Nov. 20, 1678. Dutch school; landscape and animal painter, pupil of
Berchem, and perhaps of Paul Potter, whose style he adopted. Visited
Rome early, and there conceived a preference for Italian scenery.
On his return from Italy settled at The Hague, where in 1656 he was
one of the founders of the new guild Pictura; removed to Amsterdam
in 1659, whence, after 1670, he went to Rome, and thence to Venice.
He painted also domestic scenes, portraits, and historical subjects.
His Italian landscapes are harmoniously treated. His animals are
true to nature and well drawn. His large figures are extremely weak.
Works: Figures and Animals Resting (1656), Fording the Stream (1657),
Landscape with Cattle, Sheep, and Goats (1673), National Gallery,
London; Landscapes (4), Buckingham Palace; do. (1), Bridgewater
Gallery; do. (2), Lord Ashburton; do. (2), Mr. Hope’s Collection,
London; Halt of Horsemen at Italian Inn, Farrier’s Shop, National
Gallery, Edinburgh; Calvary (1661), Italian Charlatans (1657),
Landscapes and Cattle Pieces (6), Male Portrait, Louvre; Italian
Landscape (1673), Woman Spinning, Hague Museum; Peasant winnowing
Corn (1655), Regent-piece (1669), Artist’s Portrait (1660), Horseman
before Inn, Muleteers, Male Portrait, do. (1670), Landscapes (2),
Amsterdam Museum; Italian Landscape, Rotterdam Museum; Vanguard,
Returning to Stable, Brussels Museum; Stirrup Cup, Basle Museum;
Dog and Horse Studies (2), Christ on the Cross, Musée Rath, Geneva;
Portrait of Young Man (1652), Tasting Wine (1664), Morning, Evening,
Berlin Museum; David after slaying Goliath, Brunswick Museum;
Shepherdess Spinning, Carlsruhe Gallery; Mountebank with Dogs, Cassel
Gallery; Allegory on Human Life (1663), Copenhagen Gallery; Peasants
and Shepherds with Sheep and Goats(?), Darmstadt Museum; Diogenes and
Boy, Maid milking Goat, Ox and Goats, Dresden Museum; Shepherd Boy
with Goats and Sheep, Sick Goat attended by Girls, New Pinakothek,
Munich; Parody on Art Criticism (1677), Animal Piece, Schwerin
Gallery; Landscapes with Animals and Figures (2), Stuttgart Museum;
Herd and Boy, Vienna Museum; Landscapes with Cattle (7), Hermitage,
St. Petersburg; Portrait, Landscapes (2), Holy Night, Farm Yard
(1667), Historical Society, New York.--Ch. Blanc, École hollandaise;
Burger, Musées, i. 64, 264; ii. 140; 283; Immerzeel, ii. 81; Kramm,
iii. 805; Kugler, ii. 449; Riegel, Beiträge, ii. 385; Schaefer, ii.
375.
JARDINIÈRE, BELLE. See _Madonna_ Belle _Jardinière_.
JARENUS, second half of 15th century. German school. This name was
first suggested by Passavant, who probably read as Jarenus the
fragment of the inscription Jesus Nazarenus on a Pietà at Wilton
House. The Soest triptych at Berlin shows the growing influence of
the Flemish school. Works: Triptych, with Scenes from the Passion,
Berlin Museum; The two wings of this are now in the Provinzial Museum
at Münster.--Kugler (Crowe), i. 133; Meyer, Gemälde d. köngl. Mus.,
436; Passavant, Kunstreise, 141, 402; Rep. f. Kunstwissenschaft, ii.
422; Waagen; Schnaase, viii. 370; W. & W., ii. 98.
JARVIS, JOHN WESLEY, born at South Shields-on-the-Tyne, England,
in 1780. Brought to Philadelphia by his father in 1785. Portrait
painter, chiefly self-taught; one of the earliest of American
painters to attend to the study of anatomy. Painted in New York and
the chief Southern cities, where his portraits were very popular.
