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Jacques Rousseau, who had studied in Italy, practised solely in perspective, architectural, and landscape. On his return, he was employed at Marli; but, being a protestant, he quitted his work on the prosecution of his brethren, and retired to Switzerland. Louvois invited him back ; he refused, but sent his designs, and recommended a proper person to execute them. He was invited to England by the duke of Montague, to adorn his new house in Bloomsbury-square, where he painted much, and had the supervisaI of the building; for which the duke allowed him an annuity of two hundred a-year for his life, instead of 1500l. ; at which sum he estimated his work. Rousseau only lived two years to receive it. He died in Soho-square, at the age of sixty-eight, and bequeathed most of his possessions to his fellow-sufferers, the refugees.
Charles de la Fosse was also invited to England by the duke of Montague, and painted two admirable ceilings for him, the Apotheosis of Isis, and an Assembly of the Gods: such was his celebrity in France, that he was called un des plus grandes coloristes de L’Ecole Françoise; but this panygeric does not imply excellence; as, in colouring, their best masters failed.
Thomas Berniere, a young statuary, who flourished in this reign, was born in England of French parents. His models and small works in marble are much commended. The anatomical figure. commonly seen in the shops of apothecaries, was taken from his original model. He carved Portraits from life, in marble, for two guineas.
John Sybrecht, of Antwerp, a landscape-painter, who had studied the views on the Rhine, was brought over to this country by the duke of Buckingham, who was pleased with his works, and employed him at Cliveden. He made several views of Chatsworth. At Newstede Abbey are two pieces by his hand, which perpetuate his fame: the first a landscape in the style of Rubens's school: the other, which is still better, a prospect of Longleate, not unlike the II).31] Ther manner of Wouverman. Sybrecht died in 1703, aged seventy-three.
Hemry Tilson, grandson of the bishop of Elphen, was bred under sir Peter Lely, and esteemed a good painter in oils and crayons; especially in the latter. He was some years in Italy, copying the best masters with diligence and success. He was rising in reputation, when he unfortunately conceived a violent passion for a woman who slighted him:—this disappointment disordered his senses; and, in a fit of phrensy, he shot himself at the age of thirty-five.
Henry Gyles, an ingenious artist of the city of York,
excelled in glass-painting for windows, arms, sun-dials,
history, landscapes, &c. The window at University College, in Oxford, was painted by him.
It is well known that the art of painting on glass was commonly practised in England before the reformation; and it appears from a series of dates, taken from windows still preserved, that it has been practised in every age since that period. Peter Oliver painted on glass in the reign of Charles II., and the two succeeding reigns: John Langton in the reign of Anne; Price and Rowell about the same time; and the art was latterly successfully practised by W. Peckett of York. Rowell, who was bred a plumber, excelled in it: the beautiful red, so conspicuous in our old windows, was discovered by him; and with him the secret is supposed to have died, in the year 1756. This species of painting is admirably adapted to some scripture histories. Had the glory of the Transfiguration been painted on glass by Raphael, it would have had a much more astonishing effect than the same subject executed by the same hand on an opaque ground.
N. Heude, who painted a stair-case at lord Tyrconnel's, and
and a ceiling at Bulstrode; William de Keisar, who prac
tised miniature-enamel and oil-colours, imitating various
manners; Largilliere, who has left some pieces very highly
finished ; and Fancati, an Italian, who, with an elaborate ingenuity, copied the portraits of James and his queen with apen; are the only painters in this reign who remain to be enumerated, and are still esteemed by the best artists in the present day *.
END OF THE HISTORY OF KNOWLEDGE, &c. IN THE REIGN OF JAME3 H.