she is to bestow on condition that he quits the pursuit of arms. Mars consents, and presents his sword as a token of his sincerity. The Graces are hastening to disencumber the God of his armour. Love is unloosing his sandals; every attempt is making to render his return to the field impossible." On the 17th of April, 1826, was the day of the sale at Paris, of the pictures, drawings, and sketches left by David. The catalogue, drawn up by M. Perignon, is extremely interesting; it mentions the Mars disarmed by Venus; the the Apelles training Campaspe; the Bonaparte at Mont St. Bernard; with several other pictures of the principal events in the life of Bonaparte; and numerous sketches and studies made during the artist's residence at Rome. Among the modern subjects, are the drawings of the Tennis Court, several portraits, and two pictures of the members of the Legislative Assembly, and of the Convention,-Gent. Mag., Gen. Biog. Dict. titled to reside there, had been re- | him, whilst with the other she is moved. Bonaparte always con- placing a crown on his head, which sulted him in the arrangement of his paintings and statues; and all the government costumes were from his designs. David had many pupils and was not without adherents; but from the sanguinary part he had taken in the Revolution he was shunned by the great and the good, and seemed to lead the life of a proscribed exile, in the very centre of the gayest city in Europe. David painted the Coronation of Bonaparte, in conformity with the instructions of his master. It was not that picture, however, which was exhibited in Pall Mall some years since. On the restora- Andromache weeping for Hector; tion of the Bourbons, the expatriated painter retired to Brussels, and there he finished what he considered an improved and heightened copy of the original painting. That painting was exhibited in London, where, from various circumstances, it naturally attracted much notice and excited much criticism. Bonaparte, Josephine, the Cardinal Capara, and two or three other figures, were univer. sally allowed to be fine; but the remaining cluster of two hundred and ten figures gave the painting the air of a crowded stage; on which, the leading actors concentrate attention, whilst the surrounding mutes had not grace enough to be even naturally affected. M. David, when he went into exile, announced to his pupils that he was about to change his style, and that he would send them from the Netherlands a specimen of the true manner of colouring. Critics consider him to have fulfilled his promise in his Mars and Venus, which has been exhibited with his Belisarius, Horatii, Brutus, Rape of the Sabines, &c. "Mars, overcome with fatigue, is stretched on a couch; Venus, who has risen to make room for him, has one hand resting upon DAVIS (Edward le), an English engraver, who died about 1684. He was of Welch extraction, and served his apprenticeship to Loggan, whose wife obliging him to follow her in livery, he ran away to France, and became a dealer in pictures, by which on his return he made a good fortune. He engraved the following: James duke of York, a large head, with flowers round the oval; Bertram de Ashburnham, for Guillim's Heraldry; duchess of Portsmouth, sitting; St. Cecilia playing on а bass-viol, with boy angels flying, probably done at Paris, after Vandyck; general Monck; Stephen Montcagle, 1675; Charles II. sitting, the face expunged afterwards, and replaced with king William; a Merry Andrew, after Francis Halls, engraved in an odd manner; an Ecce Homo, after the Caracci, scarce; Charles duke of Richmond, a boy, after Wissing, 1672. DAVISON (Jeremiah), an English painter of portraits on satin, born in 1695, and died in 1745, aged 50. He was first a disciple of Sir Peter Lely, and afterwards studied under Vaneken. He was patronised by the Duke of Athol, whose portrait, with that of the duchess, he had painted, and accompanied that nobleman to Scotland, where he met with great encouragement. DEAN (Hugh), an Irish landscape painter, who died in London in 1784. He went to Italy, and resided there some years. On his return to England, in 1780, he exhibited a transparent representation of Mount Vesuvius; and, it is asserted, soon after turned methodist preacher. Gen. Biog. Dict. DELARAM (Francis), a French engraver, who flourished in the reigns of James I. and Charles I. He engraved the following plates: William Somers, King Henry's jester, from Holbein ; Henry VIII.; Queen Mary I., in oval frame; Sir Thomas Gresham; Queen Elizabeth, after her death, with a long inscription; James I.; Henry Prince of Wales, son of James I.; Arthurus Severus O'Toole Nonesuch, 1618; Henry Percy, Earl of Northumberland, almost bald, and with a very thick beard, 1619; Frances, Duchess of Richmond and Lennox, covered with jewels, and a large veil behind, 1623. He likewise executed the frontispiece to Nero Cæsar, folio, 1624. DELEN (Dirk Van), a Dutch painter; but Houbraken, to whom we are indebted for this article, neither mentions the birth nor death of this master; other writers assert he was born at Heusden. He was a disciple of Francis Hals, whose style he adopted; and executed portraits and conversation pieces, with a great deal of spirit and correctness. His subjects were the inside of churches filled with figures, grand temples, magnificent saloons and galleries, with people assembled at concerts of music, or feasting, dancing &c.; his architecture is in a noble taste; his figures are well designed, and grouped with great judgment.