1878. Genre painter, pupil of Milan Academy under Luigi Sabatelli
and of Hayez; won the great prize in 1837, and went to Rome. After
painting classical and romantic subjects, finally devoted himself
entirely to the representation of Milanese popular life. Implicated
in the revolution in 1848, he fled to Switzerland, then went to
Tuscany, and returned to Milan in 1859. Works: Alexander; Oath at
Pontida; Samuel anointing David (1840), Vienna Museum; The Smugglers;
Bread and Tears; The Beggars; Soldier’s Grief; Conflagration;
Dispatch; The Rosary; Pawnbroker’s Shop; Victor Emmanuel laying
Corner-Stone of Milan Gallery (1878).--L’Illustrazione ital. (1878),
No. 45; Larousse, ix. 669; Vapereau (1880), 974; Wurzbach, x. 204.
INDUNO, GIROLAMO, Cavaliere, born in Milan in 1827. Genre painter,
pupil of Milan Academy; first exhibited in Paris in 1855, pictures
of military life and humorous scenes of the Rococo period which have
gained him a prominent place among modern Italian artists. Works:
Garibaldi’s Soldiers, Sutler (1855); Letter from Camp; Tale of the
Garibaldian; Salutes between Gianduia and Meneghino, Garibaldian
Sentinel, Farewell of the Conscript (1868); Museo Civico, Turin;
Battle of Magenta; Gallant Friend of the Family; Lady Artists
Overheard; Expectation; Return of Garibaldian; Bridal Pairs; Eleonore
d’Este grieving about Tasso (1870); Bivouac near Capua; First Snow;
Battle of Palestro; Battle of Cernaia; Entry of King of Italy into
Venice; Dancing Lesson in Last Century; Domestic Scene; Amateur
of Antiquities (1873); Savoyard Woman (1878); Emigrants, Italy
in 1866 (1878); Visit of Garibaldi to Victor Emanuel at Rome in
1875, Dear Remembrance, Il marito gentil queto sorride (Parini),
Souvenir of Rome, Brera, Milan; Sentinel, Fondazione Poldi-Pezzoli,
ib.--L’lllustrazione ital. (1876); Gaz. des B. Arts (1867), xxiii.
224; Wurzbach, x. 205; Zeitschr. f. b. K., iii. 125; x. 288.
INFIDELITY, Paolo _Veronese_, Cobham Hall, England; canvas, 5 ft. 10
in. sq. A woman, nude, seated between two men, to one of whom she
gives her hand while putting a letter into the hand of the other;
below, two cupids. From collection of Queen Christina of Sweden to
Orleans Gallery; valued at sale in 1793 at £150, sold for 46 guineas.
Engraved by S. Vallée.--Waagen, Treasures, ii. 499; iii. 20; Cab.
Crozat, ii. Pl. 28; Ch. Blanc, École vénitienne.
INGANNI, ANGELO, born at Brescia in 1807. Architecture painter,
member of Milan Academy; lives at Brescia, and enjoys reputation in
North Italy. Works: View of Cathedral and Square at Milan (1839),
Vienna Museum; Harbor of Como (1846); Piazza Fontana, Piazza Borromeo
(1847); Arco della Costa in Verona (1851); Façade of Milan Cathedral
(1852); Municipal Palace at Brescia (1857); Blessing the Weather
(1858).--Wurzbach, x. 206.
INGEGNO, L’, born in Assisi, flourished end of 15th and early part
of 16th century. Umbrian school. Real name Andrea Luigi, Alovigi,
or Lovigi, but called L’Ingegno (the Cunning), on account of his
pictorial ability and his versatility. Vasari’s account of him is
full of errors. He was more probably the pupil of Niccolò Alunno, who
opened a school at Foligno in 1460, than of Perugino, whose school
at Perugia did not begin until about 1499, and is first heard of in
1484, painting coats-of-arms in the Council Hall and on the city
gates of Perugia. He was proctor in 1505, justice in 1507, assistant
in 1510, and Papal cashier in 1511, under Pope Julius II. His name
is attached to several pictures in European galleries, evidently
painted by a master who was at the school of Fiorenzo di Lorenzo,
and a companion of Pinturicchio.--C. & C., Italy, iii. 161; Vasari,
ed. Mil., iii. 595, 617; Burckhardt, 566; Rumohr, Italienische
Forschungen, ii. 324; iii. 29; Kunstblatt (1821), No. 73; (1837), 94.
