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" BIOGRAPHICAL, CATALOGUE
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ITAL IAN FilNTE RS,
A TABLE OF THE CONTEMPOEAEY SCHOOLS OE ITALY.
DESIGNED AS
A HAND-BOOK TO THE PICTURE GALLERY.
BY A LADY.
BY KALPH N. WOENUM.
LONDON:
JOHN MURRAY, ALBEMARLE STREET
1865.
LONDON :
rP.INTED BY WOODFALL AND KINDER,
ANGKL COURT, SKINNER STUKICT.
/ V-^.''v...<f-r- /N..J
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AUTHOR'S PREFACE.
%
I VENTUEE to present to the public this little Biographical Catalogue
of the principal Italian painters, in the hope that it will be found
useful as a companion to the picture galleries of Italy.
My aim has been merely to give a short sketch, compiled from
various authors, of the life and works of each artist, confining my-
self to the leading characteristics which distinguish them, and to
the enumeration of their principal works.
To Mr. Wornum, who has kindly undertaken the task of editing
the work, I am under great obligations. His extensive knowledge
on subjects connected with art, aided by the possession of a large
collection of the more recent works in art literature, has enabled
him not only to correct errors, but to supply much new and valuable
information.
A Tabular view of the Schools of Italian Painting will be found
attached to the work, containing the names of those painters who
have most influenced or contributed to the progress or vicissitudes of
art. This Table has been constructed with care with reference to
the different Schools. I trust that it will not only serve as an
assistance to the memory, but that the synoptical view it presents
will enable the reader to trace the growth and decline of art at par-
ticular periods, and be suggestive of many interesting deductions.
Should the information which the book contains induce any one
to seek from deeper sources further knowdedge on this engrossing
and elevating subject, I shall feel that my reward greatly exceeds
my deserts. And should it meet with the approval of the public, I
shall hope to proceed with a Catalogue of the artists of other coun-
tries.
MARIA FARQUHAR.
726 ^2
EDITOE'S PEEFACE.
"Du hast bisher die schonen Bilder angestaunt, als waren es
wunderwerke, vom himmel auf die erde heruntergefallen. Aber
bedenke, dass dies alles werk von Menschenhanden ist — was meynst
du nun? Solltest du nicht lust empfinden, von den Mannern,
welche sich in der Mahlerey hervorgethan haben, etwas mehreres
zu erfahren ? "
Such were the impressive words of the young enthusiastic
Wachenroder sixty years ago, when men really cared little either
about painters or their works. This is a matter in which, since then,
we have made much progress, and by some the era of the new
epoch of art criticism is identified with the appearance of Wachen-
roder's Heart Effusions of an Art-loving Monk, which, though now
little more than a curiosity, was then a repertory of new and charm-
ing reflections. Criticism till then, probably, was almost exclusively
material, but we have since run into the other extreme.
In both cases the authors of the works which are the prime cause
of the delights and the intellectual exercises so engrossing to some,
have been altogether neglected. We have been too habitually con-
tent to admire pictures without inquiring into the characters or
fortunes of the devoted men who have produced them. While
some works are faithful objective pictures of men and manners,
others are simply subjective exponents of character; and others,
without being exactly either, are often nevertheless good indices
to both the moral and intellectual tendencies of an age.
Still it is impossible to feel much about pictures, and even more
difficult to comprehend the nature of art epochs, without some
personal knowledge of their artists. It is unquestionable that a
knowledge of the painter will frequently cause an interest in a
work that would be otherwise overlooked or forgotten ; and what is
true of individual works is true also of collections. Travellers
saunter through picture galleries until they are tired of tlie very
name of art, and eventually glory in neither knowing nor caring
vi EDITOE'S PKEFACE.
anything about it. The real cause of this nonchalance is igno-
rance, and the cause of the ignorance is the difficulty of acquiring
the right information exactly when it is wanted. If catalogues of
picture galleries were properly made, or something much more to
the purpose than mere lists of names and titles of pictures, such
information would certainly be much more available than it is at
present ; but even if catalogues were as they should be, our difficul-
ties would be but half obviated, as there would still be the necessity
of purchasing and carrying many books, in itself an inconvenience
sufficiently great to deter all but the most energetic from troubling
themselves about the matter at all. A general guide that could be
made available on all occasions is what is really required.
