tailor of that city, where he was born in 1574. He studied under Philip Uffenbach of Frankfort, and settled early in Rome, where, as ADAMO TEDESCO, he acquired great distinction for his small minutely-finished landscapes, on copper, into which he introduced well-painted figures, from subjects both of Christian and classical mythology, giving to both equal importance; it is certain, however, that there is more unity and character when some one element or province preponderates. Elzheimer was also distinguished for his night-pieces, with moonlight or with torch- or lamp-light effects, and sometimes moonlight and torchlight combined in the same picture; in which, very properly, the effect of the light represented is the prime feature. In these subjects, says Sandrart, he became a model to other painters: as for example, "The Flight into Egypt," in which Joseph leads the ass with one hand, and holds a torch in the other; a subject treated by him several times. Sandrart also tells us of Elzheimer's enthusiastic love of nature: he would lie half a day or a whole day, studying a cluster of trees or some striking natural object, and without making any sketch would go home and make a faithful picture of it. Turner and Horace Vernet are reputed to have made similar studies, with like results.

Elzheimer married a Roman wife, and had so large a family that he got into debt, as his pictures, by reason of the great labour he bestowed upon them, did not pay him sufficiently to meet his necessary expenses. He was cast into prison, and here he lost courage, fell into a state of hopeless despondency, and died, in 1620, either in prison, or soon after he obtained his liberty, through the intercession of Pope Paul V. Rubens, and his friend the Count Goudt, are said to have liberally assisted him; but it was in vain.

After his death Elzheimer's reputation was greatly enhanced, and as his pictures were exceedingly scarce, the works of Jacob König of Nürnberg, his imitator at Rome, were substituted for them, not innocently but wilfully, König's signature being removed to further the imposition, says Hüsgen.' There are about sixty engravings, including a few duplicates, after the works of Elzheimer, twentytwo of which are by Hollar, and seven by the Count Hendrik Goudt 2 of Utrecht, who was a pupil and great patron of Elzheimer's at Rome. Elzheimer himself etched a few plates.

Among landscape and animal painters, PHILIP Roos of Frankfort (1655-1705), called ROSA DI TIVOLI, where he settled, was a bold and effective painter. He was the son and pupil of John Henry Roos, a 1 "Artistisches Magazin," Frankfort, 1790, p. 85. This writer went to a friend's house to see an "Elzheimer," when to his astonishment he saw a picture which he had known elsewhere as a signed “ König.”

2 This nobleman had a miserable end. When he returned home to Holland, after the death of Elzheimer, some lady of Utrecht gave him in 1624 a love potion, which so seriously injured him that it deprived him of his memory for the remainder

painter of similar subjects, and of some merit. Philip was considerably mannered, but had extraordinary powers of execution, and has left many works on a large scale. He died in Rome. Some of the bolder works of FRANZ WERNER TAMM, of Hamburg (1658-1724), who likewise visited Rome, might be mistaken for those of Rosa di Tivoli.1

It would be an uninteresting labour to follow the Germans further: every petty capital has its own favourites, who reverse the old proverb, and are unlike prophets, for while great in their own country, they have little or no credit out of it. There are, indeed, but very few German painters of the seventeenth or eighteenth centuries who can justly claim a place in a summary general view of the art, such as is attempted to be given in this work. The Church was still the great patron of the German artists, but portrait, genre, landscape, animal, and architectural painting all had their more or less worthy representatives.

Among these few painters may be mentioned CHRISTOPHER PAUDITZ, an imitator, if not a pupil, of Rembrandt; who excelled in history, portrait, and animal painting. He was a native of Lower Saxony, but the date of his birth is unknown. The Gallery at Dresden possesses a portrait of a young man, said to be his own, signed, and dated 1600? Pauditz lived chiefly at Freising in Bavaria, where he found a great patron in Albrecht Sigismund, Duke of Bavaria, and made Bishop of Freising in 1639; his principal work is “Christ driving the Money Changers from the Temple," in the old cathedral of that city. His death is said to have taken place at Freising, in consequence of a defeat in a competition with a painter of Nürnberg, of the name of Rosenhof; the subject was "A Wolf destroying a Lamb;" both pictures are now in the Gallery at Munich, and are dated on the back, 1666. That of Pauditz is the better performance, certainly, but it is not particularly excellent; he has introduced a skulking fox, watching his opportunity for a share in the prey.* He has signed his name on this picture, Paudiss.

One of the most remarkable German painters of this period was certainly BALTHASAR DENNER, who was the son of a Quaker of

of his life. Fiorillo, "Geschichte der Mahlerei in Deutschland," ii. p. 553. His seven plates after Elzheimer, are- Tobias and the Angel," 1608; the same subject, 1613; "Ceres," known as "The Witch," 1610; "Philemon and Baucis," 1612; "The Flight into Egypt by Moonlight," 1613; a small landscape, 1613; and The Beheading of John the Baptist," oval, marked H. G.

1 Francesco Londonio of Milan (1723-83), better known for his etchings of animals and landscapes, also painted in the manner of this painter.