Works: Governor Fillmore, Commodores Perry, Swift, Hull, Bainbridge,
McDonough, General Brown, City Hall, New York; Dr. Alexander Andrews,
Museum, ib.; DeWitt Clinton, C. D. Colden, Christopher Colles, Rev.
Dr. Stanford, Egbert Benson, Robert Morris, John Randolph, and
others, Historical Society, New York; Halleck; Bishop Moore; Hon.
Stephen Van Rensselaer. A head of Tom Paine, in plaster, by Jarvis,
is in the New York Historical Society.--Tuckerman, 58.
JEAN, AMAN EDMOND, born at Chevry-Cossigny (Seine-et-Oise);
contemporary. Genre and portrait painter, pupil of Henri Lehmann,
Hébert, and Merson. Medal, 3d class, 1883. Works: Portraits (1880);
St. Julian the Hospitaller (1883); Paris, Peace (1885).
JEANNE D’ARC. See _Joan_ of Arc.
JEANNIN, GEORGES, born in Paris; contemporary. Flower and fruit
painter, pupil of Vincelet. Medal, 3d class, 1878. Works: Flower
Store (1876); After the Rain (1877); Wheelbarrow with Flowers,
Basket of Flowers (1878); Cart with Flowers, Flower Stall (1879);
Shipping of Flowers (1880), Luxembourg Museum; Chrysanthemums (1880);
Green-house Interior (1881); Jour de Fête (1882); Parisian Garden
(1883); Gardener Girl, Autumn Gathering (1884); Summer Morning, Apple
Study (1885).
JEANNIOT, PIERRE ALEXANDRE, born at Champlitte (Haute Saône), May
28, 1826. Landscape and portrait painter, pupil at Geneva of Diday
and of Calame; Director of École des Beaux Arts at Dijon. Works:
View of Mont Blanc (1852); Views in Savoy, Burgundy, Côte-d’Or, etc.
(1857–67); Return of the Herd (1868); Portraits of Himself and Son
(1872); Views of Dijon Castle (3), Dijon Museum; Lake d’Annecy, Nancy
Museum.--Bellier, i. 826.
JEANNIOT, PIERRE GEORGES, born at Geneva; contemporary. Landscape,
genre, and portrait painter, son and pupil of Pierre Alexandre
Jeanniot. Medal, 3d class, 1884. Works: Hoar-frost in Park of Dijon
(1875); Stream in do., Banks of the Seine near Troyes (1876); Summer
near Toul (1878); Passing the Bridge (1879); Derniers Tambours
(1881); Pupil Corporals, Haulers (1883); Flankers (1884); Les Pays
(1885).
JEANRON, PHILIPPE AUGUSTE, born at Boulogne-sur-Mer, May 10, 1810,
died in the Castle of Comborn in Corrèze, April 10, 1877. Genre
and history painter, pupil of Sigalon and Souchon. When appointed
by Ledru Rollin during the Revolution of 1848 director-general
of the national museums, he opened new galleries and classified
pictures according to schools at the Louvre, and reorganized many
provincial museums. In 1863 he became director of the Marseilles
Museum. Medals: 2d class, 1833; L. of Honour, 1855; Corresponding
Member of Institute, 1863. Works: Little Patriots (1830), Caen
Museum; Smugglers Halting, Workmen on a Strike (1833); Peasants of
Limousin (1834); Blacksmiths of Corrèze (1836); Criminals collecting
Upas Poison (1840); Gypsies (1846); Abandoned Harbour of Ambleteuse
(1850), Luxembourg Museum; Flight into Egypt, Duc de Luynes; Harbour
of Andresselles, Establishing the Telegraph at Cape Gris-Nez (1850);
Fishermen at the Ferry, Susanna (1852); View of Cape Gris-Nez
(1853), Boulogne Museum; Dead Low Tide (1853), Douai Museum; Camp
of Equihem (1855), Chartres Museum; Camp of Ambleteuse (1855), Aix
Museum; Tintoretto and his Daughter in the Campagna, Fra Bartolommeo,
Raphael and the Fornarina, Sea-Birds, Long Absence (1857); Phœnician
and Slave (1859); Banks of the Seine (1859); Arras Museum; Valley
of Posavera, Return of the Fishermen, Battle of Solferino, Zouaves
by the Sea (bought by State), French Soldiers at Solferino, French
Soldiers near Genoa (1861); Old Willows of Hyères, Baths of Bonnettes
(1863); Marseilles Lighthouse (1864), Notre Dame de la Garde and
the Castle of If (1865); Pond of Belmont (1868); Cape Couronne
(1869); Stone Terrace at Comborn (1870); Notre Dame des Anges, Cape
Gris-Nez (1874); Waiting, Stubble, River Durance (1875); From Genoa
to Marseilles (1876); View in the Limousin, Lille Museum; Portrait of
Mirabeau, Versailles Museum.--L’Art (1877), vi. 189; (1878), ix. 96;
Bellier, i. 827; Gaz. des B. Arts (1865), xix. 24, 535; Larousse.