We take it for granted, then, that people are generally indifferent
about pictures and painters, and really ignorant of the vast stores of
Italy in particular, illustrating this interesting subject, even after
they have seen them, because they have not had any easy ready
means of instructing themselves in the matter, when the opportu-
nity has offered. All intelligent travellers must have felt this ; vast
series of frescoes, causing epochs in art, consummate oil pictures ;
the crowning efforts of Italian civilisation and ingenuity are crowded
together in one confused chaos in their minds, because, when they
saw them they could not identify the true positions of their authors,
and thus grasp an adequate impression to be treasured in the
memory. People are generally interested in what they understand,
and though every subject represented may carry its own interest with
it, the interest of a subject is quite distinct from the interest we take
in a work of art. The canvases and walls of Italy illustrate almost
every important matter in the history of human civilisation, but it
is not this class of interest that this little hand-book pretends to
enhance. Independent of the subject, without a knowledge of the
character and position of a master, a picture is at most a pleasing
distribution of masses of light and shade, and colour. To add,
then, to this enjoyment, the pleasure of enjoying a painting also as
a work of art, is opening up a new province of delight to the
visitor to a picture gallery, and this is the interest that this little
hand-book does lay pretensions to develope. The art itself has its
history and its difficulties, and every master has his individual
services to be recognised, as well as his position ; and it is his
position which qualifies his merits, and defines his rank among
painters.
Without a moderate preparation of this kind no picture gallery
can be appreciated or thoroughly enjoyed, and no opportunity fairly
used; the more frequent the visits to galleries, the more is the
EDITOR'S PREFACE. vii
necessity felt for some such general guide, applicable in a measure
to all occasions. Ordinary guide-books do not in any way meet this
necessity, nor do the catalogues of collections themselves, even in
their own individual cases, except in two or three rare instances ;
Dictionaries of Painters are meagre, cumbrous, and inaccurate;
and even a good history is as ill adapted for incidental reference, as
for the pocket. It was under these impressions that Miss Farquhar
took the meritorious resolution of attempting to supply in some
degree this admitted desideratum, and the present little work is the
result ; the object has been to produce a pocket hand-book which
should contain much essential information in a very small compass.
The task has not been an easy one, though for the present its
sphere has been limited to Italy; which is in itself, however,
more important in such a matter than all the other countiies of
Europe combined.
The object of compression being paramount, the constant endea-
vour, as a general rule, has been to try how little, compatible with
utility, could be said about each painter, and in some cases the
notices may appear extremely bare; but, of course, even in this
respect due deference has been paid to the respective importance of
the several painters ; and where compression into a small space was
so essential, the omission altogether of a vast number of names
became a necessity. The artists inserted constitute about one-
fourth only of those recorded in Italian art literature, but it is
hoped that the work will be found to contain notices of all the
principal men of the Schools whose works are likely to be of any
interest, either on account of their absolute merits or their period ;
yet that there are some improper omissions in a work of this
extent cannot fail to be the case. The articles consist in general
of the essential biographical facts, when known, and a concise
character of the painter's style ; with a notice of the most acces-
sible of his principal works : this last has been a very laborious
portion of the task, and, as pictures are so constantly changing
owners, will always be the most difficult to secure accuracy in. In
this portion of the book several thousand works are noticed, and
their dates frequently affixed ; though even such a number may be
comparatively small, few books notice so many, and those are not
portable : indeed the list in the precise form here presented is
new.
It will probably be remarked that the Berlin Galleiy is quoted, in
the cases of rare masters, mq^re often, perhaps, than any other.
Though this Gallery had considerable advantages in its formation,
and certainly contains several examples of uncommon masters, the
viii EDITOR'S PREFACE.
attribution frequently rests solely on the opinion of Dr. Waagen,
the Director of the Gallery ; and it is, therefore, only so far condi-
tionally refen-ed to.
With regard to the Table of Schools, its use will be obvious, but
some explanation of its plan is necessary. It contains the names of
upwards of five hundred painters, who are assumed to be the principal
masters of Italian painting. Here, of course, the principle of ex-
clusion has been more stringently applied than in the Biographical
Catalogue. A great multiplicity of names would only encumber
the lists, and render the Table obscure and comparatively useless.
