Prince Eugène; Watch on the Rhine.—Müller, 274.
ILLUSIONS, LOST (Illusions perdues),
Charles Gabriel Gleyre, lately in Luxembourg,
Paris; canvas, H. 4 ft. 6 in. × 7 ft. 11
in. A man, seated in the twilight on a deserted
shore, sees pass before him on the
river a boat filled with young men and
maidens crowned with flowers—lost illusions
which the current is hurrying into the
night. Salon, 1843; conceived, according
to the painter's diary, on the Nile, opposite
Abydos, in 1835. Replica (2 ft. 10 in. × 4
ft. 11 in.), W. T. Walters, Baltimore.—Sir
Arthur Helps, Friends in Council; Art
Treas. of America, i. 89.
IMER, ÉDOUARD, born in Avignon,
Dec. 25, 1820, died in Haarlem, June 13,
1881. Landscape painter, self-taught.
Painted truthful landscapes, usually taken
from central France; travelled in the East,
especially in Egypt and Algeria. Medals:
1865; 2d class, 1873. Works: Road in
Provence (1850); Rhone Plain in Provence,
Landscape near Marseilles (1853); Ponds
of Soumabre, The Rhone (1855); Pond of
Soumabre (1857), Neuchatel Museum; Sycamores
on the Road to the Pyramids,
Island of Philæ, Woods of Doums, Sycamores
at Ghizeh, Environs of Cairo (1857);
Hills of St. Marguerite, Mas de Barême,
The Rhone (1859); Pond of Soumabre, The
Pont du Gard, Edge of the Woods of Montespin
(1861); Island of Lerins, Gulf of
Juan, Masdes Aubes (1863); Sycamores at
Ghizeh, View in Berry (1864); Pond of
Fourdines (1865); Ruins of Crozant (1865),
Neuchatel Museum; Island of St. Honorat,
The Creuze (1866); Valley of Venasque,
Ramparts of Aigues-Mortes (1867); Circus
of Frejus, Road of Crozant (1868); Environs
of San Raphaël, Bridge of San Raphaël
(1869); Sluice of the Pond of Sault, View
in Berry (1870); The Creuze, Quay of Zattere
in Venice (1872); Oak-Tree of Voulliers,
Sea View (1873); Pond of Hiot, Piedimonte,
Shore of St. Jean d'Orbeiter (1874);
The Creuze, Plain of Cayeux, Marshes of
the Bay of the Somme (1875); Oaks of
Dauphiny, Bay of the Somme (1876); Bridge
of Saint-Benezet, Avignon Museum; Evening
on Lagunes of Venice, Rocks near Cassis—Provence,
Neuchatel Museum.—Bellier, i.
802; Meyer, Conv. Lex., xx. 505.
IMMACULATE CONCEPTION. See Conception.
IMOLA, GIOVANNI DA. See Ferretti.
IMOLA, INNOCENZO DA, born at Imola
in 1494, died at Bologna about 1550. Bolognese
school. Real name Innocenzo di
Pietro Francucci; pupil in Bologna of Francesco
Francia, and in Florence of Mariotto
Albertinelli, in whose style he painted
(1517) the Madonna with Angels and Saints,
Bologna Gallery. Later he became an imitator
of Raphael. On his return from Florence,
executed many works at Imola and
Bologna. Among the latter the most important
are frescos of the Death and Assumption
of the Virgin (1519), in S. Michele in
Bosco; Madonna in Glory with Saints and
Angels, Gallery; Annunciation, Servi; Crucifix
(1549), S. Salvatore; Madonna with
Saints, S. Matteo; Madonna with Kneeling
Donors, Gallery; Marriage of St. Catharine
(1536), S. Giacomo Maggiore. There is an
altarpiece (1526) by Imola in the Duomo,
Faenza; another in the Berlin Museum; a
third in the Munich Gallery; and a Madonna
in the Carlsruhe Gallery.—Vasari, ed. Mil.,
v. 185; Lermolieff, 65, 282; Gualandi,
Guida di Bologna; Lanzi, iii. 36; Ch. Blanc,
École bolonaise; Lübke, Gesch. der. ital.
Mal., ii. 377.
IMPICCATI, ANDREA DEGLI. See
Castagno.
INCENDIO DEL BORGO, Raphael,
Stanza dell' Incendio, Vatican; fresco, arched
top. The district of St. Peter called the
Borgo Vecchio in flames (A.D. 847), the fire
even threatening the Church of St. Peter,
the old façade of which is seen in background;
all efforts to stay the conflagration
are vain until Leo IV. appears in the Loggia
of the Vatican (now destroyed) and
makes the sign of the cross, when, accord-