[Illustration: Bust]
[Illustration: Signatures]
JEAURAT, ÉTIENNE, born in Paris, Feb. 8, 1699, died in Versailles,
Dec. 14, 1789. French school. Genre painter, pupil of Vleughels,
whom he accompanied to Rome when that painter was appointed director
of the French Academy in that city (1724). On his return to France,
he was elected a member of the Academy, and produced pictures of
great merit. Many of his works have been engraved. Member Academy
1733; professor, 1743; rector, 1765; chancellor, 1781; custodian
of the Versailles Gallery. Works: Diana and Actæon, Esau and Jacob
(1737); Diana Resting (1738); Departure of Achilles (1738), Cambrai
Museum; Boy Playing with Syringe (1739); Daphnis and Chloë (1741);
Seamstress, Woman in Confinement, Afternoon, Taking Harlots to the
Hospital, Painter Moving, Village Wedding, Painter’s Studio, Diogenes
breaking his Bowl (1747), Louvre; Achilles going to avenge Patroclus,
Two Savoyards, Woman dressing Salad (1753); An Arrest (1755); Lemon
Trees of Javotte (1763); Wine-Press in Burgundy, Peasant Women
keeping a Vigil (1769); Cook returning from Market, Besançon Museum;
Christ giving the Keys to St. Peter, Kitchen Interior, Vandyck
(attrib.), Male Portrait (attrib.), Orleans Museum; Familiar Scene
(1774), Hermitage, St. Petersburg.--Bellier, i. 828; Ch. Blanc, École
française; Wurzbach, Fr. Maler des xviii. Jahrh, 32; Larousse.
JEBENS, ADOLPH, born at Elbing, West-Prussia, March 19, 1819.
Portrait painter, pupil of Berlin Academy, and, 1836–39, in Paris
of Delaroche; afterward visited Paris again and Italy. In 1845–63
he painted in St. Petersburg large military portraits for the
Czars Nicholas and Alexander; since 1863 in Berlin. Member of St.
Petersburg Academy.--Leixner, D. mod. K., i. 23; Müller, 281.
JEHAN DE PARIS. See _Perréal_.
JEHANNET, MAITRE, See _Clouet_.
JELGERHUIS RIENKSZ, JOHANNES, born at Leeuwarden, Sept. 24, 1770,
died at Amsterdam, Oct. 6, 1836. Landscape and city views painter,
son and pupil of Rienk Jelgerhuis (1729–1806), and pupil of Pieter
Barbiers, the younger; became an actor in 1806. Works: Gate of
Leyden at Amsterdam (1813); Publisher’s Warehouse, ib. (1820); View
of Delft (1826); Little Fish-Market at Amsterdam (1828), Amsterdam
Museum.--Immerzeel, ii. 84; Kramm, iii. 809.
