoes of Masaccio and Ghirlandaio, and after- wards from the cartoons of Leonardo da Vinci and Michelangelo, than to the lessons of his instructors. On leaving the school of Cosimo, he formed an intimacy with Franciabigio (who had been a dis- ciple of Mariotto Albertinelli), and with him he lived for some time, but "contemporary history contains no reference to anything that they did in companionship." Amongst his first works are frescoes illustrating the history of St. John the Baptist, in the Scalzo, of which the cartoons are pre- served in the Palazzo Rinnuccini. The 'Baptism of Christ' is in his early manner, and shows an undisguised imitation of Albrecht Durer ; in the 'Visitation of the Virgin,' painted a few years afterwards, his advancement is conspicuous ; and in the ' Nativity of St. John,' the last he painted of the series, he had nearly reached his most admired style. His next undertaking was the 'Life of St. Filippo Benizzi,' in five pictures, in the church of the Servi. In these frescoes, which have been engraved by Alchinri, the genius of Andrea took a bolder flight, and they are con-
sidered among the most graceful of his works,
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