INGENMEY, FRANZ MARIA, born at Bonn in 1830, died in Düsseldorf, June
3, 1878. Genre painter, pupil in Munich of Correns, then studied in
Düsseldorf. Works: Blind Fiddler and his Child; After the Storm; Bad
Tobacco; Barred Way Home; Poaching; Study in the Woods; Dream-King
and his Love; Surprise, Cinderella; Uninvited Guests.--Kunst-Chronik,
xiii. 598.
INGHAM, CHARLES CROMWELL, born in Dublin, Ireland, in 1796, died
in New York in 1863. Figure and portrait painter, pupil of Dublin
Academy; went to the United States in 1817, and soon acquired
reputation by his portraits of the reigning beauties of New York,
where he was one of the founders of the National Academy of Design,
and for years its vice-president. Works: Death of Cleopatra: Flower
Girl; Day Dream; The Black Plume, Portrait of Lafayette (1825), do.
of Gulian C. Verplanck (1830), Historical Society, New York.
INGHIRAMI, TOMMASO (Phædra), portrait, _Raphael_, Palazzo Pitti,
Florence; wood, H. 2 ft. 11 in. × 2 ft. Half-length, without beard,
in a cap and red dress, sitting, pen in hand, behind a table, on
which are an inkstand, a book, and a casket. He was Secretary to
the Conclave; called Phædra, because, having once taken part in the
performance of Seneca’s Hippolytus, he improvised some Latin verses
about Phædra to avert a panic when the theatrical machinery gave way.
Painted in Rome about 1513; carried to Paris in 1799; returned in
1815. Replica in Casa Inghirami, Volterra. Engraved by Theo. della
Croce; T. Vercruys; Ferrerii; Bardi.--Gal. du Pal. Pitti. i. Pl.
93; Müntz, 276; Passavant, ii. 137; Springer, 252; Gruyer, Raphael
Peintre de Portraits.
[Illustration: Bust]
[Illustration: Signatures]
INGRES, JEAN AUGUSTE DOMINIQUE, born at Montauban (Tarn-et-Garonne),
Aug. 29, 1780, died in Paris, Jan. 14, 1867. History and portrait
painter, pupil of Roques in Toulouse, and of David in Paris (1796);
won the second grand prix in 1800, and the grand prix de Rome in
1801, but being unable to go to Italy on account of the war he
spent the next five years in Paris studying the pictures in the
Louvre, supporting himself meanwhile by making designs and book
illustrations. After living from 1806 to 1820 in Rome, where he
studied the works of Raphael with devotion, and from 1820 to 1824 in
Florence, he returned to Paris to take rank as one of the greatest
artists of his time, and to produce an immense number of works,
many of which are of great excellence. As a colourist he is cold
and unsympathetic, but as a draughtsman he is perhaps the first of
French artists. Some of his portraits, as, for instance, that of M.
Bertin, are masterpieces in character and in drawing. He had many
distinguished pupils, such as Hippolyte Flandrin, and was familiarly
known in Paris as “Le père Ingres.” Member of Institute, 1826;
director of the French Academy in Rome, 1834–41; L. of Honour, 1824;
Officer, 1826; Commander, 1845; Grand Officer; Medal of Honour, 1855;
Senator, 1862. Works: Antiochus sending back Scipio’s Son (1800);
Arrival of Agamemnon’s Ambassadors in Tent of Achilles (1801), École
des Beaux Arts; Philemon and Baucis (1802), Puy Museum; portraits
of his father, of himself, of the sculptor Bartolini, of Bonaparte
as First Consul (1804), Liège Museum; Napoleon at the Bridge of
Kehl, Venus wounded by Diomed (1804, both lost); Woman Bathing,
Copy of Raphael’s Farnesine Mercury, Marseilles Museum; Copy of
Raphael’s Adam and Eve, _Œdipus_ and the Sphinx, Napoleon on his
Throne (1806), Invalides; Portraits of M. Philibert Rivière, do. of
Mme. Rivière (1806), Louvre; Portrait of Mme. de Vaucay, Portrait of
Granet Member of Institute (1807), Woman Bathing (1808), Pius VII.