2 Lipowsky, "Baierisches Künstler Lexicon," 1810; Schäfer, "Gemaelde-Gallerie zu Dresden," &c., 1860.

Hamburg, where he was born November the 15th, 1685. He died at Rostock, April the 14th, 1749. He was chiefly a portrait-painter, and was sometimes minute in his execution, even to the marking of the peculiarities of the skin. Yet with all his microscopic finish, his heads have an artificial effect, and appear less natural than the bold and often even carelessly handled portraits of Paul Veronese or Velazquez, Titian or Vandyck, Rembrandt or Reynolds: we neither do see, nor care to see, such details as Denner loved to elaborate. The great painters mentioned managed to produce a more natural, and, therefore, a really more finished effect, with one tenth of Denner's labour: though there never was a great painter who achieved his position without great labour, labour alone has never made a great painter. The world was, however, fascinated by Denner's finish, and he was greatly patronized by the Courts of Northern Europe. A fall in his youth made him a cripple for life, and this circumstance inducing sedentary habits, no doubt contributed much to that patient endurance which enabled him to carry out his elaborate system of finishing. Some of his examples of youth and age are taken from his own family, from his father and mother and children. He married in 1712, and his wife accompanied him in all his numerous journeyings; comprising a visit to London in 1715, and again in 1721, when he was offered 500 guineas for the head of an old woman, which was afterwards bought by the Emperor Charles VI. for 4700 florins (4701.), and is now at Vienna, where also is his own portrait, painted in 1726. Denner lived several years in England, and Hampton Court possesses some disagreeable specimens of his highly-finished heads. Excessive finish was rather exceptional with Denner; his ordinary portraits were necessarily less elaborate than his professedly sensation heads. He painted also miniatures, and fruit and flower pieces, distinguished for their high finish.

DOMINICUS VAN DER SMISSEN (1704-60), his pupil and brother-inlaw, painted in imitation of his style, and the works of the pupil occasionally pass for those of the master; they are, however, usually less laboured and much better, being executed with greater general taste.' CHRISTIAN SEYBOLD of Mainz (1697-1768), court painter to Maria Theresa, was another good imitator of Denner, and a refinement on him.

One of the most versatile geniuses of the later German painters was JOHANN WILHELM ERNST DIETRICH, who enjoyed a great reputation at Dresden, where he was keeper of the celebrated Picture Gallery. He was born at Weimar in 1712, and learnt painting of I. ALEXANDER THIELE (1685-1752), the German Canaletto, by

1 66 Hamburgisches Künstler Lexicon," 1854."

whom there are many good views at Dresden. Dietrich died at Dresden April 24th, 1774. He painted almost all subjects, and was remarkable for the facility and fidelity with which he imitated the style and manner of other masters. After his Italian visit in 1735, he sometimes wrote his name Dietricy.

One more master deserves especial mention-DOMINIK QUAGLIO, who may take rank among the best architectural painters of any time or country. He was born at Munich in 1787, and was taught painting by his father, a scene-painter there; and Dominik commenced his own career in the same capacity. He soon forsook this occupation, however, for architectural painting, and excited universal admiration by his carefully-studied pictures of the old Gothic cathedrals, and other medieval buildings of Germany: he has drawn also, in lithography, many admirable views on a large scale of the most interesting old places in South Germany, in any way remarkable for their architecture: one of the most delightful of these is the Market Place of Nuremberg, 1819. Quaglio made also many drawings in Italy for Gally Knight. He died on the 9th of April, 1837, at Hohenschwangau, the castle of which he was restoring for the late King of Bavaria, Maximilian II., then crown Prince.

CHAPTER XXV.

THE ANATOMICAL MANNERISTS AT ROME AND FLORENCE IN THE SIXTEENTH CENTURY.

THE accession of Adrian Florent of Utrecht, the tutor of Charles V., as Adrian VI., to the Papal chair, for a time paralyzed the arts: he was wholly indifferent to them. The extravagance and worldliness of his predecessors had reduced the temporal and spiritual affairs of the Papal State and Church to a condition of ruin and disorder beyond remedy. The great schism in the Church was rapidly increasing; and Adrian, who has the character of having been a conscientious man, was too much occupied by the anxieties of his high office to turn any attention to the pursuits and enterprises of his worldly predecessors.

In the year 1527, however, a much greater calamity happened to the arts of Rome, in the sack of the city by the soldiers of Charles V., under Bourbon,' when the great school of Raphael was dispersed over Italy. The Cardinal Giulio de' Medici (Clement VII.) was then Pope he was a man of a very different character from Adrian; and when Rome had somewhat recovered from the excesses of that memorable year, affairs began to assume their usual course previous to the accession of Adrian. Giulio, a true Medici, was ambitious and worldly, and costly undertakings in art were again commenced. Clement VII. ordered the completion of the decorations of the Sistine Chapel, and the Last Judgment by Michelangelo was commenced a few months before the death of this Pope. His successor Paul III. was equally desirous of the prosecution of the picture, which was at length finished, after a lapse of eight years in its progress, during the reign of that Pope. This great work, however, appears to have contributed chiefly to hasten the decline of the art. Hosts of copyists and mannerists arose, who, possessed, from this great example, with a mania for representing the naked human figure, sacrificed almost every beauty, quality, and motive, to the paramount desire of anatomical display; and apparently imagining the perfection of design to exist in violent action and muscular protuberance, imitated only the manner, while they persuaded themselves that they had acquired the art, of Michelangelo. The picture of the Last Judgment found many disapprovers even

1 Benvenuto Cellini, in his autobiography, gives a circumstantial account of some of the incidents of this barbarous invasion, and claims the credit of having shot Bourbon with his own hand: this is doubted, but some other homicides he boasts of are no doubt true enough. See also Vasari, "Vite," &c.