Page:Cyclopedia of painters and paintings - Volume I.djvu/92

in Paris, Oct. 20, 1840. History painter; studied at Antwerp and in Paris with F. A. Vincent; he attained distinction through his pleasing talent and a certain skill of treatment, received several medals and the L. of Honour. Works: Kleber in the Battle of Heliopolis (1799); Sappho and Leda (1801); Angelica and Medor (1810); Assumption (1812); Resurrection (1812); Conversion of St. Paul (1814), Liège Cathedral; Richelieu introducing Poussin to Louis XIII (1817), Bordeaux Museum; Rinaldo and Armida (1817); Education of Cupid, Judgment of Paris, Diana's Nymph (1819), Return of the Prodigal Son (1819), Town Hall, Liège; St. Paul at Athens, St. Étienne, Paris; Scourging of Christ, Metz Cathedral; Resurrection, Arras Cathedral; Adoration of the Magi, Mans Cathedral; Erection of the Cross, Angers Cathedral; St. John censuring Herodes, Finding of Moses, Lille Museum.—Meyer, Künst. Lex., ii. 90.

ANSUINO or ANSOVINO DA FORLI, Paduan school (1443-1460). Pupil of Squarcione, co-labourer with Mantegna in the decoration of the Eremitani, and with Pizzolo and Fra Filippo in the chapel of the Podestà in the Santo. The Adoration of St. Christopher in the Eremitani is his work. In it Paduan art begins to present the character afterwards known as Mantegnesque, without showing much progress in the blending of light and shade, or feeling in the production of tone.—C. & C., N. Italy, i. 312; Meyer, Künst. Lex., ii. 91.

ANTENORIDES or ANTORIDES, painter, mentioned as pupil of Aristides.—Pliny, xxxv. [111].

ANTHONISSEN, H. (Hendrik?) VAN, flourished middle of 17th century. Dutch school; marine painter in style of J. van Goyen and Jan Parcellis. Works in Hermitage, St. Petersburg and Prague Gallery.

ANTHONY, MARK, born at Manchester, England, in 1817. Landscape painter; pupil of his uncle, George W. Anthony, landscape painter (died 1859); studied in Paris from 1834 to 1840, when his first picture was exhibited at the British Institute. Influenced by the Pre-Raphaelite school. Works: Lake of Killarney (1845), bought by Prince Albert; Sunday Morning (1846), Harvest Home (1847), Elm at Eve (1850), Village Bridal (1851), Monarch Oak (1852), Stratford on Avon (1853), Stone-*henge (1859), Hesperus (1860), Relic of Feudal Time (1863), Rest for the Weary (1865), Lerida—Spain (1869), Night and Storm (1871), Hazlewick Mill—Sussex (1872), Evensong (1873), Incident by the Wayside (1878), Trawlers—Morning (1883).—Meyer, Künst. Lex., ii. 101.

ANTHONY, ST., TEMPTATION OF, Pieter Brueghel, the younger, Dresden Gallery; copper, H. 11 in. × 1 ft. 3 in.; signed, dated 1604. The Saint praying in his cell at left, is tempted by a beautiful young woman, richly habited, who is accompanied by numerous demons; at right, a rocky country, with buildings in back-*ground.—Réveil, xii. 837.

By Lucas van Leyden, Dresden Gallery; wood, round, diam. 9 in. St. Anthony retired apart to pray, is tempted by the Demon in the form of a young and pretty woman, richly dressed, holding in her hands a sceptre and a casket, indicative of power and wealth.—Réveil, xii. 844.

By David Teniers, younger, Berlin Museum; canvas, H. 2 ft. 8 in. × 3 ft. 10 in.; signed, dated 1647. The Saint kneels in anxiety before a stone altar, the corners of which are shooting out into heads of monstrous beasts; beside him stands an old hag who is placing before him a Brabant beauty, offering a goblet of wine; around him are imps in many forms, twitching at his garments and performing all manner of mad tricks, singing, shouting, and screaming; and the air is filled with flying demons and reptiles.—Kugler (Crowe), 326; Smith, ix. 408.

By David Teniers, younger, Louvre, Paris; wood, H. 2 ft. × 1 ft. 8 in. The Saint kneeling in a grotto before a book placed against