As accurate information is given in the Catalogue, which, indeed, is
the explanation of the Table, it has not been repeated here ; and it
is desired rather that the reader should refer to the Catalogue for
the fuller information there given, than be satisfied with the mere
dates of birth and death, or such other bare essentials as might
have been compressed into the Table. Thus, also, the connection
of master and scholar is omitted in the Table. This, indeed, was
found to be necessary, to give a practical character to the Table at
all : if all the scholars were given it would have required several
sheets; the distinction of School would have been lost; and the
number of notices of obscure names it would have been necessary
to add to the Catalogue, would have certainly added immensely to
the labour of its production, considerably to its bulk, but very little
indeed to its interest or utility. As it is, a great amount of labour
has been spent upon names eventually excluded from the Cata-
logue.
A work of this kind — a general table, in ten large sheets, by Major
Von Innstaedten — has been recently published at Vienna — Gra-
phische Darstellung der Qeschichte der Malerei von Giunta Pisano und
Guido da Siena bis auf Louis Jacques David, und Jacob Asmund
Carstens ; it is, however, too comprehensive to be serviceable, except
in cases of special reference. The attached Table, on the contraiy,
is designed to give a synchronous view of the Schools at once, in
order to establish a distinct notion of the time, locality, and relative
position of the painter, as the best introduction to the understand-
ing of his character and importance in the histoiy of art. The
names of capiscuole, or great masters, are printed in large capitals,
those of secondary importance in smaller, and ordinary names in
the ordinary type, as a mere mechanical aid to direct the attention
to the leading masters of the Schools. The pupilage, or scholar-
ship, is a matter of little real importance, and this information is
given in the Catalogue ; no gi'eat painter has ever been bound by
the practice of his master; most have widely deviated from it; the
EDITOR'S PREFACE. ix
majority of painters have had more than one master ; and scholars
have as often prosecuted their labours in foreign cities as in those
in which they were originally educated. For this reason, and in
order to make the Table as simple as possible, it presents only
selections of the most important artists who, during the six centu-
ries comprised, were the chief representatives of painting of the
several Schools inserted. The principle of the Table is chronolo-
gical succession ; and the year of death, rather than that of birth,
has been adopted, because the majority of men scarcely bring any
influence on their fellows into operation before their thirtieth year
at soonest, and in many cases still later. As a painter, Michel-
angelo exerted no influence on his contemporaries till nearly forty
years of age, and his was not a late case ; Raphael is one of the few
exceptions, and he died at an age when many distinguished men
have been still obscure. On the whole, therefore, in a Table of this
kind, placing the names against the years of birth would give a false
impression of nearly half a century. The Table, therefore, shows
not only the contemporaries of the several masters, but also the real
period of their operation. It is divided into half centuries ; those
who died early in the half century being placed in the upper part of
the division, and so on, each name in proportion, without, however,
such precision as to imply that ewerj painter died before those
whose names are lower in the list ; for some have died in the same
year, the dates of others are uncertain, and where a distinguished
master has died about the same period as some scholar, or only
shortly afterwards, the name of the master precedes that of the
scholar ; but in all cases the name is placed in the half century in
which the painter died. The separation into Schools has been kept
as restricted as possible. The painters of Verona and Brescia are
comprised under the head of Venice ; and those of Mantua and
Cremona, with those of Parma and Milan, under the general head of
Lombard School. Padua, as displaying a more individual character,
recalling the antique bas-reliefs, through the peculiar influence of
Squarcione and Andrea Mantegna has its separate classification.
In the Ferrarese, Genoese, and Neapolitan Schools, the distinctions
are as much local as characteristic. The Umbrian and Sienese
are distinct in their early periods, but in the sixteenth and seven-
teenth centuries the local developments gradually lose their indi-
vidual character, though the great Schools preseiTe their broad dis-
tinctions throughout; that of Rome, after Raphael, w^as the most
general and equal in its qualities, furpassing all the Schools in com-
position and character. In the others, some one quality greatly
prevails ; as, the study of form among the Florentines ; colour, with
X EDITOE'S PKEFACE.
the Venetians ; chiaroscuro, with the Lombards ; general technical
finish, with the Bolognese ; and reality and force, with the Neapo-
litans. Idealism, or sentimentalism, was a general mannerism
of the seventeenth century; and was, apparently, one of the ill
effects of the spirit of eclecticism developed by the Carracci.
It remains yet to explain the special destination of this Table and
Catalogue, as a companion or hand-book to Italian picture galleries.
