DA (Abraham), a German engraver, who imitated the style of Theodore de Brye. There is a plate by him of the Last Supper, executed with the graver in a neat stiff style; it is inscribed Abraham Da, fecit; from which it may be presumed it is from his own design. Strutt. D bell. There are few more gratifying examples than that of a woman of high rank, beauty, and accomplishments, disdaining the frivolous and the frequently vicious pursuits by which females in the higher circles of society are unhappily absorbed, and occupying herself with studies of an intellectual character-studies, the tendency of which is to refine and elevate the tone of her mind, to secure to her sound, rational, and permanent enjoyment, and eventually to place her name among those whom posterity will contemplate with feel DACH (John), a German painter, born at Cologne in 1566. He was employed by the emperor Rodolphus II., who bestowed upon him honours and riches. His pieces are very excellent.-Vie des Peint. DAHL (Michael), a Danish por-ings of admiration and respect. trait painter, who died in England in 1743. He was in great repute, and had the honour of painting the portrait of queen Anne.- Walpole's Anecdotes of Painting. DALEN (Cornelius Van), a Dutch engraver, born about 1640. He engraved a great variety of portraits, and a set of antique statues, in a masterly style.-Gen. Biog. Dict. When yet very young, happening to see David Hume, the historian, talking with one of the Italian boys who carry plaster-casts about the streets, she, in a subsequent conversation, depreciated the talents by which such works were produced. Mr. Hume frankly told her that, with all her attainments, she was wholly incompetent to any similar performance. Piqued at this observation, Miss Conway immediately procured some wax, and assiduously, but privately, modelled a head sufficiently well to excite Mr. Hume's surprise when she showed it to him. He remarked to her, however, that it was much easier to model than to carve. She instantly procured a piece of stone and a chisel, and cut out a rude bust that still more strongly called forth his wonder and praise. From that moment she became enthusiastically attached to DAMER (Hon. Anne Seymour), sculpture; took lessons from the a distinguished sculptor, born in 1748, celebrated sculptor Ceracchi, who at and died in 1828, aged 80. She was the time happened to be in London; the daughter of field-marshal Con- learned the technical part of working way, brother to Francis, first marquis in marble in the studio of Mr. Baof Hertford, by Lady Caroline Camp-con, the royal academician; DALENS (Theodore), a Dutch landscape painter, born at Amsterdam in 1659, and died in 1688, aged 29. His pieces are faithful and spirited copies of nature.-Houb. DALLAMANO (Giuseppe), a Modenese painter, born in 1679, and died in 1758, aged 79. This artist, it is related, did not even know the alphabet; but by an extraordinary talent, especially for colour, arrived at a great perfection in art.-Lanzi, Descamps. studied British Museum, and placed at the the elements of anatomy under Mr. | lection of the late R. P. Knight, Esq., Cruickshank; subsequently made transferred with that collection to the journeys into Italy, to contemplate entrance opposite to the great stairthe chefs-d'œuvre of the art, in order case. that she might perfect herself in the pure and simple style of the Greeks, which she always endeavoured to follow, and repeatedly declared that she preferred the distinction of being an artist to any other that could be offered her. In 1767, Miss Conway was married to the Hon. John Damer, eldest son of Joseph, first lord Milton, and brother to George, earl of Dorchester. The union was an unhappy one. He shot himself at the Bedford Arms, in Covent Garden, in 1776. The elegant, tasteful, and classical productions of her chisel are numerous and widely scattered. We cannot pretend to give any thing even approaching to a complete list of her works; but among them were the following: A statue, in marble, eight feet high, of his late majesty George the Third, placed in the Register. Office at Edinburgh. Two colossal heads, in relief, executed in Portland-stone, representing Thame and Isis; forming the ornaments of the key-stone of the middle arch of the bridge at Henley uponThames. A bust, in marble, of her mother, the countess of Aylesbury, erected as a monument in Tunbridge church, Kent. A bust, in marble, of Bacchus (porthe gallery of the University of Oxtrait of prince Lobomirski), placed in ford. A bust, executed in bronze, of sir the Royal Society, presented to the Joseph Banks, the late president of British Museum. A dog, executed in marble, presented to her late majesty queen Charlotte, highness the Landgravine of Hesse and now in possession of her royal Homberg. Two kittens, in white marble, presented to the right honourable Horace Walpole. An osprey eagle, in terra cotta, also presented to Mr. Walpole. A bust, in marble, of the right honourable Charles James Fox, which Mrs. Damer presented in person to Napoleon Bonaparte, on the first of May, 1815, at the palace Elysée, at Paris. This bust had been promised on a journey which Mrs. Damer made to Paris at the period of the Treaty of Amiens. She quitted Paris