Famille). Jesus, standing in his cradle, leans across the Virgin’s
knees, and caresses the cheeks of St. John, whom St. Elizabeth,
kneeling, presents to him; background, landscape with ruins. Painted
in Rome about 1517–18; given by Raphael to Adrian Gouffier, Cardinal
de Boissy, papal legate in France in 1519; passed to Duc de Rouanez,
and bought finally by Louis XIV. Engraved by Fr. Poilly; P. Drevet;
W. de Gutwein; J. B. L. Massard; S. Simonneau; A B. Desnoyers;
and others. Probably painted by Giulio Romano, after Raphael’s
design.--Passavant, ii. 2, 63; Felibien, ii. 335; Gruyer, Vierges de
Raphael, iii. 362; Cab. Crozat, i. Pl. 17; Landon, Musée, ii. Pl. 5;
Villot, Louvre; Filhol, i. Pl. 56.
By _Rembrandt_, Hermitage, St. Petersburg; canvas, H. 2 ft. 2¾ in.
× 3 ft. 4½ in.; signed, dated 1645. The Virgin, seated in a rustic
apartment, dressed in a red robe and dark-coloured skirt, holding a
large open book on her knees, is raising the coverlet of a cradle
in which Jesus lies asleep; a fire, over which is a pot, burns on a
hearth near her; in background, St. Joseph chopping wood; above, a
group of angels hovering.--Smith, vii. 29.
By Sir Joshua _Reynolds_, National Gallery, London; canvas, H. 6 ft.
5 in. × 4 ft. 9 in. The Virgin, holding the infant Christ, and Joseph
seated at base of a stone pedestal under a tree; at left, infant St.
John with standard of the lamb; background, a landscape. Painted for
Mr. Macklin, who sold it to Lord Gwydyr; purchased at his sale (1828)
and presented to National Gallery; copy by J. R. Powell at Somerley,
seat of Earl of Normanton, which Waagen mistook for a genuine Sir
Joshua. Engraved by W. Sharp (1792); G. Presbury in Jones’s National
Gallery.--Cat. Nat. Gal.; Eng. Painters of Georgian Era, 4; Art
Journal (1860), 359.
By _Rubens_, Blenheim Palace. See _Return_ from Egypt.
By _Rubens_, Hermitage, St. Petersburg; wood, H. 9½ in. × 13½ in. The
Virgin seated on the ground, holding Jesus, who is caressing a lamb,
across the neck of which St. John is standing; behind, St. Elizabeth,
standing. Engraved by Earlom. Formerly in Houghton Gallery.--Smith,
ii. 156.
By _Rubens_, Hertford House, London; wood, H. 4 ft. 2 in. × 3 ft. 1
in. Virgin and Child, with SS. Joseph, John, and Elizabeth. Formerly
one of chief ornaments of the Belvedere Gallery, Vienna; presented
in 1784 by Emperor Joseph to M. Burtin, of Brussels; afterward in
Lapeyrière Collection, whence sold for 2,500 guineas; bought by Lord
Hertford for 3,000 guineas.--Waagen, Treasures, ii. 157.
[Illustration: Holy Family, Rubens, Palazzo Pitti, Florence.]
By _Rubens_, Palazzo Pitti, Florence; wood, H. 2 ft. 7 in. × 3 ft. 10
in. Jesus, lying in a cradle, caresses St. John, who stands behind
it; the Virgin, in scarlet vest and blue mantle, is seated near, with
her hand on the cover of the cradle; at her left, St. Elizabeth;
behind her, St. Joseph. Taken to Paris by French; returned in 1815.
Engraved by Vosterman; Langlois; Paradisi; C. Mogalli.--Musée
français; Smith, ii. 143; Filhol, ii. Pl. 140; Gal. du Pal. Pitti,
iv. Pl. 87.
By _Rubens_, Vienna Museum; wood, H. 7 ft. 4 in. × 11 ft. The Virgin,
in a scarlet vest and blue mantle, is seated at the foot of a tree,
with Jesus in her arms; before them, St. John held by his mother
Elizabeth, at whose left stands Zachariah offering the Saviour a
branch of fruit. Painted on covers of altarpiece of St. _Ildefonso_.
