- ner's Widow (1835); Sunday Morning, Happy
as a King, Leaving Home (1836); Scene near Subiaco, Young Lazzaroni playing Game of Arravoglio (1839); Christ in the Temple, Ave Maria, Passing Welcome (1840); Disciples at Emmaus, Caves of Ulysses, Woodcutter's Repast (1841); Prayer, Welsh Guides (1842); Madonna, Windy Day, Sultry Day (1843); Catechist, Morning—Boulogne (1844); Fetching the Doctor, Sunrise at Sea (1845); Early Morning, Mead-foot Bay (1846). His son, Charles Allston Collins (1828-1873), who married Charles Dickens's daughter, was also a genre painter, but turned to literature.—Memoir by his son, Wilkie Collins (London, 1848); Sandby, i. 365; Art Union Monthly Journal, April, 1847; Art Journal (1855), 141; Redgrave, Century, ii. 410; Ch. Blanc, École anglaise.
COLLINSON, ROBERT, born in Cheshire,
July, 1832. Landscape and genre
painter, student of Government Schools of
Design, Manchester; removed about 1854 to
London, where he was for many years professor
of painting in the S. Kensington
schools. Works: Hopes and Fears (1862);
Ordered on Foreign Service (1864); Money
Changer, Leisure Hour (1865); Close of
Day (1868); Sacred Spot (1869); Dawn of
Hope (1870); Absorbed in Robinson Crusoe
(1871); To Win or Die (1872); The Escape
(1873); Leaves from Nature (1874); Sunday
Afternoon (1875); Home, Mill Pool (1878);
Light in the Cottage (1879); English Home
(1883); The Last Mile (1884).
COLMAN, SAMUEL, born in Portland,
Me., in 1832. Landscape painter, pupil of
A. B. Durand in New York. Visited France
and Spain in 1860-62; went abroad a second
time in 1871, and travelled in Switzerland,
Germany, North Africa, Italy, France,
and Spain. Elected N. A. in 1862. Studio
in New York. Works: Bay of Gibraltar;
Andernach on the Rhine; Street Scene
in Caen—Normandy; Market Day in
Brittany—Le Mans; Arab Caravansary
(1879); Arab Burying-Ground, Genesee
River at Avon, Dutch Boats off Coast of
Holland (1880); Evening at Amalfi—Italy,
Misty Afternoon in Venice (1881); Zandam—Holland,
Ruins of Moorish Mosque—Algeria
(1882); Tower of Giralda (1884).—Sheldon,
72.
COLONNA, ANGELO MICHELE, born
in Como in 1600, died in Bologna in 1681
or 1687. Bolognese school; pupil of Ferrantini
and of Dentone, with the latter of
whom he painted many frescos in Bologna,
Colonna painting the figures in his master's
landscapes and architectural pictures. He
acquired a great reputation as a decorative
fresco painter. After the death of Dentone
(1632) he associated with himself Agostino
Metelli, and the two executed numerous
works in Bologna, Ravenna, Parma, Modena,
Rome, and other cities. In 1659 they went,
at the invitation of Philip IV., to Madrid,
and decorated several halls in the palace
of Buen Retiro. After Metelli's death Colonna
returned to Italy, and with Giacomino
Alboresi as his collaborator executed many
important works in Bologna, Florence, and
elsewhere.—Malvasia, ii. 345; Lanzi, iii. 136;
Ch. Blanc, École bolonaise; Gualandi, Guida.
COLOTES, painter, of Teos, about 396
B.C. He was defeated in a painting contest
by Timanthes, whose famous picture of the
Sacrifice of Iphigenia carried off the prize.—Quin.
ii. 13, 12.
COLUMBARIUM, Hector Leroux, Luxembourg,
Paris; canvas, H. 4 ft. 7 in. × 3 ft.
4 in. A funeral in the Columbarium of
the Palace of the Cæsars, Rome. The procession
is coming down a steep stairway,
the upper part of which is illuminated by
sunlight through an archway; below, at
right, two musicians.—Salon, 1864.
COLUMBINE, LA, Bernardino Luini,
formerly attributed to Leonardo da Vinci,
Hermitage, St. Petersburg; wood, transferred
to canvas, H. 1 ft. 5-1/2 in. × 1 ft. 2 in.
A beautiful girl, "en déshabille," sits under
a rock overgrown with ivy, looking at a
columbine held in her left hand; her white
dress, with yellow ornaments, is held by a
jewelled brooch, leaving one breast uncover-
