merit; worked for churches and monasteries. Works: Landscapes (2 with figures by Pieter Bout), Dresden Gallery; three, formerly in Pommersfelden Gallery; three, Museum, Bruges; two, City Hall, ib.; others in churches at Brussels.—Meyer, Künst. Lex., i. 50; Weale, Bruges et ses environs (1846), 21.
ACKER, JACOB, flourished in Ulm, second
half 15th century. German school. He
is the only one of a family of painters of
whom a well-authenticated work exists, viz.,
the pictures on the side wings and the predella
of an altarpiece painted in 1483, which
is preserved in the chapel of St. Leonard at
the Cemetery of Risstipen, Ehingen. They
represent Christ and the Disciples, and
male and female saints.—Meyer, Künst.
Lex., i. 51.
ACKERMANN, JOHANN ADAM, born
in Mentz in 1780, died in Frankfort in 1853.
Landscape painter; studied in Mentz and
in Paris under David, then in Aschaffenburg,
and from 1804 in Frankfort. Most successful
in his winter landscapes taken in the
Taunus, Spessart, and Odenwald. Works:
View of Auerbach, View near Borghetto,
Darmstadt Gallery. His brother, Georg
Friedrich (1787-1843), was also a landscape
painter.—Meyer, Künst. Lex., i. 51.
ACQUA, CESARE DELL', born in Pirano,
Istria, July 22, 1821. History, genre, and
portrait painter; pupil from 1842 of the
Venice, and from 1847 of the Paris Academy,
then in Brussels of Gallait, whose
influence is, next to that of the Venetian
school, most observable in his pictures.
From 1857 to 1868, after a previous journey
to Italy, he won his greatest success with
historical paintings, among which are a series
executed in 1858-66 in the Villa of Miramar
for the Arch-duke Maximilian. Works:
Last Moments of Niccolò Macchiavelli;
Provenzano Silvani begging for Ransom of
a Friend; Cromwell on the Battlefield;
John preaching in the Desert (1851); Jesus
calling Little Children (1854); The Brothers
Degli Uberti in the Battle of Monte Aperto
(1851); Mary Stuart derided by the People
of Edinburgh (1854); Ferruccio at the Defence
of Volterra (1854); Trieste proclaimed
a free Port; Ugon da Duino entrusted with
the Government of Trieste (1855); Reception
of the Milanese in Brescia in 1162
(1857); Confession of Louis XI. (1858);
Cornelia, Mother of the Gracchi; Tintoretto
and his Daughter; Last Moments of Marino
Faliero; Anna Erizzo rejecting Mohammed's
Love; Erasmus and Bolognese Students;
Youth of Spinoza; Dante received in Verona
by Cane della Scala; Sally of the Milanese
against Barbarossa (1863); The Kelts
as first Inhabitants of the Rocks at Miramar;
Roman Festival; Emperor Leopold I.
visiting Grignano Monastery; Archduke
Maximilian receiving the Delegation from
Mexico; Departure of the Imperial Couple
from Miramar; Arrival of Empress Elizabeth
at Miramar; Allegory representing
Maximilian planning the building of Miramar.—Meyer,
Künst. Lex., i. 54.
ACTÆON. See Diana and Actæon.
ADAM, ALBRECHT, born at Nördlingen,
April 16, 1786, died in Munich, Aug. 28,
1862. Painter of military genre and of
horses; at Nuremberg in 1803 painted portraits
and small hunting scenes, but afterwards,
under the influence of Rugendas in
Augsburg, took up military subjects, for
which he found ample material during the
Austrian campaign of 1809. Went with
Eugène Beauharnais as court painter to
Italy, and in 1812 to Russia; returned in
1815 to Munich, and found employment at
court. In 1829 he worked in Stuttgart for
the king of Würtemberg, and in 1850 painted
in Vienna the battles of the Austrian army
under Radetzky. Works: Battle of Leoben
(1811); Battles of Moschaisk and Malojaroslawetz,
besides 85 other scenes from campaign
of 1812; sixteen battle pieces from
Life of Eugène Beauharnais (1841, St. Petersburg);
Battle of Abendsberg (1826); Painter's
studio (1835), Berlin Museum; Battle
on the Moskwa (1835); Battles of Custozza,
Novara, and Sta. Lucia (1850); Battle of