The work is so, of course, only generally, as supplying general
information concerning ItaUan painting. It may be made service-
able wherever Italian paintings are to be found, whether in or out of
Italy. It is expressly a book about Italian painting and painters,
not about pictures, these being enumerated only as examples of the
work of the respective masters ; the lists arresting the attention of
the traveller, and directing him to such specimens as are supposed
to be most characteristic of the painter. Its special use may be
best illustrated by an example. Suppose the visitor to be in either
of the galleries of the Academies of Florence or Bologna, and to be
ignorant of the history of art. He will probably be dissatisfied with
both collections : the one will appear to contain little besides crude
old specimens of the infancy of painting ; and the other, a series of
sombre, melancholy pictures, of a very mannered School, or of a
declining and purely technical art, without a charm to recommend
them. Considering these specimens as absolute works of art, irre-
spective of all other considerations, he may be right, because art
and nature are in both cases only very partially illusti'ated. But
considered in relation to human progress, or the development of
human ingenuity, each illustrates an important phasis of the social
mind, and of the development of a great art. In turning to the
Table he will find, in the first instance, that he is surrounded by
the offspring of a race of intellectual giants — the pioneers of art ;
men who, by their simple efforts, had discovered a new province of
delight, devotion, and instruction. In the Catalogue he will find
the aspirations, the vicissitudes, the triumphs, of their lives, and
learn to love the works for the sake of the workers. In the second
case, he will find that he is surrounded by the works of the great
names of the seventeenth century ; men who endeavoured to imbue
with new vitality an art that had been exhausted through the morbid
efforts of the artist after notoriety, by the attractions of novelty.
These men, too, were pioneers ; but while the first drew from the
cravings and emotions of the soul, the others thought only of pre-
serving the technical beauties of their great predecessors, and pre-
pared the well-cleared path of the so-called Academicians, whose
whole aspirations are summed up in good drawing, good colour,
EDITOE'S PEEFACE. xi
good light and shade ; and so efficient were the labours of these
men, that for two hundred years, the painters of Europe, with rare
exceptions, have been quite content to tread in their footsteps.
There have been three great, well-marked, epochs of Italian paint-
ing, which has followed the course of all other human institutions ;
it has had its rise, establishment, and decline, extending over the six
centuries comprised in our review, as follows : — the rise, or gradual
development, occupied three centuries — the thirteenth, fourteenth,
and fifteenth ; the establishment, one century — the sixteenth ; and
the decline, two centuries — the seventeenth and eighteenth. The
Table will at once show the respective artists of these centuries or
periods. The early period, gradually progressing during three cen-
turies, has been called the Antico-moderno, by the Italians, and
also the Quattrocento, or that of the fifteenth-century art ; as that
centuiy was the period of its perfection. All masters from Giunta
Pisano, Cimabue, and Giotto, to Pietro Perugino and Francia, be-
long to this period, which has been recently characterised with us
as the Pre-raphaelite; in the Catalogue it is spoken of as the Quat-
trocento; the innovated term gives a false importance to Raphael,
which he is in no need of, and is inaccurate and uncritical, as Leo-
nardo da Vinci, Luca Signorelli, Michelangelo, and Giorgione, are all,
strictly speaking, pre-raphaelite, and yet display in their works the
very qualities of which the term is assumed to be a negation.
This quattrocento art is really characterised, and of necessity so,
by its imperfection. The great predominance of one quality shows
the deficiency of another ; sentiment is perfectly rendered ; but it is
only in the works of the very latest rnasters, such as Francia or
Perugino, that there is an approximation even to a perfect rendering
of the physical. When this was attained, which, was in the first de-
cennium of the sixteenth centmy, then only art may be said to have
reached perfection, so far as human arts can be perfect.
This consummation, then, as the work of the sixteenth centur}%
has been termed the Cinquecento; that is, after 1500, or sixteenth
century art : and the art of this period was gi'eat, not by virtue of the
predominance of any particular quality, but because all were fairly
balanced : we find a co-ordinate development of mind and matter,
soul and body, the sentimental and the sensuous ; in every sense a
perfect art. In referring to the Table, the two sixteenth century di-
\isions will show who were the great men of this period throughout
all the Schools.
The third period, or that of d^line, which occupies the two clos-
ing centuries, has been termed the Eclectic and the Academic, from
xii EDITOE'S PEEFACE.
reasons already stated, and which the notices of the Can^acci and
their scholars in the Catalogue will explain more fully. But in this
period we have again a partial development; and, reversing the
cu-cumstances of the first period, we find the sensuous dominating
the sentimental, and the gradual debasement of art as the conse-
quence.