Engraved by Deroy.--Smith, ii. 92.
By _Rubens_, Windsor Castle; canvas, H. 8 ft. × 8 ft. The Virgin,
seated at left, supports Infant Jesus standing in her lap; Infant St.
John stretches out his arms towards the Saviour, before whom St. John
of Assisi bows in adoration; behind the Saviour St. Elizabeth, and at
left Joseph. Replica (H. 5 ft. 8 in. × 6 ft. 7 in.), Leigh Court; at
sale (1884), bought in at 5,000 guineas.--Waagen, Treasures, ii. 435;
iii. 182; Smith, ii. 251.
By Andrea del _Sarto_, Hermitage, St. Petersburg. Autotype by Ad.
Braun & Co., Paris.
[Illustration: Holy Family, Andrea del Sarto, Louvre.]
By Andrea del _Sarto_, Louvre; wood, H. 4 ft. 7 in. × 3 ft. 5 in.
The Virgin, seated on the ground, holds Jesus, who turns his head
toward St. Elizabeth; the latter supports the infant St. John,
who stands with his right hand raised towards heaven; behind the
Virgin, two angels. From collection of Francis I. Old copy in Vienna
Museum.--Landon, Musée, vi. Pl. 67; Villot, Cat. Louvre.
[Illustration: Holy Family, Andrea del Sarto, National Gallery,
London.]
By Andrea del _Sarto_, National Gallery, London; wood, H. 3 ft. 6
in. × 2 ft. 8 in. The Virgin seated, with the Child on her knees;
Elizabeth with infant St. John seated at her right hand. Formerly
in Palazzo Aldobrandino, Rome; taken to England in 1806, and passed
through hands of Mr. Irvine and Mr. Buchanan to Rev. W. H. Carr, who
bequeathed it in 1831 to the National Gallery.--Réveil, iv. 254.
By Andrea del _Sarto_, Palazzo Pitti, Florence; wood, H. 4 ft. 1 in.
× 3 ft. 3 in. The Virgin, kneeling, looks at Jesus, who smiles as he
lies before her; behind him infant St. John standing. St. Joseph, to
left, leans his head on his hand. Landscape background. Painted about
1521 for Zanobi Bracci. Engraved by Paradisi.--C. & C., Italy, iii.
576; Vasari, ed. Mil., v. 35; Gal. du Pal. Pitti, ii. Pl. 117.
By Andrea del _Sarto_, Palazzo Pitti, Florence; wood, H. 4 ft. 6 in.
× 3 ft. 3 in. Jesus, astride on the knee of the Virgin, who sits on
the ground, turns to infant Baptist, supported by St. Elizabeth;
in foreground a reed cross. “Perfectly handled in Andrea’s fused
transparent manner” (C. & C.). Painted about 1529 for Ottaviano de’
Medici. Ancient copy in Dulwich Gallery, St. Joseph being added. This
figure, different in style, recalls the manner of Vasari, Andrea’s
scholar. Engraved by Guzzi.--C. & C., Italy, iii. 576; Vasari, ed.
Mil., v. 51; Gal. du Pal. Pitti, iv. Pl. 114; Richter, Cat. Dulwich
Gal., 151.
By Girolamo _Savoldo_, Turin Gallery; canvas, H. 3 ft. × 4 ft. 6 in.;
signed, dated 1527. The Virgin, with hands joined, behind a cradle or
cushion on which Jesus is lying; at left a donor--a man in a furred
cloak--lifting a cloth from the waking Child; at right, St. Francis,
in prayer. Replica, long attributed to Pordenone, at Hampton Court,
in which a second donor, a woman, is substituted for St. Francis.--C.
& C., N. Italy, ii. 427; Law, Hist. Cat. Hampton Court, 43.
By Andrea _Solario_, Casa Poldi, Milan; wood, figures one-fifth
life-size; signed, dated 1515. The Virgin, sitting, holding Jesus,
to whom Joseph is presenting fruit; in background, the ass in a
glade.--C. & C., N. Italy, ii. 59.