JENA, BATTLE OF, Horace _Vernet_, Versailles Museum. Battle fought
Oct. 14, 1806. In centre, Napoleon, Berthier, Murat; at right, the
Imperial Guard. The Emperor, observing that his wings were menaced by
cavalry, galloped forward to give orders. Some of the Imperial Guard,
impatient of inaction, cried out, “En avant!” Napoleon, hearing the
words, rebuked them, saying: “It must be some beardless young man
who thus seeks to prejudge my actions. Let him wait until he has
commanded in thirty battles before he pretends to give me advice.”
Painted in 1836. Engraved by Friley.--Gal. de Versailles, iv. No. 812.
JENKINS, JOSEPH JOHN, born in London in 1811, died there in 1885.
Genre painter, son and pupil of the engraver D. Jenkins; joined the
new society of painters in water colours in 1842, seceded from it
and became in 1850 an associate and in 1851 a member of the older
society, of which he was the secretary in 1854–64. Works: Going with
the Stream; Going against the Stream; Both Sides of the Channel;
Happy Time; Sleeping Companions; Love, Royal Collection, London;
Shrimpers, South Kensington Museum, ib.
JENOUDET, PAUL LOUIS, born at Lyons; contemporary. History and
portrait painter, pupil of the École des Beaux Arts, at Lyons, of
Felix Clément, Gustave Boulanger, and Jules Lefebvre. Medal, 3d
class. 1883. Works; Portraits (1878–82); November (1883); Cyane
(1884); Judith meditating Delivery of Bethulia (1885).
JENSEN, CHRISTIAN ALBRECHT, born at Bredsted, Schleswig, June 26,
1792, died at Copenhagen, July 13, 1870. Portrait painter, pupil of
Copenhagen Academy, where he won a medal in 1814, studied at Rome and
Venice in 1818, and in the year following copied at Dresden Raphael’s
Madonna and Titian’s Venus. Member of Copenhagen Academy in 1824;
Professor in 1835. Works; Portrait of Artist’s Mother; Male Portrait,
Gallery, Copenhagen; Portrait of Painter Fritzsch, Thorvaldsen
Museum, ib.--Weilbach, 322.
JENSEN, JOHAN LAURENTS, born at Gjentofte, Copenhagen, March 8, 1800,
died there, March 26, 1856. Flower and still-life painter, pupil of
Copenhagen Academy under Fritzsch, where he won medals in 1817 and
1818, went in 1822 to Paris, and thence to Sèvres, where he studied
porcelain painting; visited Rome and Naples. Member of Copenhagen
Academy in 1825. He also painted kitchen-pieces. Works: Dead Game
(1847); Fruits and Flowers (2), Copenhagen Gallery; Flowers and
Blossoms, Kunsthalle, Hamburg.--Weilbach, 326.
JENTZEN, FRIEDRICH, born in Schwerin, June 13, 1815. Architecture
painter, pupil of Berlin Academy under Gropius and Kraus; then
studied architecture for three years in Munich; taught drawing at
the court of Mecklenburg; visited Italy in 1855. Works: Cloister in
Monastery of Steingaden (1846), View in Stiftskirche at Quedlinburg
(1847), Magdeburg Cathedral, Interior of Schwerin Cathedral
(1878), Grand Ducal Palace at Schwerin (1881), Schwerin Gallery;
Interior of Church in Schwerin Palace; Cloister by Torchlight;
do. by Moonlight; View near Gerolstein; Beilstein on the Moselle;
Courtyard of Heidelberg Castle in Winter; Corridor of City Hall in
Lübeck.--Müller, 282.
[Illustration: Jeremiah, Washington Allston, Yale College Gallery.]
JEREMIAH, Washington _Allston_, Yale College Gallery; canvas, H. 7
ft. × 6 ft. Jeremiah, full-length, seated in the court of the prison,
dictating his prophecy of the fall of Jerusalem to Baruch the Scribe,
who sits at his feet (Jer. i. 17, 18). Painted about 1820; belonged
to Miss Gibbs, of Newport, of whom bought for $7,000 by Professor
Morse and presented to Yale College.
By _Michelangelo_, Sistine Chapel, Rome; fresco on ceiling.