In all visits to picture galleries, therefore, one of the first inqui-
ries of the mind must be whether a work belong to the period of
development, establishment, or decline ; whether it be quattrocento,
cinquecento, or academic. And this general inquiry must be suc-
ceeded by a modification of the same idea when investigating a pic-
ture as the work of a particular master ; as, what was his School ?
and what the peculiar circumstances of his life, if any. For to
thoroughly enjoy, or be instructed by, a picture, we must enter into
the spirit of the work, whether it be animated by a common senti-
ment of an age, or some simply subjective expression of the idiosyn-
crasy of the painter. All pictures should be viewed objectively; it is
not for us to look for what we consider ought to be there, but ho-
nestly to endeavour to apprehend what really is there. There is
something to be admired in all works. If the academic painter
shows us nothing beyond his fine limbs or harmonious masses of
colour, there is even here real matter for enjoyment ; though we
may not find the exalted sentiment, the impressive gi-andeur of cha-
racter, the dramatic truth, or the illusive reality of representation,
that we have admired elsewhere.
Works will often be limited or modified also in their powers of
pleasing us by the method in which they are executed. The Italians
have had three great methods, which prevailed at diff'erent periods —
tempera, fresco, and oil, which have all, more or less, their peculiar
properties of efi'ect. During the thirteenth centuiy, tempera was the
universal method for wall or easel pictures ; the colom^s were mixed
in water, with e^g, gum, size, and the sap of ,plants. In the four-
teenth century a method of painting on the wet plaster was adopted,
hence called fresco, and this was the prevailing method for wall
painting from that time. The colours were put on mixed simply
with water (boiled or distilled), and when the picture was dry the
early masters used to retouch in tempera, but this practice of re-
touching gradually ceased, until what is called pure fresco was esta-
bUshed. In the middle of the fifteenth century, oil, or rather
varnish painting, was introduced into Italy; and the great majority
of the works of the period of the decline are executed in this me-
thod, while the majority of the great cinquecento works are frescoes,
EDITOB'S PEEFACE. xiii
though the easel pictures of this period also are nearly exclusively
oil pieces.
With these preliminary remarks we leave this little work to per-
form its own task. It pretends to no sort of completeness, but is
simply what it professes to be, a little pocket hand-book, to be used
as a companion in the picture galleries and the churches of Italy ;
and it is hoped that it will be found sufficiently small, so as not to
inconvenience even a lady's hand, and yet so full of matter, as not
to be laid aside without affording some information even to the most
experienced.
K. N. W.
WORKS REFERRED TO
CATALOGUE,
The following are the titles of the works referred to, by their authors' names
at the end of the several articles, by the aid of which the subject may be
thoroughly followed up by the more curious student in the history of art ;
many of the works mentioned, however, are scarce, some I am myself un-
acquainted with, and they are referred to on the authority of others, though
the great majority being in my own library, have been constantly consulted
in the compilation of this little Hand-book : as notice of prints forms no
part of the object of this work, so Books of Prints, as such, are omitted
from this list. A much more complete list of works on the History of
Italian Painting, is given in the sixth volume of Lanzi's Storia Pittorica,
(Florence, 1822) ; and a still more comprehensive catalogue will be found in
the Catalog Ragionato dei Lihri d'Arte e d'Antichitcl, posseduti dcd Conte
Cicognara. 2 vols. 8vo. Pisa, 1821. Neither of these works, however, con-
tains the critical literature of modern times, nearly the whole of which is
since their date : but much is comprised in the list subjoined ; though this
list makes no pretensions whatever to completeness of any kind, it is not
even a list of the works used in the compilation of the Hand-book, but
nearly exclusively of those referred to at the close of the respective articles
in the Catalogue, and which are the authorities for the essential facts re-
corded, or good sources of further information. Mere catalogues of col-
lections or ordinary guide-books are generally not quoted, though some of
the superior works of this class are included in the list. The most complete
catalogue of works on art is probably R. Weigel's Kunst- Catalog, of which
there are now twenty-six parts, 1 834-54.
Affo. Vita di Francesco Mazzola detto il Parmigianino. 4to. Parma, 1784.
II Parmigiano, Servitore di Piazza, o Notizie su le Pitture di Parma.
8vo. Parma. 1794.
Aloe, Stan. I)\ Naples ; ses Monumens et ses Curiosites, (fee. 12mo. Naples,
1846.