holding Chapel, Jupiter and Thetis (1811), Aix Museum; Portrait of
M. Bochet (1811), Louvre; Portrait of a Lady (1812), Nantes Museum;
Odalisque, Romulus Conqueror of Acron, Palace of St. John Lateran;
_Raphael_ and the Fornarina (1813); Don Pedro of Toledo kissing the
Sword of Henry IV., Cardinal Bibiena betrothing his Niece to Raphael,
Odalisque, Portrait of Ingres’ first Wife (1814); Virgil reading
the Æneid (1815); _Francesca_ da Rimini (1818); Roger rescuing
_Angelica_ (1819), Louvre; Death of Leonardo da Vinci in the Arms
of Francis I., _Henri_ IV. and the Spanish Ambassador, Philip V. of
Spain and Marshal Berwick, Odalisque, Portrait of M. de Pressigny,
Bishop of St. Malo, Duke of Alva and Pius V. (unfinished); Christ
giving Keys to Peter (1820), Louvre; Mercenary Soldiers (1821);
Charles V. reëntering Paris (1822); Vow of Louis XIII. (1823),
Cathedral of Montauban; Portraits of Charles X., of Marquis de
Pastoret, of Cardinal de Latil, of M. Martin (1825); Apotheosis of
_Homer_, Apollo crowning the Iliad and the Odyssey (1827), Louvre;
Martyrdom of St. Symphorien (1834), Cathedral of Autun; Virgin with
the Host (1836), Hermitage, St. Petersburg; Odalisque and her Slave,
_Stratonice_ (1839, variation in 1859); Portrait of Cherubini (1842),
Louvre; Christ among the Doctors (1844, unfinished, bequeathed to
city of Montauban); Aretino receiving a Gold Chain from Charles
V., Tintoretto and Aretino, Venus Anadyomene, Golden Age (1848,
unfinished), Duc de Luynes; Portrait of Mme. de Rothschild (1848);
Jupiter and Antiope, Lesueur among the Monks of Chartreuse, Molière
in the Morning, Racine in Court Dress, La Fontaine out Walking (4
sketches, 1851); Portrait of the Princess de Broglie, Apotheosis
of Napoleon I. (1853); The Virgin (1854, variation of Virgin with
Host), Ministry of State; _Joan_ of Arc holding the Oriflamme
(1854), Louvre; Virgin of Consolation (1856); La _Source_ (1856),
Louvre; Saint Germaine de Pibrac (1857), Church of Sapiac; Virgin
of the Adoption (1857); Molière dining with Louis XIV. (copy at
Comédie-Française), Birth of the Muses (water-colour), The Spring
(1858); portraits of his second wife and of himself (1859), Uffizi,
Florence; Interior of a Harem (1864); Portrait of Mlle. Flandrin
(1866); Sketch of Stratonice (1867).--Merson, Ingres, sa vie et son
œuvre (Paris, 1867); F. de la Genevais (de Mercey), Peintres et
sculpteurs modernes (Paris, 1846); Ch. Blanc, Ingres et son œuvre;
Delaborde, Ingres, sa vie et ses travaux (Paris, 1870); Chesneau,
Peinture française au XIX. siècle (Paris, 1883); Perrier, Études, 15;
Gaz. des B. Arts (1861), ix. 343; (1861), x. 257; xi. 38; (1867),
xxii. 105, 415; xxiii. 54, 193, 442; (1868), xxiv. 5, 340; xxv. 89,
228; (1870), iii. 112; iv. 495; Mirecourt, Ingres (Paris, 1858);
Silvestre, L’Apothéose de M. Ingres (Paris, 1862); Rey, Biographie
d’Ingres (Paris, 1867); Montrond, Ingres (Paris, 1869); Hamerton,
French Painters; Macmillan’s Mag., xxiv. 52; Contemporary Review, v.
