SCORZA were destroyed by the Iconoclasts. Those still existing are distinguished for vigorous conception, pleasing expression, a warm tone of brownish colour, and careful execu- tion. Of late attempts have been made to identify him with the Master of the Death of Mary. Works : Repose in Egypt, Por- trait of a Lady, National Gallery, London ; Magdalen, the Queen of Sheba, Bathsheba at the Bath, Adonis, Archery-Piece with 17 portraits (1531), Amsterdam Museum ; Ma- donna, Portrait of a Gentleman, do. of a Boy (1531), Rotterdam Museum ; Fall of Man, Baptism of Christ, St. Cecilia, Portrait Group of 12 Knights Templars, City Mu- seum, Haarlem ; Crucifixion, Episcopal Mu- seum, ib.; Madonna, four Group Portraits of Knights Templars, Museum Kunstliefde, Utrecht ; two Altar- Wings with Christ Bear- ing the Cross and Resurrection, Altar with Scenes from Life of Moses, Portrait of Old Lady, Episcopal Museum, ib. ; Good Samar- itan, St. John's Hospital, Bruges ; Crucifix- ion (1530), Bonn Museum ; two Altar- Wings, Cologne Museum ; Female Bust Portrait, Diisseldorf Academy ; Portrait of Cornells Aerntsz van der Dussen (1550), do. of Agathe von Schoenhoven, Berlin Museum ; David's Victory over Goliath (attributed to Bron- zino), Dresden Gallery ; two Altar-Wings (attributed to Pourbus), Worlitz Gallery ; Male Portrait, Ambras Collection, Vienna ; Altar of Holy Kith and Kin (1520), Church at Ober-Vellach, Carinthia ; Portrait of a Boy, Bergamo Gallery ; Male Portrait (at- tributed to Bruyn), Turin Gallery ; Portrait of Agnes van Schoenhoven (1529), Doria Gallery, Rome ; St. Magdalen, Palermo Mu- seum ; Portrait of Young Man (about 1525), Warwick Castle, England ; do. (about 1545), Longford Castle, ib. Ch. Blanc, Ecole hol- landaise ; Immerzeel, iii. 73 ; Kramm, v. 1485 ; Graph. K, vi. 91 ; Jahr- buch preuss. Kunstsammlg., ii. 193 ; Michiels, v. 150 ; Kunst-Chronik, xviii. 168 ; xix. 112 ; xxi. 365; W. &. W., ii. 536; Zeitschr. f. b. K, xviii. 46 ; xxi. 83, 145. SCORZA, SINIBALDO, born at Voltag- gio, July 16, 1589, died in Genoa in 1631. Genoese school ; pupil of Carosio, an ob- scure painter in Voltaggio, afterwards of Giovanni Battista Paggi. Excelled in paint- ing landscapes, enlivened by human figures and animals. Painted in Turin from 1G19 to 1625, when he returned to Genoa. Annun- ciation, Voltaggio. Soprani, 127 ; Ch. Blanc, Ecole genoise. SCOTT, DAVID, born in Edinburgh, Oct. 10 (12?), 1806, died there, March 5, 1849. History painter, educated as a de- signer and engraver, but finally devoted himself to painting. His first exhibited picture was The Hopes of Early Genius (1828). In 1829 he was elected an asso- ciate of the Scottish Academy ; in 1832 he visited Italy, and remained fifteen mouths in Rome studying anatomy and painting and making many sketches, returning to settle in Edinburgh in 1834. Elected R.S.A. in 1835 ; received prizes for pictures in 1838 and 1841, but, though he finished many ambitious works, he failed to win public favour and died a disappointed man. He published a series of outlines called "Mono- grams of Man" (1831), and made illustra- tions for Coleridge's " Ancient Mariner " (1837) and "Pilgrim's Progress" (1850). Works : Death of Sappho (1829), Mrs. Con- stable, Edinburgh ; Nimrod (1831), W. Dick- son, ib.; Artist's Portrait (1832), Discord (1833), James Leathart, Newcastle ; Vin- tager (1833), National Gallery, Edinburgh ; Oberon and Puck (1834), R. Carfrae, ib.; Descent from Cross (1835), J. M. Gow, ib.; Orestes and the Furies (1837), W. B. Scott, ib.; A Vintager, Ariel and Caliban (1837), National Gallery, ib.; Paracelsus Lecturing (1838), J. T. Gibson Craig, ib.; Philoctetes in Lemnos (1839), George Cousin, ib. ; Queen Elizabeth in the Globe Theatre (1840), Lord Young, ib.; Traitor's Gate (1841), R. Carfrae, ib. ; Vasco de Gama passing the Cape of Good Hope (1842), Trinity House, Leith; Wallace (1843), R. Carfrae, Edin- burgh ; Crucifixion the Dead Rising (1844), 160
