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(b Paris, baptAug 28, 1721; d Auteuil, Jan 19, 1820).

French architect, archaeologist and painter. He was an important if controversial figure associated with the development of the Neo-classical style of architecture and interior design and its dissemination throughout Europe and the USA. He studied at the Académie Royale d’Architecture, Paris, under Germain Boffrand and won the Grand Prix in 1746. He spent the years 1749 to 1754 at the Académie Française in Rome but left after an argument with the director Charles-Joseph Natoire over his refusal to make his Easter Communion; this may have been due to his Jansenist sympathies. He nevertheless remained in Italy until 1767. During these years he became a close friend of Piranesi, Winckelmann, Cardinal Alessandro Albani and other members of the international circle interested in the Antique.

In his early student days in Rome, Clérisseau became acquainted in particular with English travellers and began to sell them his attractive topographical drawings of Roman architecture. Initially these were influenced by his studies with ...

(b London, March 5, 1761; d Rome, Aug 26, 1816).

English painter, archaeologist and dealer, of Irish origin. A Roman Catholic, he was the son of a prosperous London baker, originally from Cork. He entered the Royal Academy Schools in 1781; two years later he travelled to Italy via Flanders and Paris, reaching Rome in January 1784. There, under the influence of Andrea Appiani and François-Xavier Fabre, he evolved an individual and original Neo-classical style of portrait painting, with an emphasis on contour, clear colour and psychological penetration. By the early 1790s he had become a fashionable painter of English visitors and a prominent member of Roman artistic society. His portraits often include evocative Italian landscape settings, as in Elizabeth, Lady Webster (1793; priv. col.), which shows Mt Vesuvius in the background, and the double portrait of his friend Sir Corbet Corbet with his Wife and Dogs in the Roman Campagna (c. 1797; priv. col., see Crookshank and Glin, ...

(b Tuligłowy, nr Lwów [now Lviv, Ukraine], July 30, 1853; d Habelschwerdt, Silesia [now Bystrzyca Kłodzka, Poland], July 9, 1929).

Polish painter. He studied (1869–71) at the Kraków School of Fine Arts before working as a draughtsman for the archaeologist Stanisław Krzyżanowski (1841–81) on excavations in the Ukraine, then for the architect Feliks G̨siorowski. With the latter’s support, Fałat was able to study architecture in Zurich and Munich, but he gave up his studies to work as a technical draughtsman in Zurich. He continued with his painting studies in Munich (1877–80) under Alexander Strähuber (1814–82) and Georg Raab (1821–85). Fałat’s early work shows the influence of the watercolourists Hubert von Herkomer and Ludwig Passini (1832–1903), and of Eduard Grützner (1846–1925). Fałat’s own watercolour work was soon acclaimed both by the large group of Polish painters in Munich and also by those at home. In 1882–6 Fałat lived in Warsaw painting realistic genre scenes and landscapes and contributing illustrations to Polish and German periodicals, such as the Viennese Secession journal ...

[Edhem, Osman HamdiHamdi Bey]

(b Istanbul, Dec 30, 1842; d Eskihisar, Gebze, nr Istanbul, Feb 24, 1910).

Turkish painter, museum director and archaeologist. In 1857 he was sent to Paris, where he stayed for 11 years, training as a painter under Gustave Boulanger and Jean-Léon Gérôme. On returning to Turkey he served in various official positions, including two years in Baghdad as chargé d’affaires, while at the same time continuing to paint. In 1873 he worked on a catalogue of costumes of the Ottoman empire, with photographic illustrations, for the Weltausstellung in Vienna. In 1881 he was appointed director of the Archaeological Museum at the Çinili Köşk, Topkapı Palace, in Istanbul. He persuaded Sultan Abdülhamid II (reg 1876–1909) to issue an order against the traffic in antiquities, which was put into effect in 1883, and he began to direct excavations within the Ottoman empire. As a result he brought together Classical and Islamic objects for the museum in Istanbul, including the Sarcophagus of Alexander, unearthed in Sidon in ...

(b London, July 28, 1866; d Near Sawrey, Cumbria, Dec 22, 1943).

English painter, draughtsman and writer. A lonely child, she sought solace in botany, zoology, mycology and archaeology, learning to observe and to record. In the 1880s and 1890s she systematically studied fungi, mosses, lichens, fossils and Roman antiquities; her watercolours of these, such as the collection in the National Art Library (London, V&A), combine broad washes with acutely observed detail in elegant compositions. Pets such as rabbits, mice and hedgehogs provided company and inspired stories to entertain her ex-governess’s children. She published The Tale of Peter Rabbit privately in December 1901 (R London, 1902) with her own illustrations. Publication gave her independence from the family wealth. She purchased Hill Top Farm, Near Sawrey (NT), and set her best-loved books in the vicinity (original drawings: Hawkshead, Beatrix Potter Gal.). From 1913 Beatrix Potter was occupied as a sheep farmer.

(b Ribeauville, Alsace, April 14, 1824; d Paris, Feb 24, 1872).

French photographer, archaeologist and painter. A painter of landscapes and religious scenes and a keen archaeologist, he was fascinated by the Middle East from an early age. He visited Italy and Algeria with his friend Eugène Fromentin, and he was in Egypt at the time of the excavations of Auguste Mariette (1821–81). Taking advantage of a mission supported by the Ministère de l’Instruction Publique, he decided to set off for the Holy Land at the end of 1853. In his desire to support the disputed theses of the archaeologist Louis Félicien Caignart de Saulcy (1807–80) concerning the age and appearance of the monuments there, in 1854 he brought back from his trip c. 200 calotypes. The album Jérusalem (pubd 1855–6; Paris, Mus. Orsay; Paris, Bib. N.; priv. col.) contained 174 of them (see fig.). In 1863, he set off again with de Saulcy to carry out more intensive research, and his photographs were used to illustrate the archaeologist’s articles....