458; Once a Week, xvi. 221; Art Journal (1867), 105, 151; L’Artiste
(1867), i. 102; Zeitschr. f. b. K., ii. 170.
INKERMAN, RETURN FROM, Mrs. Elizabeth _Butler_, London; canvas.
Scene--Soldiers returning over the crest of the hill after the battle
of Inkerman. A straggling column of weary, wounded, and dying men,
painfully marching along a rough hillside; to the right, slightly
in advance, rides a young staff officer with a wounded bugler
clinging to his stirrup to help himself along. Engraved by W. T.
Davey.--Portfolio (1877), 100.
[Illustration: Bust]
INMAN, HENRY, born in Utica, N. Y., Oct. 20, 1801, died in New York,
Jan. 17, 1846. Portrait, landscape, and genre painter, pupil of John
W. Jarvis, in New York. In 1844 visited England, where he painted
the portraits of Wordsworth, Dr. John Chalmers, Lord Chancellor
Cottenham, Macaulay, and other noted men; among his American
portraits are Bishop White, Chief Justice Marshall, Jacob Barker,
and the two sons of Bishop Doane. Works: Rydal Falls--England;
Newsboy; Rip Van Winkle; Boyhood of Washington; Ruins of Brambletye
House (1876), Wm. E. Dodge, New York; Student, L. L. Stuart, ib.;
October Afternoon; Portraits of Henry Rutgers and Fitz Greene Halleck
(1828), Historical Society, New York. At the time of his death Inman
was engaged on a series of historical pictures for the Capitol at
Washington. His son, J. O’Brien Inman, genre painter, has lived in
Rome since 1866; is an Associate of the National Academy, but rarely
exhibits.
[Illustration: The Inn (L’Estaminet), Jan Steen, Hague Museum.]
INN, THE (L’Estaminet), Jan _Steen_, Hague Museum; canvas, H. 2 ft. 3
in. × 2 ft. 8 in. Twenty or more persons gathered in the tap-room of
an inn, eating oysters, drinking, smoking, and playing trick-track.
The upper part is covered with a large violet curtain, partly drawn
up, beneath which is seen a balcony, and under that an elevated
stage, on which a boy is lying down, blowing soap-bubbles. Sometimes
erroneously called Picture of Human Life. Bout sale, Hague (1733),
515 florins; Benjamin d’Acosta sale, Hague (1764), 1,745 florins, to
William IV. Engraved by Oortman in Musée français.--Reveil, x. 688.
[Illustration: Bust]
INNESS, GEORGE, born at Newburgh, N. Y., May 1, 1825. Landscape
painter, pupil for one month of Regis Gignoux; has visited Europe
three times for study, the last time in 1871–76. Elected an A.N.A.
in 1853 and N.A. in 1868. Studio in New York. Works: American
Sunset (1867); Joy after the Storm (1869); Twilight (1870); View
near Rome (1871); Scene near Perugia (1874); Pontine Marshes, H.
P. Kidder, Boston; Mountain Stream, the Homestead (1877); St.
Peter’s--Rome, View near Medfield--Mass., The Afterglow, Morning
Sun, Landscape (1878); Spring (1881), Old Roadway, Long Island
Historical Society; Niagara Falls (1883); Day in June, Sunset
(1885); Gray Lowery Day--Pompton, N. J., Winter Morning--Environs
of Montclair, Sunburst--Greene County, Sunset--Montclair, N. J.,
Twilight--Medfield, Mass. (1884), T. B. Clarke, New York.
INNESS, GEORGE, JR., born in New York, July 5, 1854. Animal painter,
pupil of his father, George Inness, and for a few months of Bonnat in
Paris. Sketched in different parts of Europe. Studio in Montclair, N.
