PAINTERS AND ENGRAVERS.
human figures. He was a favourite artist of the
Emperors Maximilian II. and Rudolph II., in
whose sers'ice he was employed the greater part of
his life. He died at Milan in 1593. Four works
by him are in the Belvedere at Vienna — ' Summer'
and ' Winter,' which he painted in 1563 ; ' Fire '
three years later ; and ' Water.'
ARCIONI, Daniele, (or Circioni,) a worker in niello, who is highly praised by Amhrogio Leone, is little known in the history of the arts. He appears to have been a contemporary of Maso Finiguerra and other eminent nielloiori. He flourished at Milan about 1500.
ARCO, Alonso del. See Del Aeco.
ARDEMANS, Teodobo, an emment an. hi ect and painter, was bom at Madrid in 1664, and studied painting in the school of Claudio Coello. His father was a German. As he chieflj- followed architecture, his works as a painter were few, but the fresco of the ' Apotheosis of St. Francis ' with which he ornamented the vault of the sacristy of San Francisco at Madrid was considered n master- piece. No painting by biro now remains. He was made painter to the kin^ in 1704, and held that post till his death, which took place at Madrid in 1726. He designed the celebrated frontispiece to the ' Diario de los Viages de Felipe V.,' which was engraved by Edelinck : and it is said that he him- self practised the art of engraving.
ARDENTE, Alessandbo, a Piedmontese painter, who appear.o, from the dates on his pictures, to have flourished from the year 1565 to 1592. In the church of San Paolo, at Lucca, is a picture of St. Antonio Abate, signed, and bearing the former date ; and at Moncaliere, near Turin, an altar- piece of the 'Adoration of the Magi,' with the latter. At Turin, in the Monte della Pieti, is a picture of the ' Conversion of St. Paul,' by Ardente, painted with a grandeur of style that would in- duce us to think he was educated in the Roman school. He was painter to Duke Charles Emmanuel of Savoy, in whose ser^'ice he died in 1595.
AREGIO, Pablo de, (Arigo, or Akbegio,) is named among the Spanish painters, but it is more than probable that be was an Italian, as his name imports (Paolo da Reggio, or Arezzo). He painted, in 1.506, in conjunction with Francesco Neapoli, the doors of the high altar of the cathedral of Valencia, with subjects from the Life of the Virgin, which are admired for correct design, noble charac- ter, grandeur of form and expression, and all those fine qualities in art that belong to the school of Leonardo da Vinci, of whom both the painters are supposed to have been pupils.
ARELLANO, Josi de, a Spanish flower painter of the 18th century, is represented in the Madrid Gallery by two works.
ARELLANO, Juan de, born at Santorcaz in 1614, was a scholar of Juan de Solis, but not suc- ceeding in the higher branches of art, he copied the flower-pictures of Mario di Fiori, and after- wards by attention to nature became very eminent in that department. His pictures are highly esteemed in Spain, and are to be found in most of the collections. There are six flower-pieces by him in the Madrid Gallery. He died at Madrid in 1676.
ARELLIUS was a painter of some celebrity, at Rome, a short time before the reign of Augustus. From the manner in which he is mentioned by Pliny, he must have possessed considerable ability. That writer reproaches him severely for having selected, as the models for his goddesses, the most celebrated courtesans of his time ; a reproach which he never thought of making to some of the greatest artists of Greece, who constantly availed themselves of the same practice.
ARENDS, Jan, born at Dordrecht in 1738, was a brother of the poet Roelof Arends. He was a pupil of J. Ponse, and painted landscapes and marine subjects. He laboured many years at Amsterdam and Middelburg, but returned event- ually to Dordrecht, where he died in 1805. Ha was well skilled in perspective, and practised engraving.
ARENIUS, Olof, a Swedish portrait painter, and son of a minister in Upland, was born in 1701. He studied under David von Krafft, and afterwards went to the Netherlands to study the old masters. His portraits and miniatures in oil are much esteemed, and are to be found in all the public galleries, as well as in the best private col- lections, in Sweden. Many of them have been engraved. He died at Stockholm in 1766.
ARETINO. See Spinelli.
ARETUSI, Cesare, was a native of Bologna, where he flourished in the second half of the 16th century. It is not said under whom he studied, but lie formed his style from the works of Bagna- cavallo. In conjunction with Giambattista Fiorini, he painted the cupola of the cathedral of San Pietro at Bologna. Aretusi died in 1612. His portraits are very highly esteemed, and his great success in that line accounts for his having executed so few historical w-orks. Several of the most illustrious personages of his time sat to him, and his portraits have a beauty of colour and a breadth that remind us of the works of Correggio. Lanzi ob- serves that he was distinguished as a colourist in the Venetian taste, but in point of invention weak and dull, while Giambattista Fiorini, on the other hand, was full of fine conceptions, but worthless in his colouring. These two artists formed an intimate friendship, and by uniting their powers produced paintings of considerable merit. The following works, entirely executed by Aretusi, are at Bologna : in San Benedetto, a ' Deposition from the Cross ; ' in San Francesco, an 'Annunciation,' and a 'Conception;' in San Giovanni in Monte, ' The Birth of the Virgin ; ' in the Theatine Church, 'St. Bartholomew ; ' in Santa Maria della Carita, a ' Madonna, with Charity and St. Francis.' He could assume the style of almost any painter, and even pass off his imita tions for originals. Those of Correggio were par- ticularly successful, and he received a commission to execute a copy of the celebrated ' Notte,' by that master, for the church of San Giovanni in Parma. Mengs, who saw it, declared that were the original at Dresden by any accident lost, it might he weO replaced by so fine a replica. This per- formance obtained for him the honour of cop3ang the painting executed by Correggio for the tribune of the same church, which had been removed to extend the choir ; and that picture, says Ruta, in his Guida, from its accurate imitation of the taste displayed in the original, of its conception and of its harmony, led those unacquainted with the fact to suppose it to be the work of AUegri. Tliis is confirmed by Pungileoni in his ' Memorie istoriche di Antonio Allegri, detto II Correggio.'
ARETUSI, Pelleorino de, (generally called Pellegbino Mdnari, and also Pellegrino da MoDENA,) was instructed in painting by his father, Giovanni, who flourished at Modona in the latter
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