Church, ib.; Christ blessing the Children, Holmens Church, ib.; Give unto Cæsar! Christ and Disciples at Emmaus; Young Wife awaiting Husband's Return (1867); Little Girls playing in the Downs (1868), Catching Hornfish (1880), Copenhagen Gallery.—Sigurd Müller, 79; Weilbach, 135.
DOSSI, BATTISTA. See Dossi, Giovanni.
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DOSSI, GIOVANNI (Giovanni di Lutero,
called Dosso Dossi),
born at Dosso, near
Ferrara, about 1749,
died at Ferrara in
1542. Lombardo-Ferrarese
school; scholar
of Lorenzo Costa; became
a favourite of
Duke Alfonso I. of
Ferrara, for whom he
painted a large picture, and an altarpiece,
Cathedral of Ferrara, representing St. Bartholomew
and St. John at Patmos (1527).
Many of his works, in the Ducal Palace at
Ferrara, were destroyed by fire in 1718.
His brother Battista (died 1548), a noted
landscape painter, assisted him in painting
the Labours of Hercules, in the Cortile of
this palace, a Madonna with Saints (1522),
Cathedral at Modena, and frescos in the
Castle at Trent, now destroyed. Ariosto, in
the Orlando Furioso (xxxiii. 2), mentions
the brothers together with Leonardo da
Vinci, Mantegna, and Gian. Bologna. Dosso
Dossi is said to have spent six years in Rome
and five in Venice. Other works: Annunciation,
Madonna with Saints, Ferrara Gallery;
Bacchanal, Palazzo Pitti, Florence;
Justice, Diana and Endymion, One of the
Hours, Peace, the Four Doctors of the
Church, a Dream, and Judith, Dresden Gallery;
Circe, Palazzo
Borghese, Rome; St.
Sebastian, Brera, Milan.—Vasari,
ed. Mil.,
v. 96; Baruffaldi, Vite
degli Artifici Ferraresi
(Taddei, 1844); Seguier, 59; Rio, Art. Chrétien,
iii. 445; Cittadella, Notizie relative a
Ferrara (1864), 530, 605; Lübke, Gesch.
ital. Mal., ii. 387; Lermolieff, 136; Zeitschr.
f. b. K., x. 264, 269.
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DOU (Dov, Dow, Douw), GERARD, born
at Leyden, April 7,
1613, died there,
buried, Feb. 9,
1675. Dutch school;
received first instruction
in drawing
in 1622 from
the engraver Bartholomeus
Dolendo,
in 1624 apprenticed
to the glass
painter Kouwenhoven, and in 1628 entered
Rembrandt's studio, where he remained
three years. To Rembrandt he owed his
harmonious treatment of the chiaroscuro
and depth of colour, but his careful and
delicate touch, which, especially in his portraits,
is incalculably minute, precluded the
free and energetic treatment of his master.
Choosing his subjects mainly from the narrow
circle of the family life of the middle
and lower classes, he frequently represented
them at dusk or by candlelight, with masterly
skill. Works: Poulterer's Shop, Artist's
Portrait, Artist's Wife, National Gallery,
London; Girl scouring Pan, Girl
chopping Onions, Grocer's Shop, Old Woman
watering Flowers, Portrait of Old Man,
Buckingham Palace; Violin Player (1637),
Artist's Portrait, Bridgewater Gallery; Village
Lawyer, Old Couple with Hurdy-Gurdy,
Earl of Lonsdale, Lowther Castle; Hermit
Praying, Old Man in a Cellar, Ashburton
Collection; Young Girl at Window conversing
with Boy, Man teazing with a lighted
Candle Old Woman asleep, Hope Collection;
Painter in his Room writing, Baring Collection,
London; Lady playing Virginal, Dulwich
Gallery; Dropsical Woman, Reading
the Bible, Cook-Maid, Greengrocer, Trumpeter
and 7 others, Louvre; Le Ménage,
Young Woman with a Lamp at Window (2),
Hermit (2), one dated 1664, Portrait Figures
in Landscape by Berchem, Old Woman