shortly after her presentation of the bust of Mr. Fox; but, before her departure, she received, by the hands of Count Bertrand, a magnificent snuff-box, with the portrait, surrounded by diamonds, of the emperor, who begged her acceptance of it in remembrance of him. Paris, a small bust, in marble. Thalia, a small bust, in marble. Isis, a bust, in Greek marble, in the collection of Thomas Hope, Esq. Bust, in marble, of sir Humphrey Davy, late president of the Royal Society. A bust, in marble; portrait of the late hon. Penniston Lamb, in the character of Mercury. A bust, in terra cotta, of the late queen Caroline. A small bust, head of a Muse, in bronze. A bust, in marble, heroic size, of Lord Nelson. For this bust Lord Nelson, who was a great friend of Mrs. Damer's, sat immediately after his return from the battle of the Nile. She made a present of it to the city of London, and received a letter of thanks in return. It was put up in the Common Council Chamber at Guildhall, where it now is. N In early life, Mrs. Damer travelled much; and she had written descriptions of her various tours, which at one period it was her intention to publish. By her will, however, she directed her executor to destroy all her papers; which is the more to be regretted, as she was in possession of numerous letters from Lord Orford, and other distinguished persons. Retaining to the last her attachment to the fine arts, she desired that her working apron and her tools might be deposited in her coffin. -Gen. Biog. Dict. DAMINI (Pietro), an Italian painter, born at Castelfranco in 1592. Such was the expectation occasioned by the early display of his talents, that some writers have not hesitated to affirm that he would have equalled Titian if he had not died young; which, as Lanzi observes, may be regarded as hyperbole. There are many of his works at Castelfranco, Vicenza, Crema, and particularly at Padua, in which city, in the church of Clemente, is his picture of Christ giving the Keys to St. Peter; and in the church of Il Santo, his most celebrated work of the Crucifixion, with the Virgin Mary and St. John; a picture of extraordinary beauty, and of the most harmonious colour. In the cloister of the Pardi Serviti, at Vicenza, he painted several pictures of the S. Filippo, the founder of their order. The style of Damini is varied and elegant, but he is by no means uniform. He appears to have frequently changed his manner, in search of greater perfection; and his last works are evidently his best.-Lanzi. ral plates of portraits, and other subjects, which are not without considerable merit. He had a son, an engraver, who succeeded his father, and possessed some degree of merit.-Strutt. DANDRIDGE (Bartholomew), an English painter of portraits and conversations, who died at an early age, about 1709. He was the son of a house-painter, but turning his attention to painting portraits, he arrived at considerable eminence; and was much patronised for his felicity in taking likenesses. He likewise painted small conversations. DANDINI (Pietro), an histori cal painter, born at Florence in 1646, and died in 1712, aged 66. He was in the service of the Grand Duke, so that few of his pictures are to be found out of his own country.-Gen. Biog. Dict. DANIELE (Voltarra du), a celebrated painter and sculptor, born in Tuscany in 1509, and died in 1556, aged 47. He was a disciple of Anthony de Verceil, and Bathazer, of Siena; but afterwards applied himself wholly to Michel Angelo's style, who highly esteemed him. His finest paintings are in the church of the Trinity, at Rome. Daniele left painting to follow sculpture. He cast the celebrated horse in brass, which is in the Palais Royal at Paris, and which was intended for the statue of Henry II., but Daniele did not live to finish it.-De Piles. DANKERS (Henry), a Dutch landscape painter, born at the Hague, where he taught the first rudiments of painting; but he afterwards travelled to Italy, and studied DANCKERT, or DANCKERS there for some years. Charles II. (Cornelius), a Dutch engraver, born invited him to England, and emat Amsterdam in 1561. He esta-ployed him to paint views of the blished himself at Antwerp as a seaports in his dominions, and parprintseller, where he engraved seve- ticularly the prospects on the coasts DARET (Peter), a French engraver, born at Paris about the year 1610. After receiving some instructions in engraving, he went to Rome in search of improvement, where he passed a considerable time. He engraved a great number of plates; they are chiefly executed with the graver, and are not without merit in point of neatness, though very deficient in taste and correctness of drawing.-Strutt. DAULLE (John), an eminent French engraver, born at Abbeville in 1703. He received some instructions from his fellow-citizen Robert Herquet, an artist little known, and afterwards went to Paris, where his merit was not long unnoticed, and he was received into the academy in 1742. He engraved several plates of portraits, with historical and other subjects, which are chiefly worked with the graver in a clear and firm style, and which entitle him to the rank of one of the ablest artists of his time.