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were destroyed by the Iconoclasts. Those still existing are distinguished for vigorous conception, pleasing expression, a warm tone of brownish colour, and careful execution. Of late attempts have been made to identify him with the Master of the Death of Mary. Works: Repose in Egypt, Portrait of a Lady, National Gallery, London; Magdalen, the Queen of Sheba, Bathsheba at the Bath, Adonis, Archery-Piece with 17 portraits (1531), Amsterdam Museum; Madonna, Portrait of a Gentleman, do. of a Boy (1531), Rotterdam Museum; Fall of Man, Baptism of Christ, St. Cecilia, Portrait Group of 12 Knights Templars, City Museum, Haarlem; Crucifixion, Episcopal Museum, ib.; Madonna, four Group Portraits of Knights Templars, Museum Kunstliefde, Utrecht; two Altar-Wings with Christ Bearing the Cross and Resurrection, Altar with Scenes from Life of Moses, Portrait of Old Lady, Episcopal Museum, ib.; Good Samaritan, St. John's Hospital, Bruges; Crucifixion (1530), Bonn Museum; two Altar-Wings, Cologne Museum; Female Bust Portrait, Düsseldorf Academy; Portrait of Cornelis Aerntsz van der Dussen (1550), do. of Agathe von Schoenhoven, Berlin Museum; David's Victory over Goliath (attributed to Bronzino), Dresden Gallery; two Altar-Wings (attributed to Pourbus), Wörlitz Gallery; Male Portrait, Ambras Collection, Vienna; Altar of Holy Kith and Kin (1520), Church at Ober-Vellach, Carinthia; Portrait of a Boy, Bergamo Gallery; Male Portrait (attributed to Bruyn), Turin Gallery; Portrait of Agnes van Schoenhoven (1529), Doria Gallery, Rome; St. Magdalen, Palermo Museum; Portrait of Young Man (about 1525), Warwick Castle, England; do. (about 1545), Longford Castle, ib.—Ch. Blanc, École hollandaise; Immerzeel, iii. 73; Kramm, v. 1485; Graph. K., vi. 91; Jahrbuch preuss. Kunstsammlg., ii. 193; Michiels, v. 150; Kunst-Chronik, xviii. 168; xix. 112; xxi. 365; W. &. W., ii. 536; Zeitschr. f. b. K., xviii. 46; xxi. 83, 145.

SCORZA, SINIBALDO, born at Voltaggio, July 16, 1589, died in Genoa in 1631. Genoese school; pupil of Carosio, an obscure painter in Voltaggio, afterwards of Giovanni Battista Paggi. Excelled in painting landscapes, enlivened by human figures and animals. Painted in Turin from 1619 to 1625, when he returned to Genoa. Annunciation, Voltaggio.—Soprani, 127; Ch. Blanc, École génoise.

SCOTT, DAVID, born in Edinburgh, Oct. 10 (12?), 1806, died there, March 5, 1849. History painter, educated as a designer and engraver, but finally devoted himself to painting. His first exhibited picture was The Hopes of Early Genius (1828). In 1829 he was elected an associate of the Scottish Academy; in 1832 he visited Italy, and remained fifteen months in Rome studying anatomy and painting and making many sketches, returning to settle in Edinburgh in 1834. Elected R.S.A. in 1835; received prizes for pictures in 1838 and 1841, but, though he finished many ambitious works, he failed to win public favour and died a disappointed man. He published a series of outlines called "Monograms of Man" (1831), and made illustrations for Coleridge's "Ancient Mariner" (1837) and "Pilgrim's Progress" (1850). Works: Death of Sappho (1829), Mrs. Constable, Edinburgh; Nimrod (1831), W. Dickson, ib.; Artist's Portrait (1832), Discord (1833), James Leathart, Newcastle; Vintager (1833), National Gallery, Edinburgh; Oberon and Puck (1834), R. Carfrae, ib.; Descent from Cross (1835), J. M. Gow, ib.; Orestes and the Furies (1837), W. B. Scott, ib.; A Vintager, Ariel and Caliban (1837), National Gallery, ib.; Paracelsus Lecturing (1838), J. T. Gibson Craig, ib.; Philoctetes in Lemnos (1839), George Cousin, ib.; Queen Elizabeth in the Globe Theatre (1840), Lord Young, ib.; Traitor's Gate (1841), R. Carfrae, ib.; Vasco de Gama passing the Cape of Good Hope (1842), Trinity House, Leith; Wallace (1843), R. Carfrae, Edinburgh; Crucifixion—the Dead Rising (1844),