By _Titian_, Louvre; canvas, H. 2 ft. 8 in. × 3 ft. 6 in. The Virgin,
seated under a tree to the left, holds Jesus on her lap; St. John
coming forward with his lamb and St. Joseph looking on; in distance
a servant leads the ox and ass, and two angels in the air carry the
cross; landscape background. Painted in 1530; belonged to Cardinal
Mazarin, bought of his heirs for Louis XIV. Replica of Titian’s time
in Escorial; another from Orleans Gallery, now in Holford Gallery,
London; engraved by Teniers, considered by Waagen and Mündler
superior to that in Louvre; others in Royal Institution, Liverpool,
and Modena Gallery; later adaptations in Stockholm and Berlin
Galleries.--C. & C., Titian, i. 341; Vasari, ed. Mil., vii. 429;
Waagen, Treasures, ii. 194; Mündler, Essai, 207; Ch. Blanc, École
vénitienne.
By Paolo _Veronese_, Uffizi, Florence; canvas, figures life-size,
half-length. The Virgin seated, with Jesus asleep in her lap; at
right, infant St. John kissing the foot of the child; behind him,
Joseph restraining him with one hand; at left, St. Catherine, making
a gesture as if of silence. Bought in 1654 by Cardinal Leopoldo de’
Medici, from collection of Paolo del Sera, Venice; placed in Uffizi
in 1798.--Lasinio, Gal. de Florence, i. Pl. 71; Ridolfi, Marav., i.
325; Molini, Gal. di Firenze, ii. 85; Soc. Ed. and Paris, Gal. di
Firenze, Pl. 83.
Attributed to Leonardo da _Vinci_, Hermitage, St. Petersburg; wood,
H. 1 ft. 8 in. × 1 ft. 3 in. Composition similar to the _Madonna_
of the Bas-relief, but infant St. John is omitted, and a young
woman reading takes the place of Zacharias. This young woman is
commonly called St. Catherine; it is probably a portrait of the
sister-in-law of Leo X., who became the wife of Giulio de’ Medici in
1518. Painted after 1490; belonged to Dukes of Mantua, and was lost
when their palace was pillaged by the Germans. About 1770–77 it came
into possession of Abbé Salvadori, secretary of Count Firmian, then
Governor of Mantua. He concealed it, lest he should have to return it
to the palace, and after his death it was sold by his heirs to agents
of Catherine II.--Heaton, 232; Rigollot, Hist. des Arts, etc., i.
272; Kugler, ii. 283; Gal. de l’Hermitage; Vasari, ed. Mil., iv. 63.
[Illustration: Holy Family, Del Bacino, Giulio, Romano, Dresden
Gallery]
HOLY FAMILY--DEL BACINO, or DELLA CATINA (of the Basin), Giulio
_Romano_, Dresden Gallery; wood, H. 5 ft. 4 in. × 4 ft. The Virgin,
three-quarters length, standing, holding Jesus, who stands in a
basin, into which the infant St. John is pouring water from a vase;
at left, St. Elizabeth with a towel; at right, in background, head
of St. Joseph. Painted for Duke Federigo of Mantua, who gave it to
his mistress, Isabella Buschetta; purchased from Modena by Augustus
III. Engraved by M. Ferry; G. G. Hipart.--Vasari, ed. Mil., v. 545;
Hübner, Dresden Gallery, i. 2; Morelli, 212; W. & W., ii. 677.
HOLY FAMILY WITH THE BEARDLESS JOSEPH (Joseph imberbe), _Raphael_,
Hermitage, St. Petersburg; wood, transferred to canvas, H. 2 ft. 3
in. × 1 ft. 9¾ in. Figures half-length. The Virgin seated in a marble
hall, with Jesus on her knee; St. Joseph standing near, resting both
hands upon a staff; on the right, a landscape through an arched
window. Painted in 1506 probably for Guidobaldo da Montefeltro,
though C. & C. think it cannot be the picture of the Urbino
inventory, but may be the second one painted for Taddeo Taddei,
said to have belonged in 17th century to Duc d’Angoulême in Paris;
sold to one Barroy, and finally came into the Crozat Collection;
bought of Crozat by Empress Catherine. Engraved by J. Chereau; C. W.