JEREMIAH AT THE FALL OF JERUSALEM, Eduard _Bendemann_, National
Gallery, Berlin; canvas, H. 13 ft. 7 in. × 16 ft. 9 in. Signed and
dated, Düsseldorf, 1872. In the foreground the prophet in speechless
grief sitting among the ruins; at his side, Baruch, kneeling in
prayer; at right, a group of despairing women and children from
whom a Babylonian warrior has snatched a bag; in the middle,
Nebuchadnezzar in royal attire upon his chariot accompanied by female
satellites, preceded by the army laden with booty; behind him, the
blind king Zedekiah, feeling his way with his staff, surrounded by
women and followed by priests with the ark of the covenant; in the
background, left, the smoking ruins of the temple.--Jordan (1885), i.
11.
JERICHAU, HARALD (ADOLF NIKOLAJ), born in Copenhagen, Aug. 17, 1852,
died in Rome, March 6, 1878. Landscape painter, son of the sculptor
Jens Adolf and of Elizabeth Jerichau; pupil of his mother, then in
Rome of Bénouville, but studied chiefly from nature, travelling in
Switzerland, Greece, Turkey, and Asia Minor. Works: Ponte Molle,
View from Velletri (1870); Coast of Sorrento; Caravan of Sardes,
Copenhagen Gallery; The Acropolis at Athens, Greek Convent on Isle
of Paros (1874).--Illustr. Tidende (1878), No. 971; Weilbach, 330;
Sigurd Müller, 178.
[Illustration: Bust]
JERICHAU-BAUMANN, ELISABETH, born in Warsaw, Nov. 21, 1819, died in
Copenhagen, July 11, 1881. Genre painter, pupil in Düsseldorf of
Karl Sohn and Stilke; went in 1845 to Rome, where she married the
Danish sculptor Jerichau, whom she accompanied to Copenhagen. In
1852 she visited England, France, and Russia, and afterwards Rome,
Greece, Constantinople, Asia Minor, and Egypt. Member of Copenhagen
Academy, 1861. Works: Young Bride going to Church (1840), Polish
Mother with Children leaving their Destroyed Home (1844), Raczynski
Gallery, Berlin; Polish Peasant Family returning to Ruins of Burnt
House (1844), Lord Lansdowne, London; Girls at the Well in Ariccia
(1845); Portrait of her Husband (1846), Copenhagen Gallery; Peasant
Girl reading Bible, Girl playing with Sheep, Carnival Scenes, Home
Devotion, Allegory of Denmark (1847); Stranded; Orphans; Finis
Poloniæ; Danish Fisherman; Icelandic Girl (1852), Kunsthalle,
Hamburg; Wounded Soldier nursed by his Betrothed (1866), Copenhagen
Gallery; Portraits of the Brothers Grimm; Hans Christian Andersen
reading his Fairy Tales to a Child; Shipwrecked on Coast of Jutland;
Italian Fishermen on Mediterranean; Harem in Constantinople (1875);
Christian Martyrs in Catacombs at Rome.--Art Journal (1860), 168;
(1871), 165; Illustr. Zeitg. (1881), ii. 103; Kunst-Chronik, xvii.
160; Sigurd Müller, 168; W. Müller, Düsseldf. K. 313; Weilbach, 334;
Wiegmann, 268.
[Illustration: Blind Men of Jericho, Nicolas Poussin, Louvre.]
JERICHO, BLIND MEN OF (Matt. xx.), Nicolas _Poussin_, Louvre; canvas,
H. 3 ft. 11 in. × 5 ft. 9 in. At right, Christ, coming out of Jericho
with Peter, James, and John, touches the eyes of one of the blind
men kneeling before him; at Jesus’s right, several men looking on in
astonishment, and further on, a woman with a child in her arms; in
back-ground, fine buildings, behind which rises a wooded mountain.
Painted in 1651; Collection of Louis XIV. Engraved by L. Audran; G.
Chasteau; E. Picart; F. Garnier; Mécon.--Cat. Louvre; Filhol, x. Pl.
655.
