with Saints, Bishops, and Angels, and on the other the Passion in twenty-eight subjects, was afterwards divided, and the parts hung one at each end of the transept. Preserving traditional types, Duccio gave the Madonna the hitherto unknown and afterwards characteristic grace of Sienese Madonnas, and treated attitudes, draperies, and proportions with a then novel approach to correctness. The scenes from the Passion show the same clinging to past forms, the same effort to follow nature, and convey a like impression of life and power imperfectly realized. The few other works of this remarkable painter are two pictures of the Madonna with Saints in the Siena Academy; a Crucifixion, Madonna, and other subjects, belonging to the Queen of England; a Madonna with Angels, Prophets, and Saints, National Gallery, London; and the Preaching of St. John Baptist, and SS. Peter and Paul, Rambona Collection, Cologne.—C. & C., Italy, i. 40; Vasari, ed. Mil., i. 653; Burckhardt, 491; Dohme, 2i.; Sienesische Malerschule; L'Art (1878), iii. 151; Lübke, Gesch. ital. Mal., i. 99.
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DUCHATEL (du Chastel), FRANS, born
in Brussels in
1616 or 1625,
died there in
1694. Flemish
school; genre
and portrait
painter, pupil
and imitator of
Teniers the
younger. A sojourn
in France
brought him under
the influence of Van der Meulen. Good
draughtsman and colourist. Works: Portraits
of a Cavalier and two other Persons,
Louvre; Charles II. of Spain receiving
Homage (1668), Ghent Museum; Panorama
of Valenciennes (1656), Antwerp Museum
(attributed to Teniers); Portrait of Flemish
Nobleman, Berlin Museum.—Biog. nat.
de Belgique, vi. 224; Ch. Blanc, École
flamande; Gaz. des B. Arts (1862), xii. 5,
247.
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DUCHET. See Dughet.
DUCIS, LOUIS, born in Paris, Nov. 1,
1773, died March 2, 1847. French school;
history and portrait painter, pupil of David;
also studied in Italy. Medal, 1st class,
1808; L. of Honour, 1832. Works: Hero
and Leander, Orpheus and Eurydice, Origin
of Painting (1808); Pyramus and Thisbe
(1810, 1812); Tasso reading his Jerusalem
Delivered, Captivity of Tasso (1814); Death
of Tasso (1817); The Arts influenced by Love
(4), Mary Stuart, Sculpture (1822); Bianca
Capello and her Lover in Flight (1824);
Captivity of Jeanne d'Arc (1831); View of
Paris from Pontneuf (1838); Mary Stuart
and Rizzio, Portraits, Aix Museum; Van
Dyck painting his First Picture, Lyons
Museum.—Bellier de la Chavignerie, i. 465.
DUCK (Duc, Le Duc, Van Duck), A. J.,
flourished about 1630-50, probably at Haarlem.
Dutch school; genre and portrait painter;
formed himself under the influence of Dirk
Hals; hitherto erroneously identified with
Jan le Ducq, the animal painter. Works:
Guard-room, Marauders, Louvre; Stable,
Portrait of an Officer (attributed to A. Palamedes),
National Museum, Amsterdam;
five pictures, Gotha Museum; three, Old
Pinakothek, Munich; Foraging Soldiers,
Berlin Museum; two portraits, Dresden
Gallery; do., Wörlitz Gallery; Portrait of
J. Asselyn, Städel Gallery, Frankfort; Pictures
in Carlsruhe, Cassel, Stuttgart, Weimar,
Meiningen (2), Aschaffenburg, Schwerin
(2), Copenhagen (2), Hamburg Galleries;
do., Museum and Academy, Vienna;
Trictrac Players, three others, Liechtenstein
Gallery, ib.; one at each, Czernin and
Schönborn Galleries, ib.; do., National Museum,
Pesth; four, Hermitage, St. Petersburg.—Bode,
Studien, 133; Burger, Musées,
ii. 245; Kramm, ii. 377; Meyer, Gemälde
köngl. Mus., 127.