Ketterlinus; A. Pistchalkine.--Vasari, ed. Mil., iv. 322; Passavant,
ii. 44; C. & C., Raphael, i. 284; Gaz. des B. Arts, xvii. (1864),
317; xix. (1879), 187; Cab. Crozat, i. Pl. 30; Gruyer, Vierges de
Raphael, iii. 272; Descr. de l’Ermitage, Pl. 1; Réveil, xi. 769.
[Illustration: Canigiani Holy Family, Raphael, Munich Gallery.]
HOLY FAMILY, CANIGIANI (della Casa Canigiani), _Raphael_, Munich
Gallery; wood, H. 4 ft. × 3 ft. 3 in.; signed. The Virgin, seated
in a meadow at right, with a book in her left hand, supports Jesus
with the other; he, resting upon her knee, with one foot on the
ground, reaches toward the infant St. John, who is sustained at left
by St. Elizabeth, kneeling; behind, St. Joseph, standing, leaning on
his staff, completes the pyramidal group; background, a landscape.
Painted about 1506 for Domenico Canigiani, of Florence; passed into
hands of the Medici, and given by Cosmo III. to his daughter, Anna
Maria Luisa, on her marriage in 1690 with Johann Wilhelm, Elector
Palatine; transferred to Munich from Düsseldorf Gallery, whence
sometimes called Düsseldorf Madonna. Much repainted; the angels in
the sky were so much injured by a restorer named Colin, that Krahe,
director, caused them to be painted out. Sketches in Albertina
Collection, Vienna, and in Duc d’Aumale’s Collection, Chantilly. Copy
in Corsini Gallery, Florence, formerly in Casa Rinuccini, Florence;
probably by a disciple of Raphael, though landscape looks like the
work of a Fleming. Another copy in sacristy of S. Frediano, Florence.
Engraved by Bonasone, René Boirin, Calendi, Prestel, Cossé, K. Russ,
Carl Hess (1804), S. Amsler (1836).--Vasari, ed. Mil., iv. 326;
Passavant, ii. 53; Müntz, 191; C. & C., Raphael, i. 294; Gruyer,
Vierges de Raphael, iii. 282; Kugler (Eastlake), ii. 420.
HOLY FAMILY--DEL CORDERO (of the Lamb), _Raphael_, Madrid Museum;
wood, H. 11½ in. × 8 in.; signed, dated 1507. The Virgin, half
kneeling, holds Jesus on a lamb; St. Joseph, standing and leaning on
his staff, looks on; background, landscape with castle on a hill and
church on low ground, with flight into Egypt, very small figures.
Painted in Florence; long unnoticed in Oratorio of the Escorial until
one day Don Sebastian, the Infante, examining it, was surprised to
find Raphael’s signature. A fine copy of Raphael’s time sold in 1840
by Signor Baldeschi, of Rome, for 12,000 scudi, to Count Castelbarco,
of Milan, who sold his collection in Paris in 1870. Many other
copies. Engraved by R. Morghen; Sadeler.--C. & C., Raphael, i. 337;
Passavant, ii. 55; Müntz, 188; Gruyer, Vierges de Raphael, iii. 296;
Madrazo, 184.
HOLY FAMILY--DEL DIVINO AMORE (of Divine Love), attributed to
Raphael, but probably by Giulio _Romano_, Naples Museum; wood, H.
1 ft. 11 in. × 1 ft. 7 in. The Virgin sitting with clasped hands;
Jesus on her lap, with right hand raised as if blessing St. John, who
kneels, holding a cross; behind is St. Elizabeth seated, and in the
background Joseph. Painted about 1513 for Leonello Pio da Carpi; in
possession of Cardinal Ridolfo Pio da Carpi in 1558; thence passed
to Farnese family and was taken to Parma, whence carried to Naples
by King Ferdinand I.; in 1805, on the approach of the French, Queen
Caroline took it with her to Palermo, Vienna, and Constantinople,
and finally brought it back to Naples. Original sketch in Naples
Museum. Engraved by Marc Antonio, with variations, from an original
sketch. Passavant mentions many copies, one in St. Petersburg
attributed by Waagen to Raffaello dal Colle, though others believe it
to be the original; but Kugler thinks the Naples picture a genuine
Raphael.--Vasari, ed. Mil., iv. 348; Passavant, ii. 121; Gruyer,
Vierges de Raphael, iii. 323; Kugler (Eastlake), ii. 375.
