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In 1731 appeared his great work, "Physica sacra," in 4 vols. folio, which was immediately republished in French at Amsterdam, in both instances enriched with a profusion of fine plates illustrative of the natural history of the Bible. This had been preceded by some lesser works on the same subject, which were now incorporated. He did not long survive this learned publication, dying at Zurich about the end of June 1733. He was a member of many learned societies, of our Royal Society, and of those of Berlin, Vienna, &c. and carried on a most extensive correspondence with the principal literati of Europe. He left a well-chosen and numerous library, a rich museum of natural history, and a collection of medals. Besides the works we have incidentally noticed, he published, 1. "Herbarium Diluvianum," Zurich, 1709, reprinted and enlarged, at Leyden, 1723, folio. 2. "Piscium querela et vindiciæ," Zurich, 1708, 4to. "Oratio de Matheseos usu in Theologia," ibid. 1711, 4to. 4. "Museum Diluvianum," ibid. 1716, 8vo. 5."Homo diluvii testis," ibid. 1726, 4to. 6. "De Helvetii aeribus, aquis, locis, specimen," ibid. 1728, 4to. He also wrote in German, a treatise on the mineral waters of Swisserland, Zurich, 1732, 4to. In 1740, Klein published "Sciagraphia lithologica curiosa, seu lapidum figuratorum nomenclator, olim à Jo. Jac. Scheuchzero conscriptus, auctus et illustratus," 4to. Of his "Physica Sacra," we have noticed the first edition published at Augsburgh, 1731-1735, four vols. folio, or rather eight volumes in four, the text of which is in German; this edition is valued on account of its having the first impressions of the plates. The Amsterdam edition, 1732-38, 8 vols. has, however, the advantage of being in French, a language more generally understood, and has the same plates. Scheuchzer had a brother, professor of natural philosophy at Zurich, who died in 1737, and is known to all botanists by his laborious and learned "Agrostographia," so valuable for its minute descriptions of grasses. He had a son with whom we seem more interested, JOHN Gaspar ScheucHZER, who was born at Zurich in 1702, and after studying at home came over to England, and received the degree of M. D. at Cambridge, during the royal visit of George I. in 1728, and died at London April 13, 1729, only twenty-seven years old. He had much of the genius and learning of his family, and was a good antiquary, medallist, and natural historian. He translated into English Koempfer's history of Japan, 1727, 2 vols. folio, and

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had begun a translation of Koempfer's travels in Muscovy, Persia, &c. but did not live to complete it. He wrote also a treatise on inoculation. Some part of the correspondence of this learned family is in the British Museum.'

SCHIAVONI (ANDREA), named Medula, an eminent artist, was born in 1522, at Sebenico, in Dalmatia. His parents, who were poor, placed him with a house-painter at Venice, where, at his leisure hours, he acquired a superior taste, by studying the etchings and compositions of Parmigiano and the works of Giorgione and Titian in the public buildings of the city. At length, Titian, being informed of his unfortunate situation and promising talents, took him under his care, and soon afterwards employed him in the library of St. Marco, where Schiavoni is said to have painted three entire cielings. Feeling his strength, he ventured to paint, in competition with Tintoretto, a picture for the church of the Santa Croce, representing the visitation of the Virgin to Elizabeth; and though he did not equal his antagonist, yet he received a considerable share of applause. Schiavoni was accounted one of the finest colourists of the Venetian school, and to colouring sacrificed almost every other attribute of the art; yet his compositions are managed with great dexterity, and executed with astonishing freedom. Two of his most admired works are in the church of the Padri Teatini at Rimini, representing the Nativity and the Assumption of the Virgin, and his "Perseus and Andromeda," and the "Apostles at the Sepulchre," are in the royal collection at Windsor. He died at Venice in 1582, at the age of sixty.

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SCHIAVONETTI (LEWIS), a very ingenious artist, was born at Bassano, in the Venetian territory, April 1, 1765. His father was a stationer, who was enabled to give him a useful, but limited education. From his infancy he had a peculiar taste for drawing; and attained such proficiency, that an able painter, Julius Golini, to whom some of his productions were shewn, undertook to instruct him in that art. At the age of thirteen Lewis was put under his care, and the high opinion he had formed of the boy's genius was confirmed by the rapid progress he made, while his amiable disposition endeared him so much, that he loved him as his own son. After three years of useful instruction, he had the misfortune to lose this master, who expired in his arms.

1 Moreri.-Meister's Hommes Illustres de Suisse.-Eloy, Dict. Hist. de Medecine-Ayscough's Catalogue of MSS. 2 Argenville, vol. I.-Strutt's Dict.

Left to pursue his own course, he turned his views to Count Remaudini, whose extensive typographical and chalcographical concern is rendered more famous by the giving employment to Bartolozzi and Volpato; and the works of those artists gave fresh impulse to the youth's ardour for improvement. About this time he became acquainted with one Lorio, an indifferent engraver, with whom he worked about twelve months, when, finding he had exhausted his fund of instructions, he resolved to alter his situation. A copy of a holy family in the line manner, from Bartolozzi, after Carlo Maratta, gained him immediate employment from Count Remaudini, and attracted the notice of Mr. Suntach, an engraver and printseller in opposition to Remaudini. About this time came to Bassano a wretched engraver of architec ture, but a man of consummate craft and address. He became acquainted with Schiavonetti at Mr. Suntach's, and was ultimately the means of bringing him to England, where he became acquainted with Bartolozzi, and lived in his house until he established himself on his own foundation; after which Schiavonetti cultivated his genius with a success that answered the expectations which were first formed of it, and conducted all his affairs with an uprightness and integrity that will cause his memory to be equally revered as a gentleman and an artist. He died at Brompton, June 7, 1810, in the forty-fourth year of his age; and on the 14th was buried in Paddington church-yard, with a solemnity worthy of his talents and character.