J. Works: The Ford, Patience (1877); The Brook, Pride of the Dairy
(1878); Coming Storm; Surf Horse; Pasture at Watchung (1879), Roswell
Smith; Coming Storm (1880); Huntsman (1882); Mother of the Herd
(1883).--Sheldon, 203.
INNOCENT X., POPE, portrait, _Velasquez_, Palazzo Doria, Rome;
canvas, H. 4 ft. 7 in. × 3 ft. 11 in. Three-quarters length, seated
in a crimson chair, on the arms of which his arms rest; dress, a
white linen robe, white sleeves trimmed with lace, white linen
collar, red velvet cap and cape; background, a red curtain. Painted
in Rome in 1649. Sir Joshua Reynolds pronounced this the finest
picture in Rome. Repetition: Marquis of Bute, London. Etched by A.
Lalauze after copy by Ternante in Versailles Museum.--Palomino, iii.
337; Curtis, 76.
INNOCENZO DA IMOLA. See _Imola_.
INTEMPERANCE, Thomas _Stothard_, staircase of Burghley House, seat
of the Marquis of Exeter, Northamptonshire, England. Mark Antony and
Cleopatra, with various allegorical figures. The original sketch
(canvas, H. 1 ft. 8 in. × 2 ft.), which was engraved by T. Chevalier,
is in the National Gallery, London. Stothard was occupied four years
in the decoration of this staircase (1780–83), and received for it
£1,293.--Mrs. Bray, Life of T. S. (London, 1851).
IPHIGENIA, picture. See _Timanthes_, _Timomachus_.
IPHIGENIA AND CYMON. See _Cymon_.
IPHION, painter of Corinth, date uncertain. Mentioned by Simonides
(ccxxi., Schneidew), but whether the elder (died about 468 B.C.) or
the younger (died about 431 B.C.) poet of that name is unknown.
IRENE (Eirene), painter, daughter and pupil of Cratinus. Among
her works were a Calypso, an Aged Man, and Alcisthenes the
Dancer.--Pliny, xxxv. 40 [147]; Clem. Alex., and Strom., iv. 124,
620, Pott.
IRIARTE, IGNACIO, born at Azcoitia, Guipuzcoa, in 1620, died in
Seville in 1685. Spanish school; landscape painter, pupil of
Herrera el Viejo; frequently worked in conjunction with Murillo,
who painted the figures while Iriarte executed the backgrounds. Was
an original member and first secretary of the Academy of Seville.
Works: Landscapes (4), Madrid Museum; Landscape, Hermitage, St.
Petersburg.--Stirling, ii. 931; Ch. Blanc, École espagnole; Madrazo;
Curtis, 344; Washburn, 164.
IRMER, KARL, born at Babitz, Brandenburg, Aug. 28, 1834. Landscape
painter, pupil in Dessau of August Becker, then of Düsseldorf Academy
under Gude; after travelling through Germany, and visiting Vienna,
Paris, and Brussels, he settled in Düsseldorf. Court-painter to the
Duke of Anhalt. Medal in Vienna (1873). Works: Moonrise; Landscape
with Cows; Dicksee in Holstein (1876), National Gallery, Berlin; View
in Rügen (1876).--Müller, 275.
IRMINGER, VALDEMAR, born in Copenhagen, Dec. 29, 1850. Animal and
military genre painter, pupil of Copenhagen Academy, where he won
a prize in 1879; visited Paris in 1880, and Germany, Switzerland
and Italy in 1882. Works: Geese Driven Home (1874); Brown Mare with
Foal, Proclamation in War Time (1879); Dragoons returning from
Reconnoitring, Dragoon making Inquiry of Old Woman, Dragoon Trumpeter
(1880); Foot-Guards Resting in the Woods (1881); Battery Changing
Position (1882); Infantry at Manœuvre, Puppies, Wounded Lioness
(1883).--Sigurd Müller, 164.
IRVING, J. BEAUFAIN, born in Charleston, S.C., in 1826, died in 1877.