HOLY FAMILY OF THE DOG. See _Holy_ Family del Pajarito.
[Illustration: Holy Family of Francis I., Raphael, Louvre.]
HOLY FAMILY OF FRANCIS I., _Raphael_, Louvre; wood, transferred
to canvas, H. 6 ft. 6 in. × 4 ft. 7 in.; signed, dated 1518. The
Virgin, bending forward, is raising Jesus from the cradle; at left,
SS. Elizabeth and John kneeling; on right, behind the Virgin, Joseph
in contemplation; on left, two angels, one with crossed arms, the
other scattering flowers. Painted in Rome for Lorenzo de’ Medici, who
presented it, with the large St. _Michael_ of the Louvre, to Francis
I. of France, in hope of gaining his support in his pretensions
to the Duchy of Urbino. Much of it painted by Giulio Romano. Many
copies. Engraved by G. Edelinck; Virg. Solis; Richomme; G. Rousselet;
P. Drevet; J. Chereau; Poilly.--Vasari, ed. Mil., iv. 389; v. 525;
Gruyer, Vierges de Raphael, iii. 393; Passavant, ii. 257; Filhol,
x. Pl. 709; Landon, Musée, i. Pl. 31; Klas. der Malerei, i. Pl. 34;
Musée royal, ii.; Cab. Crozat, i. Pl. 5.
[Illustration: Holy Family--del Lagarto, Raphael (?), Madrid Museum.]
HOLY FAMILY--DEL LAGARTO, _Raphael_ (?), Madrid Museum; wood, H. 4
ft. 9 in. × 3 ft. 8 in. The Virgin seated under an oak, with one arm
resting on an antique altar decorated with bas-reliefs, sustains
Jesus on her knees with the other; he looks up into her face and
bends forward to put his arm round St. John, who stands near offering
him a scroll inscribed “Ecce Agnus Dei;” each child rests one foot
on a cradle; on right, St. Joseph, leaning upon the altar. Probably
painted about 1517 by Fr. Penni after a design by Raphael. In Royal
Alcazar, Madrid, time Charles II.; removed by Philip V. to Palace of
S. Ildefonso, thence by Charles III. to new Palace. Taken to Paris;
returned to Madrid in 1822. Many copies: one by Giulio Romano in
Palazzo Pitti, Florence, has a lizard in foreground, whence called
Madonna della Lucertola; another, attributed to same, at Hampton
Court, without lizard, called M. della Quercia (of the Oak), a
name applied sometimes also to the Madrid example. Engraved by G.
Bonasone, Diana Mantovana, Ag. Carracci (etching), Carattoli, and
others.--Gruyer, Vierges de Raphael, iii. 382; Passavant, ii. 249;
Madrazo, 194.
HOLY FAMILY OF THE LAMB. See _Holy_ Family del Cordero.
HOLY FAMILY OF LORETO, _Raphael_, original lost; figure to knees,
life-size. Virgin, standing behind couch of Jesus, lifts the
veil which covers him; St. Joseph, leaning on a staff, behind in
contemplation. Painted in Rome about 1512–13 by order of Cardinal
Riario for S. M. del Popolo; supposed to have been given in 1717 to
the shrine of Loreto, whence its present name. It disappeared at
the close of the last century, and is only known now through its
many copies. Discovery of original often announced, but without
good evidence. Poor copy in Louvre; better example lately placed in
South Kensington Museum by Dr. Axell Lamm, of Stockholm. This is
probably the copy mentioned by Passavant as “peu remarquable,” in
the possession of the sculptor Bystroem at Stockholm. Engraved by
Michele Lucchese (1553); Paulus Caronni.--Vasari, ed. Mil., iv. 339;
Passavant, ii. 100; Müntz, 375; Gruyer, Vierges de Raphael, iii. 310;
Springer (Dohme 2ii.), 191; Filhol, iv. Pl. 230.
HOLY FAMILY OF NAPLES. See _Holy_ Family del Divino Amore.