In his person, Mr. Schiavonetti was rather tall and well made, and his amiable modesty, equability of temper, and promptness to oblige, won the good will of all who saw and conversed with him. Many acts of his private life showed the excellence of his character; among others, as soon as he began to derive profit from his profession, he devoted a portion of it to the support of his relatives in Italy; and constantly remitted to his aged parent a stipend sufficient to ensure him comfort.

Some of his principal performances are, the "Madre Dolorosa," after Vandyke: the Portrait of that Master in the character of Paris: Michael Angelo's celebrated Cartoon of the Surprize of the Soldiers on the Banks of the Arno: a series of Etchings, from designs by Blake, illustrative of Blair's Grave: the Portrait of Mr. Blake, after Phillips, for the same work: the Landing of the British Troops in Egypt, from Loutherbourg; and the Etching of the Canterbury Pilgrimage, from Stothard's esteemed picture,

There is no circumstance which more forcibly shews Mr. Schiavonetti's power of delineation, than his print from the Cartoon, considering the disadvantages under which he produced it. He had neither the benefit of an original, or an authentic copy, but engraved after a copy painted by H. Howard, R. A. from Sangallo's copy of his own study of Michael Angelo's Cartoon. The work of the "Canterbury Pilgrims" being no farther advanced than the etched state, is another and still more striking example of his powers as a draughtsman; every line is expressive of the object it aims to represent. This is the last great work of Mr. Schiavonetti's hand. From his own avowal in conversation at various times since he undertook it, and even during his last illness, it was a performance on which he meant to concen trate all his powers, and to build his reputation. He had, however, others in view, particularly a portrait of the president of the Royal Society, from a picture by Mr. Phillips, and the splendid representation of the Stag Hunt, by Mr. West, in which Alexander III. king of Scotland was rescued from the fury of a stag by Colin Fitzgerald. Schiavonetti, in the opinion of his biographer, classes with Gerard Audran, with Edelinck, Strange, and Woollett. He not only possessed the powers of delineation, the harmony of lines, the union in tones and in a general effect, which severally distinguish these eminent men; but he added a brilliancy and playful movement to his productions, approaching more nearly to the free pencilling of the painter, than any thing that can be found in the performances of those artists.1

SCHIDONI, or rather SCHEDONE (BARTOLOMEO), was born at Modena in 1560. He is said to have acquired the principles of the art of painting in the school of the Caracci, but must have remained there a very short time, as it is difficult to meet with any traces of their style in his works. He afterwards studied, and with the greatest success, the works and manner of Corregio. When his early works came to be admired, Ranuccio, duke of Parma, took bim into his service, and for this patron he painted several pictures, which were among the principal ornaments of the collection of the king of Naples, who was heir to the Farnese family. Sir Robert Strange counted in that palace and the city of Naples near fourscore pictures by this artist. There are but few in the other collections. In the cathe

Life by a brother artist, Cromer, in Gent. Mag. vol. LXXX.

dral of Modena there is an admirable picture of his, of S. Geminiano restoring a dead child to life; there are also a few at Parma, but in general they are seldom to be met with to purchase. In all he is the imitator of Corregio, and between their works some connoisseurs have found it difficult to distinguish, nor has any artist so successfully imitated him, either in the harmony of his colouring, his knowledge of light and shadow, or the graces he has diffused throughout many of his compositions. Schidoni is said to have been addicted to gaming, which wasted his substance, and disturbed his mind; and at last to have fallen a sacrifice to it, not being able to overcome the mortification of having one night lost more than he was able to pay. He died at the age of fifty-six, in 1616.'

SCHILLER (FREDERIC), a German writer, principally known in this country as a dramatist, was born Nov. 10, 1759, at Marbach, in the duchy of Wurtemberg, where his father was lieutenant in the service of the duke. While a boy, he was distinguished by uncommon ardour of imagination, which he never sought to limit or controul. When young, he was placed in the military school at Stuttgard, but disliked the necessary subordination. He was intended for the profession of surgery, and which he studied for some time; but from the freedom of his opinions, he was obliged to withdraw himself through apprehension of the consequences, and it is said that, at this time, he produced his first play, "The Robbers." This tragedy, though full of faults and pernicious extravagancies, was the admiration of all the youth of enthusiastic sentiments in Germany, and several students at Leipsic deserted their college, with the avowed purpose of forming a troop of banditti in the forests of Bohemia; but their first disorders brought on them a summary punishment, which restored them to their senses, and Schiller's biographer gravely tells us, that this circumstance added to his reputation. The tragedy certainly was quite adapted to the taste of Germany, was soon translated into several foreign languages, and the author appointed to the office of dramatic composer to the theatre of Manheim. For this he now wrote his "Cabal and Love," the "Conspiracy of Fiesco," and "Don Carlos," and published a volume of poems, which procured him a wife of good family and fortune. This lady fell in love with Pilkington, Strutt.-Strange's Catalogue. R

VOL. XXVII.

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