-Houb. Pilk. DELET (William James), a Dutch portrait painter, but more celebrated engraver. He was born at Delft in 1580, and received his first instructions in design from his father, Jacob Van Delet, a portrait painter of little celebrity. He prac tised some time in the style of his father; but having attempted to engrave some plates after the portraits of Mirevelt, whose daughter he had married, his success was such as to induce him to abandon painting and devote himself entirely to the graver. He handled that instrument with uncommon freedom and clearness, and his heads are finely drawn. The plates he executed in the early part of his life are more neatly finished than those he afterwards produced; but the latter are engraved in a bold, open style, producing a fine effect. Walpole. DELET (James William), aDutch portrait painter and engraver, born at Delft in 1618. He was the son of the preceding artist, and was instructed in the art of painting by his grandfather, Michael Mirevelt, and followed him in his excellent style of treating those subjects, and became eminent as a portrait painter. He also distinguished himself as an engraver, in which he was instructed · by his father. A set of oval portraits, without the name of the painter, is generally attributed to this artist. | the pictures of Deryck.-De Piles, -Strutt. Pilk. DELMONT (Deodato), an histo rical painter, born at St. Tron in 1581, and died in 1634, aged 53. He was a disciple of Rubens, whom he accompanied to Italy. Delmont was employed by the Court of Newburgh; and was ennobled by the Duke as a testimony of his merit. Several paintings by this master are preserved in the churches and convents of Italy; but his three best pictures are at Antwerp: the Transfiguration, in the church of Notre Dame; Christ carrying his Cross, in the Jesuits' church; the Adoration of the Magi, in a cloister of the same church; he also painted the altar-piece.-Moreri. Pilk. DENNER (Balthasar), a portrait painter, born at Hamburgh, in 1685, and died in 1747, aged 62. He painted the portrait of an Old Woman, for which he was offered five hundred guineas, and refused it.Pilk. DENYS (Jacques), a Flemish historical and portrait painter, born at Antwerp in 1645. He studied in Italy, where he improved himself by copying the best masters. He afterwards returned to his native city, where he died. His manner resembles that of Vandyck.-Pilk. DERYCK, or DERICK (Peter Cornelius), a Dutch painter of landscapes and portraits, born at Delft in 1568, and died in 1630, aged 62. He was a disciple of Hubert Jacobs, and having acquired a good degree of knowledge under that master, he visited Italy, where he studied the most eminent masters, and at last fixed on Bassan as his model. His chief excellence consisted in his imitation of the style, manner, and tint of colouring of Bassan, which was so dextrous, that even the best judges were frequently deceived by some of DERYCK (William), a Flemish historical painter, born at Antwerp in 1697. He was originally bred a jeweller, but afterwards applied himself to painting. Deryck visited England, and painted historical subjects as large as life, and in a bold manner; but, although there was an appearance of merit in some particular parts, yet his outline was frequently incorrect; and in respect of grace, and an agreeable variety, he was very deficient.-Ibid. a DESGODETS (Anthony), French architect, born at Paris in 1653, and died in 1728, aged 75. On his passage to Rome in 1674, he was taken by the Algerines, and kept in slavery for sixteen months. On being exchanged, he repaired to Rome, where he composed a work entitled "The Ancient Edifices of Rome, drawn and measured with the greatest exactness." Folio. his return to Paris he was constituted comptroller of the royal buildings and architect to the king. Two works of his on architecture were published after his death.-Nouv. Dict. Hisi. On DESPLACES, a French engraver, who died in 1749. He executed several fine pieces from the paintings of Jouvenet, Guido, and other great masters.-Nouv. Dict. Hist. DESPORTES (Francis), a French painter, born at the village of Champignon in Champagne, in 1661, and died in 1743, aged 72. He was a disciple of Nicosius Bernard, whose style he ever after adopted. His subjects were flowers, insects, animals, or representations of the chace, which he designed and coloured with great truth. He painted many pictures for Louis XIV., the Dauphin, and the Duke of Orleans, representing the chace of different animals in which the action and attitudes of the dogs are full of spirit, nature, and life.-Pilk. DEWIT (Jacob), a Dutch painter, born at Amsterdam in 1695, and died in 1745, aged 50. He was a disciple of Albert Spiers and Jacob van Halen, but formed his style chiefly from the works of Rubens and Vandyck. His most celebrated work is Moses appointing the Seventy Elders, which he painted for the burgomasters of Amsterdam, and which was placed in their great councilchamber.-Pilk. DEYNUM (John Baptist Van), a Dutch painter, born at Antwerp in 1620. He principally excelled in painting portraits in miniature, and also history and landscapes in watercolours, which he executed with neatness, judgment, and taste.-Moreri. DEYSTER (Lewis), a Flemish painter, born at Bruges in 1656, and died in 1711, aged 55. His pictures have been compared in style and execution to Vandyck.