HOLY FAMILY OF THE OAK. See _Holy_ Family--del Lagarto.
[Illustration: Holy Family--del Pajarito, Murillo, Madrid Museum.]
HOLY FAMILY--DEL PAJARITO (of the Bird), _Murillo_, Madrid Museum;
canvas, H. 4 ft. 9 in. × 6 ft. 2 in. St. Joseph, seated in a room,
supports Jesus, who stands at his right holding a goldfinch, with
which he amuses a dog sitting before him; on left, the Virgin looking
on while winding yarn from a reel. Called also Sacra Familia del
Perrito (of the Dog). From Palace of S. Ildefonso; carried by the
French to Paris, where injured by cleaning and repairing. Engraved by
J. A. S. Carmona; B. Gallart; etched by B. Maura; lithographed by L.
Zoellner; A. Lemoine; J. Vallejo.--Curtis, 172; Madrazo, 466.
HOLY FAMILY OF THE PALM (Vierge au Palmier), _Raphael_, Bridgewater
House, London; wood, transferred to canvas; round, 3 ft. 4 in.
diameter. The Virgin, seated under a palm, holds Jesus astride of
her knee by means of her veil, one end of which is swathed around
his body; St. Joseph, on one knee, offers flowers to the child, who
stretches out both hands to receive them. Probably the second of two
painted in Florence in 1506 for Taddeo Taddei. Belonged before 1680
to Countess de Chiverni in Paris, then to Marquise d’Aumont, who sold
it for 5,000 livres to M. de la Noue; from his collection passed to
President Tambonneau, and thence to the Orleans collection, at the
sale of which (1798) bought by Earl of Bridgewater for £1,200. Two
vertical splits in the panel have necessitated repainting. Drawing
in the Louvre. Copied by Philippe de Champagne for the Abbey of Port
Royal. Engraved by E. Rousselet (1656), Jean Reymond, Felix Massard,
and Achille Martinet (1844).--Vasari, ed. Mil., iv. 321; Passavant,
ii. 38; Müntz, 188; C. & C., Raphael, i. 285; Gower, Hist. Gal. of
England (London, 1881); Felibien, Entretiens, i. 228; Gruyer, Vierges
de Raphael, iii. 259; Waagen, Treasures, ii. 26; Cab. Crozat, i. Pl.
23.
[Illustration: Holy Family--La Perla, Raphael, Madrid Museum.]
HOLY FAMILY--LA PERLA (The Pearl), _Raphael_, Madrid Museum; wood,
transferred to canvas, H. 4 ft. 9 in. × 3 ft. 10 in. The Virgin,
sitting near a cradle, holding Jesus on her knees; he has one foot
on the cradle, and is reaching for fruits which St. John, dressed
in a sheep skin, presents him; on right, St. Elizabeth kneeling; in
background, St. Joseph among ruins. Painted about 1517 for Federigo
II., Gonzaga, Duke of Mantua, according to Passavant, but probably
identical with the Nativity described by Vasari as painted for Bishop
Lodovico da Canossa; passed from Canossa family, Verona, to Duke
of Mantua, and sold in 1628 to Charles I. of England; bought after
Charles’s death, for £2,000, by Don Alonzo de Cardeñas, Spanish
Ambassador, for Philip IV. of Spain, who is said to have exclaimed
when he saw it: “This is the pearl among my pictures!” Carried in
1813 to Paris, where transferred to canvas; returned to Madrid in
1822. Many copies. Engraved by Gio. Baptista Franco, L. Vorsterman,
and others. The M. della Gatta, by Giulio Romano, Naples Museum, is
a repetition of the Perla, with a change of accessories; derives its
name from the cat (gatta) crouching at St. Elizabeth’s feet. Engraved
by G. B. Franco; L. Vorsterman. Giulio Romano had perhaps some
hand in painting the Perla.--Gruyer, Vierges de Raphael, iii. 348;
Passavant, ii. 250; Kugler (Eastlake), ii. 375; Vasari, ed. Mil., iv.
351; Müntz, 513; Springer, 351; Gaz. des B. Arts, xviii. (1878), 211;
Madrazo, 192.