JERNBERG, AUGUST, born in Stockholm, Sept. 16, 1826. Genre
painter, pupil of Stockholm Academy. In 1851 studied and settled
in Düsseldorf. After painting scenes from Swedish history, took up
genre, especially village scenes, which he represents in a very
realistic manner and with great humour. Paints also excellent
still-life pieces. Works: Domestic Happiness, The Clarinettist,
The Broken Pipe, Stockholm Museum; Kitchen Interior (1870);
Preparations for the Festival (1874); Persuasion; Letter-Writer;
First Walk to School; Bear at the Fair; Grandfather as Nurse; Harvest
in Westphalia; Sunday Afternoon; Council Meeting, Market-Day in
Düsseldorf. His son Olaf, a talented landscape painter, received
medals in London in 1878–79.--Müller, 283.
JERNDORFF, AUGUST ANDREAS, born at Oldenburg, Jan. 24, 1846.
History, landscape, and portrait painter, son of Just Ulrik
Jerndorff (1806–47, landscape and portrait painter, court-painter
at Oldenburg), pupil of his uncle Just Holm (born in 1815), of
Christian Hetsch, of Copenhagen Academy, and of Skovgaard; visited
Germany, Tyrol, and Venice in 1875, then went to Rome, and in 1878
to Paris. After his return he was entrusted with the restoration of
Constantin Hansen’s frescos in the University of Copenhagen. Medal,
1871. Honourable mention, Paris, 1878. Works: Street in Country Town
(1866); Episode in Exodus of Israelites (1871); Cain before the
Lord after the Death of Abel (1871), Aarhus Museum; Christ and the
Children (1873); View of Roskilde Fjord, Shore of a Creek (1874);
The Deluge (1877); Sunset in Venice (1879); Christ among the Roman
Soldiers (1880); Summer Landscape (1881); Triptych with Christ before
the High Priest (1883).--Sigurd Müller, 180.
JEROME, ST., Lorenzo _Lotto_, Louvre; wood, H. 1 ft. 11 in. × 1 ft.
4 in.; signed, dated 1500. The Saint, kneeling in a rocky landscape,
strikes his breast with one hand while holding a crucifix in the
other; at left, a cavern, a hermit, and a lion; in distance, a
horseman at foot of a mountain. Acquired in 1857 for 995 francs at
Maret sale.--Villot, Cat. Louvre.
By _Tintoretto_, Vienna Museum; canvas, H. 4 ft. 6 in. × 3 ft. 2 in.
St. Jerome, reading. The Saint, seated in a cavern, reads a book
placed on his knee, and presses a crucifix to his bosom. A lion
crouches at his feet; to left, glimpse of a landscape.
By _Titian_, Brera, Milan; wood, arched at top, H. 7 ft. 4 in. × 4
ft. 4 in.; signed. St. Jerome, bearded and bald, with the lion on the
right. Painted in 1563 for S. M. Nuova, Venice. Replica, made for
Philip II., with lion on the left, in the Escorial. Small copy of
original, of 17th century, in Accademia di S. Luca, Rome.--Ridolfi,
Maravigli, i. 267; C. & C., Titian, ii. 333.
By _Titian_, Louvre; canvas, H. 2 ft. 8 in. × 3 ft. 4 in. The Saint,
old and bearded, kneeling before a crucifix fastened to the trunk of
a tree. Painted probably about 1531. Replica, painted for Marquis of
Mantua (1531), has disappeared. Many copies, with changes. Collection
of Louis XIV.--Vasari, ed. Mil., vii. 440; C. & C., Titian, i. 348,
351; Landon, Musée, 2d Col., ii. Pl. 5.
By Leonardo da _Vinci_, Vatican, Rome; wood, H. 3 ft. 4 in. × 2
ft. 5 in. The Saint, kneeling in a grotto, with the lion by his
side. Sketch in grisaille; about 1480–83. Belonged to Cardinal
Fesch, who had only the head of the Saint, which had been cut out
of the panel; but he found the rest at a dealer’s in Rome, and
joined the parts. Preparatory drawings for this picture in Windsor
Collection.--Richter, Leonardo, 10; Clement, 341; Burckhardt, 627.
