The Concise Oxford Dictionary of Art and Artists (462 page)

 
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(1539–84).
Swiss painter and graphic artist, active in his native Schaffhausen, in Strasburg (where he died), and in various German towns. He was a versatile artist, whose work included façade decorations (notably that of the Haus zum Ritter, 1568–70, now in the Museum zu Allerheiligen, Schaffhausen), portraits in a
Holbeinesque
style, and a large output of prints. He also decorated the astronomical clock in Strasburg Cathedral. There is often strong Italian influence in his work and he may have visited Italy. His reputation in his lifetime stood very high.

 
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stipple engraving
.

A method of engraving in tone, in which the design is made up of small dots or flecks. It was a popular reproductive technique in the late 18th and early 19th cents., when it was often used in conjunction with the
crayon
manner, from which it differs little. Both were rendered obsolete by
lithography
. Stipple engraving, which produces prints characterized by softness and delicately graded tones, was almost entirely confined to England, where Francesco
Bartolozzi
was an outstanding exponent.

 
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(1902–72).
English writer on art and painter. An intensely subjective writer with an interest in psycho-analysis, Stokes responded passionately, even ecstatically, to art, believing its task was to show the ‘utmost drama of the soul as laid-out things’. Many admirers regard him as the most eloquent and poetic English art critic since
Ruskin
, although others find his prose hard going. His best known books are
The Quattro Cento
(1932) and
The Stones of Rimini
(1934);
The Critical Writings of Adrian Stokes
, edited by Lawrence
Gowing
, appeared in three volumes in 1978. Stokes began to paint in 1936 and became a student at the
Euston Road School
in 1937. From 1939 to 1946 he lived near St Ives, Cornwall, with its flourishing group of painters (see
ST IVES SCHOOL
).

 
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(1587–1647).
English sculptor, mason, and architect. The son of a Devonshire quarryman, he trained in London, then in 1606 he went as a journeyman to the Amsterdam workshop of Hendrik de
Keyser
, whose daughter he married. On his return to London in 1613 he quickly established himself as the outstanding tomb sculptor in the country. He surpassed his contemporaries in technical skill as a marble cutter and outdid them in introducing new ideas: the monument to Francis Holles (d. 1622; Westminster Abbey) has the first English example of a figure in Roman armour, and that to John Donne (made from Donne's own design, St Paul's Cathedral, 1631) shows the great preacher and poet standing erect in his shroud. In 1619 Stone became Master Mason for Inigo
Jones's
Banqueting House at Whitehall, and in 1632 Master Mason to the Crown. His contact with the court gave him a knowledge of the
antique
sculpture in Charles I's collection and his work after
c.
1630 shows a change in style, marked by an attempt to imitate antique drapery (Lyttelton Monument, Magdalen Coll., Oxford, 1634). His large workshop produced monuments of many types, and we are unusually well informed about its activities, as an office notebook covering the period 1614–41 and an account book for the period 1631–42 still survive (Soane Mus., London). Much less of his work as an architect is extant (and it is sometimes not clear whether he was the designer as well as the mason of the buildings on which he worked), but he is recognized as the creator of ‘a vernacular classical architecture of considerable charm and accomplishment’ (H. M. Colvin ,
A Bio-graphical Dictionary of British Architects 1600–1840
, 1978). The youngest of Stone's three sons,
John Stone
(1620–67), ran the family practice after his father's death, even though he does not appear to have been a sculptor himself.

 
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