Genre painter; in 1851 studied with Leutze in Düsseldorf, and after
painting there several years, lived in Charleston until he finally
settled in New York about 1865. Elected an A.N.A. in 1869 and N.A.
in 1872. Works: Disclosure, L. W. Jerome, New York; The Splinter
(1867); Wine-Tasters (1869), August Belmont, New York; Portrait of
Mrs. August Belmont (1871); End of the game (1872), J. H. Sherwood;
Book-Worm, Musketeer of the Seventeenth Century (1874); Connoisseurs;
Cardinal Wolsey and his Friends (1875); Off the Track (1876); After
the Siege, Banquet at Hampton Court in the Sixteenth Century (1877),
J. J. Astor, New York; Waiting an Audience, R. L. Stuart Collection,
ib.
ISAAC, HISTORY OF, _Raphael_. See _Raphael’s_ Bible.
ISAAC BLESSING JACOB (Gen. xxvii.), _Murillo_, Duke of Wellington,
London; canvas, H. 3 ft. 6 in. × 5 ft. Isaac, seated in bed under a
canopy, blesses Jacob, who kneels; on left, Rebekah; near centre, a
girl carrying a basket of linen with pigeons around her; background,
a valley and ruined castle.--Curtis, 118.
By _Murillo_, Hermitage, St. Petersburg; canvas, H. 8 ft. × 11
ft. 9 in. Isaac, seated in bed before an archway nearly filled
by a red curtain, blesses Jacob, who kneels and is presented by
Rebekah as Esau; beside the bed, a table with bread, game, and a
bowl; opposite, a landscape and well; a servant-maid enters with a
water-jar; in background, Esau is seen with a dog returning from the
chase. Companion to _Jacob’s_ Dream, in Hermitage; the two belonged
to Marqués de Santiago, Madrid; purchased in Paris in 1811 for
Hermitage.--Curtis, 118.
ISAAC AND REBEKAH, MARRIAGE OF (Gen. xxiv.), _Claude_ Lorrain,
Palazzo Doria, Rome; canvas, H. 4 ft. 1 in. × 6 ft. 6 in. In centre,
a river with its waters arrested by the dam of a mill situated at
left, whence the picture is commonly called Il Molino (Le Moulin, The
Mill). In foreground, the marriage festival of Isaac and Rebekah.
Liber Veritatis, No. 113. Engraved by Gmelin (1804), Vivarès (1766).
Sketch, dated 1647, Seymour Haden, London. Replica of picture in
National Gallery, London; sent to England by C. S. Evard and sold
to Angerstein, with Embarkation of Queen of _Sheba_, for 200,000
francs; purchased for National Gallery in 1824. Engraving in Gallery
Angerstein, in Cabinet Gallery, in Mason’s National Gallery, and by
Goodall (1834).--Pattison, Claude Lorrain, 51, 227; Cat. Nat. Gal.;
Waagen, Treasures, i. 341.
ISAAC, SACRIFICE OF, _Tintoretto_, Scuola di S. Rocco, Venice; oval,
on ceiling of upper room. “One of the least worthy of the master in
the room, the three figures being thrown into violent attitudes, as
inexpressive as they are strained and artificial.”--Ruskin, Stones of
Venice, iii. 349; Ridolfi, Marav., ii. 198.
ISAAC, SACRIFICE OF. See, also, _Abraham_.
ISAACSZ (Izaaksz, Ysaacx), PIETER, born at Helsingör, Denmark, in
1569, died at Amsterdam probably in 1631. Dutch school; history and
portrait painter, pupil at Amsterdam of Cornelis Ketel, afterwards
of Johann von Achen; after travelling in Germany and Italy settled
at Amsterdam, and temporarily (1618–23) worked at Copenhagen as
court-painter to Christian IV. Works: Portrait of Christian IV.,
Berlin Museum; Allegory on Vanity (1600), Basle Museum; Princely
Banquet, Copenhagen Gallery.--Archief v. nederl. K., ii. 135; Kramm,
iii. 786.
ISABEL OF BOURBON, QUEEN, first wife of Philip IV., _Velasquez_,
Mrs. Henry Huth, Wykehurst, Surrey, England; canvas, H. 6 ft. 7 in.
