628

ZAMPIERI — ZURBARAN.

Zampieri. See Domenichino.
Zeghers. See Seghers.
Zeitblom, Bartholomew. Flourished about 1495. Very little
can be told of this painter, but from his works he seems to have been
influenced by Martin SchongauCr. The Berlin Mus. is the only
public gallery in which I find his pictures. A head of S. Anna, No.
561 B., and No. 606 A., are of his best manner, and are delicate in
feeling, and warm and pure in coloring.
Zuccaro, Taddeo and Federigo. The first of these brothers died
at thirty-seven, at Rome, in 1566, and was buried in the Pantheon,
near Raphael. Federigo painted in Florence, Rome, France, Eng-
land, and Spain. He was President of the Acad, of S. Luke, at
Rome, and left writings on the arts. The pictures of both are in-
sipid and disagreeably smooth, and yet at times we find something in
them which indicates more power than appears. Their historical
paintings in the Castle of Caprarola show all these characteristics.
The paintings of Federigo in the cupola of the Duomo, at Florence,
occasioned this satire : —
“Poor Florence, alas! will ne’er cease to complain,
Till she sees her fine cupola whitewashed again.”
Zurbaran, Francisco, born at Fuente de Cantos, 1598 ; died at
Madrid, 1662. Pupil of Juan de Roelas, at Seville. He acquired
the title of the Caravaggio of Spain, from his imitation of the Italian
master of that name. He is one of the first among Spanish painters.
His tints were sober and subdued, but also brilliant; and in color he
was by no means an inferior artist. His’ Virgins were rare, and his
female saints resembled the ladies of his day. In the delineation of
animals he was very successful; and his representations of still-life and
drapery were fac-similes of the models from which he painted. He
painted historical and religious pictures, portraits, and animals, but
his chief excellence was in the representation of monks Stirling
says he “studied the Spanish friar, and painted him with as high
a relish as Titian painted the Venetian noble, and Vandyck the
gentleman of England.” He was appointed painter to Philip IV.
before he was thirty-five years old, and was a great favorite with
that King, who once called him “painter of the King, and king of
painters.” His portrait is in the Louvre, and represents him a good-
looking man, dressed in the extreme of fashion. His finest works
are in the Mus. at Seville; and are the allegorical picture called “ S.
Thomas Aquinas,” and three pictures painted for the Carthusians.
Hie Louvre claims to possess ninety-two of his pictures. The Cath.
of Cadiz has a fine “ Adoration of the Kings; ” the Queen of Spain’s
Gall, his “Labors of Hercules,” the “ Sleeping Jesus,” and two pic-
tures from the life of S. Pedro Nolasco.