Altan, Conte Federico. Memorie intorno alia Vita di Pomponio Amalteo,
inserted in the Opuscoli Calogeriawi, Vol. XLVIIL, and Del Vario Stato
della Pittura in Friuli, <fec., inserted in the Oimscoli Scientifici e Filo-
logici. Venice. Vol. XXIII. {Lanzi.)
xn AVOEKS EEFEKEED TO
Amoretfi, Carlo. Memorie Storiche su la Vita, gli Studj, e le Opere di
Lionardo da Vinci : prefixed to the Trattato delta Pittura. 8vo. Milan,
1804.
Amorini, March, A.B. Vita del eel. Pittore Guido Reni. Vita del Domeni-
chino. Vita del Guercino. Svo. Bologna, 1839.
Le Vite de' Carracci. 8vo. Bologna, 1840.
Arco, Carlo B\ Vita di Giulio Romano. Folio. Mantua, 1838.
Armenino, G. B. Dei veri precetti della Pittura. Svo. Pisa, 1823. Ed.
Prin. 4to. Ravenna, 1587.
Arze, L. Indicazione alia Villa Legatizia di San Michele in Bosco. 8vo.
Bologna, 1850.
Averoldoy G.A. Scelte Pitture di Brescia. 4to. Brescia, 1700.
BaglioTie, Cav. Gio. Le Vite de' Pittori Scultori, Architetti, ed Intagliatori
dal Pontificato di Gregorio XIIL, del 1572, fino a'tempi di Papa Urbano,
VIII., nel ] 642, with the Life of Salvator Rosa by G. B. Passari. 4to.
Naples, ] 733.
Baldinucci Fil. Notizie de' Professori del Disegno da Cimabue in qua,
(1681), 5 vols. 8vo. Florence, 1845-7. This edition professes to have New
Annotations and SuppUmeiits by F. Ranalli, but the promise is performed
in so inadequate a manner as to create extreme disappointment, and cer-
tainly the performance does not justify the statement on the title page.
Few authors have more need of a commentator than Baldinucci.
Bartsch, A. Le Peintre Graveur. 21 vols. 8vo. Vienna and Leipzig,
1803-21.
Baruffaldi, Gir. Le Vite de' Pittori e Scultori Ferraresi, con Annotazioni,
&c. 2 vols. 8vo. Ferrara, 1846-8.
Vita di Carlo Bononi, Pittore Ferrarese. 8vo. Venice,
1853.
■ Vita di Niccol6 Roselli e di Bartolomeo e Girolamo
Faccini, Pittori. 8vo. Venice, 1850.
Bellori, G. P. Vite de' Pittori, Scultori, et Architetti Moderni. 4to. Rome,
1672. The original edition, with good portraits, dedicated to Colbert ;
that of 1728 is a bad reprint, with, however, the addition of the life of
Luca Giordano.
Belvisi, Ferd. Elogio Storico del Pittore Lodovico Caracci. 8vo. Bologna,
1825.
Bevilacqua, Ip. Memorie della Vita di Giambettino Cignaroli, eccellente
Dipintor Veronese. Svo. Verona, 1771.
Biadi, L. Notizie inedite della Vita d'Andrea del Sarto, &c. 8vo. Florence,
1831.
Bonaini, Fr. Memorie inedite intorno alia Vita e ai Dipinti di Francesco
Traini e ad altre Opere di Disegno dei Secoli XIIL, XIV., e XV. 8vo.
Pisa, 1846.
Bonij L'Ah. Fil. De. Biographia degli ArtistL Imp. Svo. Venice, 1840.
Boni, Cav. Onof. Elogio del Cav. Pompeo Batoni. Svo. Rome, 1787.
Bordiga, Gau. Notizie intorno alle Opere di Gaudenzio Ferrari, Pittore,
&c." 4to. Milan, 1821.
IN THE CATALOGUE. xvii
Borghini, Baffaello. II Reposo. 3 vols. 8vo. Milan, 1807. Ed. prin.
Florence, 1584.
Boschini, M. Le Pubbliclie Pitture della Cittk di Venezia — o sia Rinnova-
zione delle Ricche Minere, &c. 12mo. Venice, 1733.
Bossi, Giu. Del Cenacolo di Leonardo da Vinci. Libri Quattro. Folio.
Milan, 1810.