× 3 ft. 8 in. Full-length, standing, wearing a black head-dress with
white feather, white ruff, close-fitting under-sleeves, and black
hooped dress, with a border of leaves of gold around the bottom and
up the front, and on the bodice and long open sleeves; in left hand,
a fan; right hand on back of a chair; background, pink drapery.
Louis Philippe sale (1853), £300, to Mr. Farrar, who sold it in 1863
to Mr. Huth. Companion to Mrs. Huth’s Philip IV. Repetitions, with
variations: Hampton Court; Francis Clare Ford, London.--Curtis, 92;
Athenæum (1862), 623.
By _Velasquez_, Madrid Museum; canvas, H. 9 ft. 10 in. × 10 ft.
3 in. About twenty-five years old, on a white horse, which walks
left; brown dress; landscape background. Probably painted in 1644;
companion to Philip IV. of same size in Madrid Museum. Etched by F.
Goya.--Palomino, iii. 332; Curtis, 91; Madrazo, 609.
ISABEL, SANTA, _Murillo_. See _Elizabeth_ of Hungary.
ISABELLA, Sir John Everett _Millais_, Royal Institution, Liverpool;
canvas, H. 3 ft. 3 in. × 4 ft. 7½ in. Scene from Keats’s
poem--“Isabella, or the Pot of Basil”--founded on Boccaccio’s story;
descriptive of the feelings of the two brothers on discovering the
mutual love of Isabella and Lorenzo. This, the first Pre-Raphaelite
picture by Millais, represents two rows of persons seated at table,
nearly all seen in profile, and most of them portraits of friends. At
right, Lorenzo (William Rossetti) holds a plate, on which he offers
half of a cut blood orange to Isabella (Mrs. Henry Hodgkinson),
who is caressing a hound. At left, one of the brothers (Mr. John
Harris), enraged at her reception of Lorenzo’s courtesy, viciously
kicks the hound, while the other (Dante Gabriel Rossetti), looking
over his glass, watches the lovers with cruel eyes. A guest (the
artist’s father) wipes his lips with a napkin; another (Mr. W. Hugh
Fenn) pares an apple; a serving-man (Mr. Wright), with a white
napkin over his arm, stands behind Isabella and Lorenzo. Painted in
1848–9; Royal Academy, 1849; bought by B. G. Windus, of Tottenham;
at his sale (1868), £672 10s., to Thomas Woolner, R.A.; his sale
(1875), £892 10s., to Constantine A. Ionides, London; sold at
Christie’s (1883) for £1,102 10s. Engraved in Art Journal (1882) by
H. Bourne.--Fraser’s Mag. (1849), xl. 77; Art Journal (1882), 188.
ISABELLA, EMPRESS (wife of Charles V.), portrait of, _Titian_, Madrid
Museum; canvas, H. 3 ft. 10 in. × 3 ft. 3 in. The Empress, seated in
a chair near a window, holding a book in her left hand. Painted in
1544, after her death, from a picture by a supposed Flemish artist.
Among the pictures taken by Charles V. to Yuste. Engraved, with
alterations, by D. de Jode.--C. & C., Titian, ii. 103.
[Illustration: Court of Isabella d’Este, Lorenzo Costa, Louvre.]
ISABELLA D’ESTE, COURT OF, Lorenzo _Costa_, Louvre; canvas, H. 5 ft.
2 in. × 6 ft. 4 in.; signed. Isabella, Marchioness of Mantua, crowned
by Love, who stands on the knees of a woman seated in a garden on
the banks of a river; around her, musicians make music and poets
compose verses; in foreground, two women seated, one crowning a bull,
the other a lamb; on right, a nymph with bow and arrow; on left, a
knight who has decapitated a hydra; in background, a cavalry fight.
Painted about 1510 for the Marquis of Mantua; passed at sack of that
city (1630) to Château Richelieu, France.--C. & C., N. Italy, i. 548;
Rosini, iv. 157; Villot, Cat. Louvre, 102.