HOLY FAMILY WITH SAINTS, _Bagnacavallo_, Bologna Gallery; wood, H.
6 ft. 2 in. × 4 ft. 5 in. The Virgin, seated; Jesus, standing in
his cradle, leans across her lap to reach flowers offered by St.
Joseph; behind, standing, SS. Benedict, Mary Magdalen, and Paul;
in background, the nativity. Formerly in S. M. Maddalena, Bologna.
Engraved by G. Asioli.--Pinac. di Bologna, Pl. 16.
HOLY FAMILY WITH ST. ZACHARIAS. See _Madonna_ with Cherries.
HOLZER, JOHANN EVANGELIST, born at Burgeis, Tyrol, in 1709, died at
Clemenswerth, Hanover, July 21, 1740. German school; history and
portrait painter, pupil at Meran of Nicholaas Auer; went afterwards
to Augsburg, where he worked conjointly with Johann Geo. Bergmüller,
and later independently in oil and fresco. Works: Finding of the
Cross, Sketch to Mythological Fresco Painting in Augsburg, Faith,
Hope and Love, Emperor Heraclius divesting himself of the Purple,
Artist’s Portrait, Ferdinandeum, Innsbruck; Ecce Homo; Peasant
Wedding; Two Altarpieces, Dominican Church, Augsburg; Fall of
Angels, Jesuit Church, ib.; Portrait of Elector Clemens of Cologne
(1740).--Allgem. d. Biogr., xiii. 27; Wurzbach, ix. 248.
HOLZER, JOSEF, born in Vienna, March 20, 1824, died there, Jan. 17,
1876. Landscape painter, pupil of the Vienna Academy, first under
Klieber, then under Thomas Ender and Franz Steinfeld; travelled
(1846) in Germany, Switzerland, and Belgium, and went in 1856 for
three years to Munich. His landscapes show deep feeling for nature
and poetical sentiment, delicate treatment and good drawing, but
somewhat dull and hard colouring. Member of the Vienna and Venice
Academies. Works: Quiet Wood-Nook, Emperor of Austria; Stag-Hunt;
In the Wiener Wald; View in the Ramsau; In the Beech-Grove; View in
Carpathian Mountains (2) (1854); Wood Landscape (1859); Landscape
with Oaks, Vienna Museum.--Kunst-Chronik, xi. 833; Wurzbach, ix. 250.
HOLZHAB, ADOLF, born in Zürich in 1835. Architecture and landscape
painter, pupil of Düsseldorf Academy under Gude and Pulian;
travelled through the Rhine countries, Southern Germany, Belgium,
Holland, France, and Italy. Works: View near Tangermünde, Säg Alp on
Reichenbach, Mediæval Town on North Sea, Zürich Gallery; Costumes in
Switzerland; Ruin of Convent in Black Forest; Town of Leuk and the
Gemmi; The Wetterhorn.--Müller, 265.
HOMER, APOTHEOSIS OF, Dominique _Ingres_, Louvre, Paris; canvas, H.
12 ft. 8 in. × 16 ft. 10 in.; signed, dated 1827. Homer, seated,
with figures representing the Iliad and the Odyssey at his feet,
is crowned by Fame, and receives the homage of all the great men
of Greece, of Rome, and of modern times. Painted for a ceiling of
the Musée Charles X., Louvre, but replaced now by a copy. Paris
Exposition, 1855; afterwards in Luxembourg. Engraved by A. Martinet.
Original sketch also in Louvre.--Villot, Cat. Louvre; Ch. Blanc,
Life, 91; Larousse, i. 497.
HOMER AND THE GREEKS, Wilhelm von _Kaulbach_, New Museum, Berlin;
mural painting, staircase hall. Homer, in a boat steered by the
Cumæan Sibyl, approaches the shores of Greece while Thetis and the
Nereids rise from the sea to listen to his song; on the shore are
gathered the great men of Greece--Orpheus in the centre, then Hesiod,
Æschylus, Sophocles, Euripides, Aristophanes, and Pindar; Phidias,
and other sculptors and painters; the prophet Bacis, and Solon,
Pericles, and Alcibiades, while from forest and field the people
approach to partake of the new culture.