of David, Pal. Rospigliosi, Rome; Charity, Dresden Gallery; Susannah at the Bath, Munich Gallery; Hercules and Achelous, Hercules and Cacus, Herminia at the Shepherd's House, Holy Family, Adam and Eve, David playing the Harp, Ecstasy of St. Paul, St. Cecilia, Triumph of Love, Timoclea before Alexander, Rinaldo and Armida, Louvre; Adoration of the Shepherds, Dulwich Gallery; Tobias and the Angel, St. Jerome and the Angel, National Gallery, London; Cupid, Hermitage. Among his frescos in Rome are the Death of Adonis, Loggia of the Giardino Farnese; Martyrdom of St. Sebastian, S. M. degli Angeli; Four Evangelists, pendentives of the cupola S. Andrea della Valle; Two from life of St. Cecilia, S. Luigi; Assumption of the Virgin, S. M. in Trastevere. His finest frescos are, however, those at Grotta Ferrata near Rome, from the life of St. Nilus, and scenes from the Life of the Virgin in the Duomo at Fano.—Malvasia, ii. 219; Lanzi, iii. 84; Ch. Blanc, École bolonaise; Dohme, 2iii.; Kugler (Eastlake), iv. 485; Richter, Cat. Dulwich Gal. (1880), 56.
DOMENICO DI BARTOLO, born at Asciano
early part 15th century, died after
1444. Sienese school. Vasari errs in calling
him a nephew of Taddeo Bartoli, but
he was probably taught in his school. His
manner is Umbro-Sienese, deficient in order
and balance, and marked by absence of perspective.
His earliest picture, Madonna and
Angels, dated 1433, is in the Siena Academy;
his latest is of 1444. His best work is
Madonna with Saints, in the convent of S.
Giuliana, Perugia. There are five frescos
by him in the Infirmary of the Hospital,
Siena.—C. & C., Italy, iii. 52; Vasari, ii. 223;
Milanesi, Siena, 171.
DOMENICO VENEZIANO, born about
1390, died in Florence, May 15, 1461. Venetian
school. Birth and education unknown.
Painted early in Perugia, and from 1439 to
1445 in S. M. Nuova, Florence, where he
executed a series of frescos with the aid of
his apprentice, Piero della Francesca, and his
assistant, Bicci di Lorenzo. He used oil as
a medium, but it is certain that he did not
learn its use from Antonello da Messina, as
asserted by Vasari, since it was known before
that time, and is mentioned by Cennini
in his Treatise written in the 14th century,
and that he was not assassinated by Andrea
del Castagno, as is stated by the same author,
since he survived him four years. His Madonna
with Saints, formerly in S. Lucia de'
Bardi, Florence, now in the Uffizi, is a light-*toned
piece, of gay and well-fused colour,
and fair impasto, held by some to be painted
in tempera and by others with an oil vehicle.—C.
& C., Italy, ii. 313; Vasari, ed. Mil., ii.
667, 683; Eastlake, Materials, 218; Lübke,
Gesch. ital. Mal., i. 283.
DOMINGO, J., born in Spain; contemporary.
Genre painter, pupil in Paris of
Meissonier, to whose works his bear strong
resemblance. Works: Halt at Inn, Card
Players, Stable Interior, Guard Room, W.
H. Vanderbilt, New York; Cavalier and Dog,
J. J. Astor, New York; During the Battle,
Wm. Astor, New York; In a Spanish Café,
G. I. Seney, Brooklyn; Spanish Stable with
Donkey, J. C. Runkle, New York; Return
from Pasture, Palette Club, New York; Scene
in Cabaret; Antiquary; Guitar Player.—Müller,
139.
DOMINGO Y MARQUÉS, Don FRANCISCO,
born in Valencia, Spain; contemporary.
History painter; began to exhibit in
1866, historical genre scenes and portraits.
Medals: 3d class, 1866; 1st class, 1871.
Works: An Event in the 17th Century; The
Calabrese (1866); St. Clara; Last Day of Saguntum
(1871).
DOMINGUEZ Y SANCHEZ, Don MANUEL,
born in Spain; contemporary. History
and portrait painter. Medals in 1866
and 1871. Works: Faun (1866); Death of
Seneca (1871); Maja, Venetian Study; Sancho
Panza with the Duchess and her Ladies
(1882); Agriculture (1884); Frescos in San
Francisco el Grande.—La Ilustracion (1882),
i. 3; ii. 346; (1883), i. 91; ii 163; (1884), i.
336.