[Illustration: Communion of St. Jerome, Agostino Carracci, Bologna
Gallery.]
JEROME, ST., COMMUNION OF, Agostino _Carracci_, Bologna Gallery;
canvas, H. 10 ft. 9 in. × 6 ft. 5 in. The dying St. Jerome, kneeling,
under a Corinthian portico, receives his last communion in the
presence of several priests and other spectators. Painted for Church
of the Certosini, Bologna; carried to Paris in 1796; returned in
1815. Agostino’s masterpiece, and one of the best pictures in
Bologna. Engraved by Fr. Paria; G. Trabalesi; G. Guadagnini.--Lanzi,
iii. 76; Landon, Musée, ii. Pl. 24; Pinac. di Bologna, Pl. 58.
[Illustration: Communion of St. Jerome, Domenichino, Vatican, Rome.]
By _Domenichino_, Vatican, Rome; signed, dated 1614. The dying
Saint, half nude, sustained by three men, at the foot of an altar,
in a building adorned with Corinthian columns and pierced by an
arcade opening on a landscape, attempts to join his trembling hands
to receive the Host which St. Ephraim of Syria extends to him on a
golden patine; the deacon, in a dalmatica, holds the chalice, and
in front, a young clerk kneels with a closed book in his hands; in
background, St. Paulina, kneeling, kisses the hand of the Saint,
while two other persons, one wearing a turban, stand behind; in
foreground, left, the lion, the Saint’s faithful companion, lies
with his head on his paws; above, a group of four angels. Painted
for 50 Roman crowns for a priest, who presented it to the Church
of S. Girolamo della Carità. It excited violent criticism, Guido,
Lanfranco, and the Chevalier d’Arpino accusing Domenichino of
having copied the picture of Agostino Carracci. Poussin declared it
one of the three best pictures in Rome, ranking it with Raphael’s
Transfiguration and Volterra’s Descent from the Cross. Taken to Paris
(1729); returned in 1815. Engraved by F. Perrier; Cesare Testa;
J. Frey (1729); B. Farjat (1702); Alex. Tardieu; Chataigner, and
others.--Vaticano descritto, i. Pl. 23; Larousse, iv. 755; Ch. Blanc,
École bolonaise; Landon, Œuvres; Filhol, vii. Pl. 433.
JEROME, ST., VISION OF, _Guercino_, Louvre; copper, H. 1 ft. 4 in. ×
1 ft. 7 in. St. Jerome, lying on a mat in a grotto, awakes in terror
on hearing the sound of the last trump, which is blown by an angel.
Near him are two books and a skull. Belonged to Comte de Brienne in
1662; bought in 1685 for Louis XIV. Engraved by Nicolet; F. Chauveau;
Pasqualini.--Villot, Cat. Louvre; Musée français; Filhol, x. Pl. 712.
By _Parmigianino_, National Gallery, London; wood, H. 11 ft. 6 in. ×
4 ft. 11 in. The Virgin and Child in glory; below, St. John Baptist
pointing upwards, as announcing Christ, and St. Jerome sleeping.
Painted at Rome in 1527, by order of Maria Bufolina, for S. Salvatore
del Lauro, in Città di Castello. Probably the picture which so
engrossed the painter that he knew nothing of the sack of Rome by the
troops of the Constable de Bourbon till some soldiers burst into his
room. It was sold after the earthquake of 1790 to M. Durno; afterward
to Mr. Hart Davis for £6,000, and finally presented to National
Gallery. Engraved by G. Bonassone.--Waagen, Treasures, i. 330;
Vasari, ed. Mil., v. 224; Richter, 64.
JERRIGH, E., born in Flanders, 16th century. History and portrait
painter, studied in Antwerp, and spent the greater part of his life
in Cologne, where he stood in high repute, and where Johann von Achen
was apprenticed to him in 1568. Work, Annunciation (1601), Cologne
Museum.--Merlo, Nachrichten, 211; Van Mander, ii. 134.