Bottari, Monsig. Gio. Raccolta di Lettere Sulla Pittura, Scultura, ed Archi-
tettura, scritte da' piu celebri Professori che in dette Arti fiorirono dal
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b
xviii WOKKS EEFEKEED TO
Sepolcro Scritta da G. Vasari Aret. arricchita di note illustrative. 8vo.
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Pubblicato ed illustrato con documenti pure inediti, con facsimile.
3 vols. 8vo. 1839-40. An important collection of letters and documents,
the result of ten years' researches among the archives of the principal
cities and monasteries of Italy, but the laborious editor, a native of Den-
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Giangiacomi, F. Le Pitture della Cappella di Niccolo V. Opere del Beato
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demia di Belle Arti in Bologna. 18mo. Bologna, 1835.
Guida per la Pontificia Accademia di Belle Arti in Bologna.
8vo. Bologna, 1846.
Giordani, Pietro. Sulle Pitture d'Innocenzio Francucci da Imola. 8vo.
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IN THE CATALOGUE. xix
Guida d'Ascoli. [Orsini.']
Hackertf Phil. [Grano, G.]
Jameson, Mrs. Sacred and Legendary Art. 2 vols. 8vo. London, 1848.
Legends of the Monastic Orders, as represented in the Fine
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Legends of the Madonna, &c. 8vo. London, 1852.
Kugler, F. Handbuch der Geschichte der Malerei seit Constantin dem
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Laborde, Le Comte De. La Renaissance des Arts h, la Cour de France. Pein-
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Belle Arti fin presso al fine del XVIII. Secolo. Fourth edition. 6 vols.
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Lasinio, Cav. Carlo. Pitture a Fresco del Campo Santo di Pisa. Forty-two
plates. Oblong folio. Florence, 1812 and 1828. A magnificent work,
and the most valuable illustration of the early wall-painting of Italy ;
the small copy by the Cav. G. P. Lasinio, Florence, 1832, is very inferior.
Lazzari, And. Memorie di Timoteo Viti d'Urbino. Folio. Urbino, 1800.
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Leoni, Cav. M. Pitture di Antonio Allegri da Correggio, &c. 8vo. Modena,
1841.
Lepicie. Catalogue Raisonne des Tableaux du Roy, &c. 4to. Paris, 1752.
Lettere Pittoriche. [Bottari, Gtialandi.]
Lindsay, Lord. Sketches of the History of Christian Art. 3 vols. 8vo.
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Urbino del Signor Quatremere de Quincy Voltata in Italiano, corretta,
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Malvasia, Conte C. Cesare. Felsina Pittrice. Vite de' Pittori Bolognesi, con
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XX WOKKS REFEREED TO
Maniago^ Fah. Storia delle Belle Arti Friulane. 4to, Venice, 1819, and
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Manni, D. M. Del vero Pittore Luca Santo, e del Tempo del suo fiorire.
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Mariotti, Ann. Lettere Pittoriche Perugine, ossia ragguaglio di Memorie
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Melchiorri, Marchese Oiu. Guida Metodica di Roma e suoi Contorni. 12mo.
Rome, 1836.
Memorie de' Pittori Messinesi e degli esteri cbe in Messina fiorirono dal
Secolo XII. sino al Secolo XIX. 8vo. Messina, 1821.
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centuries, on the Arts of Painting in Oil, Miniature, Mosaic, and on Glass,
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Mezmnotte, A. Delia Vita e delle Opere di Pietro Vannucci da Castello
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Morelli, J. Notizia d'Opere di Disegno nella prima meta del Sec. XVL, esis-
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Morrona, Al. Da. Pisa illustrata nelle Arti del Disegno. Second edition.
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Mortara, A. E. Della Vita e dei lavori di Francesco Mazzola detto il Par-
migianino. 8vo. Casal Maggiore, 1846.
Mosca, Vendramini. Descrizione delle Architetture Pitture e Scolture di
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Moschini, G. A. Guida per la Cittk di Venezia all' Amico delle Belle Arti.
2 vols. 12mo. Venice, 1815. Another edition, 1828.
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Memorie della Vita di Antonio de Solario detto il Zingaro Pit-
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Muzio. Teatro di Bergamo. {Lanzi.)
National Gallery. Descriptive and historical Catalogue of the Pictures in
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IN THE CATALOGUE. xxi
N. Womum. Revised by Sir C. L. Eastlake, P.R.A. Fourteenth edition.
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Descrizione delle Pitture, &c., dell' insigne Citt^ di Ascoli.
