Child (1837), Lisieux Museum; Entombment (1837), Liège Museum; Divine Mercy (1839); Ransom of Captive Christians (1840), St. Boniface imploring the Virgin (1841), Église de la Chapelle, Brussels; Descent from the Cross (1841), Église de Thourout, ib.; Entombment, St. Andrew's, ib.; Christ bewailing Jerusalem (1844), Vatican, Rome; Prisoner's Wife, St. Cecilia's last Song, Abundance, Revery (1848); Falling Leaves (1849); Studio Scene, National Museum, Amsterdam; Fourteen Scenes in Christ's Passion (1851), Église de la Chapelle, Brussels.—Biog. nat. de Belgique, vi. 804; Immerzeel, i. 230; Kramm, ii. 466.
EYLAU, BATTLEFIELD OF, Antoine
Jean Gros, Louvre, Paris; canvas, H. 17 ft.
6 in. × 26 ft. 4 in.; signed, dated 1808. Napoleon
visiting the battlefield of Eylau (Feb.
9, 1807), before reviewing his troops. Near
the centre, the Emperor, in a pelisse of gray
satin bordered with fur, raises his hand with
a gesture indicating grief at the sight of the
dead and wounded around him. Among his
staff are, at right, Soult, Davoust, and Murat;
at left, Berthier, Bessières, and Caulaincourt.
Kneeling Lithuanians implore
his pity. In background, Eylau in flames,
lines of French troops with prisoners defiling
before them, and the dead on the battlefield
partly hidden by snow. Salon, 1808.
Gros received 16,000 fr. Engraved by Vallot,
Oortman.—Villot, Cat. Louvre.
EZDORF (Etzdorf), CHRISTIAN (JOHANN
CHRISTIAN MICHAEL), born at
Pösneck, Meiningen, Feb. 28, 1801, died
in Munich Dec. 18, 1851. Landscape
painter, pupil of Munich Academy. Travelled
extensively, both on the Continent and
in England. Studied Ruysdael and Everdingen,
and loved to paint Nature in her
more sombre aspects. He was appointed
court-painter to the Duke of Saxe-Meiningen,
and member of Stockholm Academy.
Works: Waterfall with Mill (1836); Landscape
with Castle in Park (1837); Iron
Works by Waterfall (1840), New Pinakothek,
Munich; Storm (1841); Huntsman by
Beech Trees (1842); Karlssteg in Ziller Valley
(1850); Fisherman's Hut on Lake, Landscape
with Bathing Girls.—Andresen, iv.
249; Brockhaus, vi. 407; Nagler, Mon., i.
1033.
EZEKIEL, Michelangelo, Sistine Chapel,
Rome; fresco on ceiling.
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Vision of Ezekiel, Raphael, Palazzo Pitti, Florence.
EZEKIEL, VISION OF, Raphael, Palazzo Pitti, Florence; wood, H. 1 ft, 4 in. × 1 ft. Jehovah, in a glory of light and of seraphim, seated like Olympian Jove upon an eagle, the symbol of St. John, with a winged lion and bull, symbols of SS. Mark and Luke, beneath him, and the angel, symbolic of St. Matthew, beside him, extends his arms, upheld by two angels, to bless the world, seen at an immeasurable depth below; through the clouds a ray of light falls on Ezekiel and his steed in the distance. Painted about 1517 for Count Vincenzo Ercolani of Bologna. Carried to Paris in 1799; returned in 1815. Copy formerly in De Launay, then in Orleans Collection, sold to Lord Berwick for £800; now at Stratton, seat of Sir Thomas
