- —Allgem. d. Biogr., iv. 441; Kunst-Chronik,
viii. 675; Brockhaus, iv. 564.
CONRÄDER, GEORG, born in Munich
in 1838. History painter, pupil of Munich
Academy and of Piloty; was in 1860 professor
at the Art School, Weimar, and in 1862
professor at the Munich Academy. Works:
Tilly in Gravedigger's House in Leipsic
(1860); Destruction of Carthage (1861), Maximilianeum,
Munich; Tasso in Prison, Charlotte
Corday (1869); Mary Stuart and Rizzio
(1876); Death of Joseph II. (1874); Meeting
of Joseph II. and Pius VI. in 1782. In fresco:
Foundation of Academy of Sciences,
Natural Museum, Munich.—Brockhaus, iv.
565; Müller, 111.
CONSONI, NICCOLA, born at Rieti, Perugia,
in 1814. History painter, pupil of
Perugia Academy under Giovanni Sanguinetti
and in Rome of Tommaso Mainardi.
Works in fresco: Scenes from New Testament
(1840), Vatican, Rome; Minerva's Contest
with the Pierides (1845), Library, Palazzo
Corsini, ib.; Raphael's Hours, Buckingham
Palace, London; Crucifixion, Ascension,
The Patriarchs (1861), Prince Albert's
Mausoleum, Osborne.—Müller, 112.
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CONSTABLE, JOHN, born at East Bergholt,
Suffolk, June
11, 1776, died in
London, March 30,
1837. Landscape
painter, pupil of
Royal Academy in
1799, and later of
Joseph Farrington
and R. R. Reinagle.
After painting portraits
and history,
he turned to landscape art as his real vocation,
exhibiting his first picture in 1802. He
did not, however, become a member of the
Royal Academy until 1829 (A.R.A., 1819),
and never during his lifetime enjoyed any
great popularity in his native country. In
France, on the contrary, he found early recognition,
and is of all British painters the
most highly esteemed, especially since he
has become more widely known through the
two landscapes, the Rainbow and Weymouth
Bay, presented to the Louvre by Mr. Wilson,
in 1873. The influence he exerted upon the
modern school of French landscape painting,
which is incontestable, fully entitled him
to a place in the great national French collection.
While there are many landscape
painters who can paint nature in her tranquil
moods, when she sits motionless as a
model, there are but few who, like Constable,
can fix upon canvas the coming storm,
the rising wind, and the rapidly changing
sunset. In treating masses of cloud driving
across the sky or brooding over the tree-*tops
he has no rival. His pictures are sometimes
heavily loaded, his foregrounds not
free from spottiness, but their brilliancy,
vigour of tone, and truth in representing
accidental effects is such as to condone all
shortcomings. Works: Cornfield (1826);
Valley Farm (1835), Cornfield with figures
(sketch), Barnes Common, National Gallery,
London; Weymouth Bay (1827), Cottage
(1818), Rainbow (sketch of Salisbury Cathedral),
Landscape (sketch of Hampstead
Heath), Louvre; Salisbury Cathedral (1823),
Dedham Mill (1820), Hampstead Heath (2,
1827 and 1830), Boat Building, Water Meadows,
S. Kensington Museum; Salisbury
Cathedral, Yarmouth Pier (1831).—Leslie,
Memoir (London, 1842); Ch. Blanc, École
anglaise; F. de Conches; Lucas, English
Landscape Scenery from Constable's pictures
(London, 1855); Art Journal (1855), 9; Sandby,
ii. 54; Portfolio (1873), 93, 108, 117.
CONSTANCE DE BEVERLEY, TRIAL
OF, Toby Rosenthal, Irving M. Scott, San
Francisco; canvas, H. 5 ft. × 8 ft. Scene
from Marmion, Canto II. Constance, who
ran away from her convent to follow Marmion,
is tried for her crime before the holy
fathers in the subterranean dungeons of the
monastery and condemned to be immured
alive in the wall.—Painted in 1883.
CONSTANT. See Benjamin-Constant.
CONSTANTINE, BAPTISM OF, Raphael
(?) and Il Fattore, Sala di Costantino, Vati-