-Nouv. Dict. Hist. DEYSTER (Anna), a landscape paintress, daughter of the above, born at Bruges in 1696, and died in 1746, aged 50. She excelled in landscapes, and imitated the touch and colouring of the copies she took of her father's works, so that few of the best judges could determine positively which were the copies, or which the originals. She died in poverty by quitting painting for constructing organs and harpsichords. —Nouv. Dict. Hist., Pilk. by him of the Adoration of the Magi, well composed, and painted with great facility. He was more employed for private collections than for the churches, and must have de voted a great part of his time to engraving, as he has left a considerable number of plates, of which the greater part are etchings. They are executed in a free style, with considerable taste, and his designs are graceful, and tolerably correct.Strutt. DIEPENBEKE (Abraham), a Dutch painter, born in 1607, and died in 1675, aged 68. He was a disciple of Rubens. His works are held in high estimation, and many engravings have been published from his designs.-Houb. DIEST (Adrian Van), a Dutch painter, born at the Hague in 1655, and died in 1704, aged 49. He came to England at an early age, and was much employed in designing views of the western parts of England. Some of his pictures have great clearness and transparency in the colouring, and a peculiar tenderness in the distances; they are truly fine in the skies, have an uncommon freedom in the clouds, and an agreeable harmony through the whole.-Pilk. DIETRICH (Christian William Ernest), a celebrated painter, born at Weimar in 1712, and died in 1774, aged 62. After studying under his father, he went to Dresden, and was instructed in landscape painting by Alexander Theile. He next visited DIAMANTINI (Giuseppe Cava- Italy, and became professor in the liere), a Venetian painter, and more academy at Dresden, and director of eminent engraver, who flourished the school of painting at Meissen. about 1660. It is not said by whom He painted landscapes, scripturehe was instructed; but he chiefly pieces, portraits, rustics, and converresided at Venice, where he distin-sations, with great force and life. guished himself by several works, He also engraved in a good style.→→ both as a painter and engraver. In Gen. Biog. Dict. the church of St. Moise is a picture DIXON (John), an English painter of history in miniature, who died about 1715. His best pictures are, Diana and her Nymphs, after Poelemberg; and a Sleeping Venus, Cupids, and a Satyr. William III. appointed him keeper of his picturecloset. Dixon, says Vertue, once bought a picture at a broker's, which he sold to the Duke of Devonshire for 500l., but does not specify the hand or subject. DOBSON (William), an English historical and portrait painter, born in London in 1610, and died in 1646, aged 36. He was apprenticed to Mr. Peak, a stationer and dealer in pictures, in the city of London, who observing his partiality for painting, encouraged him in it, and procured a few excellent pictures for him to copy, particularly some of Titian and Vandyck; and the manner of these two masters he always retained. By the course of study and practice he improved so remarkably that a picture of his painting being exposed in the window of a shop on Snow-hill, in London, Vandyck, passing by, was struck with it exceedingly; and inquiring after the author, found him at work in a poor garret. Vandyck soon relieved him from a situation so unworthy of his merit, and generously furnished him with every thing requisite for his appearance in a character suitable to his talents. He afterwards recommended him to Charles II., who took him into his service, kept him at Oxford as long as he remained there, sat to him after for his portrait, and distinguished him by the name of the English Tintoret. His manner is free, bold, and sweet, with a charming tone of colour; though inferior to Vandyck in the gracefulness of his figures, yet he gave life, dignity, and sentiment to his portraits; and for truth, character, and resemblance, few have surpassed him. At Wilton, the seat of the Earl of Pembroke, there is a fine picture of Dobson's; the subject is, the Decollation of St. John the Baptist; and at Blenheim, Northumberland-house, and the Duke of Devonshire's, are several very fine pictures of this artist.-De Piles, Pilk. DOES (Jacob Vander), a Dutch painter, born at Amsterdam, in 1623, and died in 1673, aged 50. He studied at Rome, where he adopted the manner of Bamboccio. His pictures are dark; but in the composition of his landscapes his taste was noble, and the figures executed with justness and delicacy. He had two sons, Jacob and Simon, both good artists; the first in historical pieces, died 1713; the latter in landscapes and cattle: he died in 1717.-Houb. DOES (Anthony Vander), a Dutch engraver, born at the Hague in 1610. He engraved several portraits, and a few other subjects, executed with the graver in the style of Paul Pontius, of whom it is not improbable he may have been a púpil. Although inferior to that artist, his best plates have considerable merit. He engraved several of the plates for a work entitled Portraits des Hommes illustres dans le 17me siècle, published at Amsterdam, some of which are dated in 1649. Strutt. DOLCI (Carlo or Carlino), a Florentine painter, born at Florence in 1616, and died in 1686, aged 70. He was a disciple of Jacopo Vignali. His first attempt was a whole picture of St. John, painted when he was only eleven years of age, which received extraordinary approbation; afterwards he painted a portrait of his mother, which gained him such general applause, as placed him in |