-Ibid. DAVENPORT (—), an English historical and portrait painter, who died about 1695. He was a scholar of Sir Peter Lely, and a fellow disciple of Greenhill. Davenport arrived at considerable eminence, and several of his portraits have been much commended for their strength of colouring. He had likewise a talent for music. DAVID (Ludovico Antonio), an Italian portrait painter, who flourished about 1710. He was a pupil of Ercole Procaccini, the younger; and resided at Rome many years as a portrait painter, and travelled through Italy. In St. Silvestro, at Venice, there is a Nativity of his in a minute style. He wrote the Life of Correggio.- Vasari. DAVID (Charles), a French engraver, born at Paris about 1605. It is not ascertained by whom he was instructed, but he ranks as a very respectable artist among the engravers of his time. His plates are executed with the graver in a clear firm manner, and his drawing is tolerably correct. His prints are held in considerable estimation. Strutt. a French DAVID (Jerome), engraver, brother to the preceding artist, born at Paris about the year 1608. He engraved a considerable number of plates in the same style as his brother, many of which are DAVEN (Leon), an Italian engraver, who flourished about the year 1540. He distinguished himself as an engraver at Rome and Florence, and accompanied Francesco Primaticcio to France, and engraved | portraits.—Ibid. some plates after the works of that master at Fontainbleau; he had previously executed several plates after the pictures of that great painter before he visited France, and appears to have been particularly attached to him. His works DAVID (Francis), a modern French engraver, born at Paris in 1741. He was a pupil of Le Bas, and has engraved several plates of portraits, and various subjects in a very neat finished style.-Ibid. DAVID (M.), a celebrated French historical painter, born in marks the zenith of his talents, there 1748, and died at Brussels in 1825, is the same grandeur, the same seaged 76. At the period when the verity of composition and expression, development of his powers com- the same sobriety in the execution; menced, the genius of French paint- but without yet ceasing to be natuers had fallen into the worst pos- ral: the disposition of the subject is sible direction. The style of the seen to incline towards the sterility Italian school, transmitted by Pous- of bas relief. In the Rape of the sin and Le Sueur, had been abandoned; Sabines, one amongst the most adand under the idea of returning to mired and most deserving of admira nature, they had adopted a petty af- tion of M. David's pictures, it is fected representation of her, which seen that his drawing has become possessed neither the graceful, of altogether academic, and the attiwhich they were in search, nor the tudes betray a too great fondness for ideal or the grand, which they had the display of beautiful forms. His voluntarily renounced. David re- Socrates is grandly conceived; his paired to Rome, there his mind was Brutus is full of beautiful details; influenced by the twofold impression his Thermopyla, and the many which it received from the numerous other works that have signalised his grand and exact productions of the pencil, are marked with all the Italian School, and from the statues touches of a great master; but by of the ancients, so chaste, so correct, those who love the simple and the so simply beautiful.. Thus impres- true, and are fearful of style, when sed, he struck into a new course, and it becomes systematic, the first works produced his picture, Andromache; of M. David will be esteemed the which, by many, is regarded as one best. His most distinguished proof his master pieces. His painting ductions are known throughout had then something of the Italian Europe, and a list of his works of gravity and simplicity; and his pure minor importance may be found and lofty design, like that of the in the Annuaire Nécrologique, by M. ancients, had not attained that ideal Mahul, 1826. Among the most perfection, bordering upon the stiff- celebrated may be included, Paris ness of statuary, which he acquired and Helen ; The Judgment of at a later period. In his next pic- Brutus; The Death of Socrates; ture, Belisarius, the composition is Napoleon ascending the Alps; simple and grand, the design chaste, Napoleon's Coronation; The disthe expression true, the colouring tribution of the Eagles; Cupid and sedate; the entire character of the Psyche; Telemachus and Eucharis, production bearing a great resem- and Leonidas, which last is considblance to Poussin, with more cor-ered his chef-d'œuvre. David was rectness and arrangement than that a great favourite of Buonaparte. artist usually displays. In tracing his course from his Belisarius to his Rape of the Sabines, the influence of the Italian school will be seen gradually to diminish, and the taste for ancient design to become stronger, so as at last to settle into academic correctness. In his Horatii, which may perhaps be regarded as the production that The conqueror of Austerlitz is said to have advanced two steps towards this artist in his painting room, and taking off his hat, to have exclaimed, "Sir, I salute you!" He was allowed as a special mark of distinction, to occupy the corner wing of the old palace, from which every man of genius and science en |