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Guida al Forestiere per 1' augusta Cittk di Perugia. 8vo.
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Panni, A. M. Distinto Rapporto delle Dipinture che trovansi nelle Chiese
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8vo, with atlas of plates. Leipzig, 1839. The principal work on Raphael.
Ansichten iiber die bildenden Kiinste und Darstellung des
ganges derselben in Toscana. 12mo. Heidelberg, 1820.
Kunstreise durch England und Belgien, &c. 8vo. Frank-
furt, 1833.
Passeri, O. B. Vite de' Pittori, Scultori e Architetti che anno lavorato in
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Elogio storico di Giovanni Santi Pittore e Poeta Padre del
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xxii WORKS REFEREED TO
Quincy^ Quatrem^re De. Histoire de la Vie et des Ouvrages de Michelange
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■ Delle Vite de' Pittori, &c., Genovesi. Vol. II. Scritto da Giuseppe
Ratti. 4to. Genoa, 1769.
Reale GaUeria di Firenze Illustrata. 13 vols. 8vo. 4 vols, of Painters'
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forty lithographic illustrations, well selected and executed ; and compris-
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B£naldis, Go. Ganon Girol. Delia Pittura Friulana, saggio istorico. 8vo.
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di Ancona. 2 vols. Macerata, 1834.
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1722.
Ridolfi, Gav. Carlo. Le Maraviglie dell' Arte ovvero le Vite degli illustri
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Rumohr, G, F. Von. Italienische Forschungen. 3 vols. 8vo. Berlin and
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IN THE CATALOGUE. xxiii
art-criticism, and literature, it is this series of Italian Researches by
Rumohr, who was first to earnestly substitute thorough research for the
mere assertions of tradition and prejudice.
Bandrart^ J. Von. L'Academia Todesca della Architectura, Scultura &
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Kiinste. 4 vols. fol. Niirnberg, 1675-79. A vast, if not a very useful
compilation : a Latin translation of it was published in 1684.
Scannelli, Fr. II Microcosmo della Pittura, &c. 4to. Cesena, 1657.
Scholler, K. F. Italienishe Reise. Natur, Volksleben, Kunst und Alter-
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Selvatico, P. E. II Pittore Francesco Squarcione, studii storico-critici. 8vo.
Padua, 1839.
Sulla Cappellina degli Scrovegni dell' Arena di Padova e sui
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Speth, B. Die Kunst in Italien. 3 vols. 8vo. Munich, 1819-23. One of
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Bergamo, 1793.
Ticozzi, S. Raccolta di Lettere sulla Pittura, &c., continuata fino ai nostri
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Vite dei Pittori Vecellj di Cadore. 8vo. Milan, 1817.
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&c. 4to. Modena, 1786.
Titi, Ahhate F. Ammaestramento utile e curioso di Pittura, &c., nelle
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Torre, C. II Ritratto di Milano. Second edition. 4to. Milan, 1714.
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copious, and the principal lives are followed by excellent commentaries.
What gives this edition its chief superiority over other works of its kind
is, that the editors have taken advantage not only of the labours of all
other Italian commentators, but of the researches also of the German and
some other foreign writers on art, Schorn, Rumohr, Gaye, Forster, and
others ; but some advantage has betn lost through a want of acquaint-
ance with English literature, and more especially Sir Charles Eastlake's
"Materials towards a History of Oil Painting ;" the commentary on Ante-
xxiv WORKS REFERRED TO IN THE CATALOGUE.
nello of Messina is inferior and behind its time. The editors are Carlo
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Vasari. Leben der ausgezeichnetsten Maler Bildhauer und Baumeister von
Cimabue vis zum Jahre 1567. Aus dem Italienischen, &c., von Ludwig
Schorn und Ernst Forster, 6 vols. 8vo. Stuttgart and Tiibingen,
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Modona, 1662.
Verci, G. B. Notizie intorno alia Vita e alle Opere de' Pittori, &c., della
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Vermiglioli, O. B. Di Bernardino Pinturicchio Pittore Perugino de' Secoli,
XV. XVI. Con appendice, &c., e con illustrazioni della Vita di Pietro
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Villot, Fr. Notice des Tableaux du Louvre. Ecoles d'ltalie et d'Espagne.
Fourth edition. Small 8vo. Paris, 1852.
Waagen, Dr. G. F. Kunstwerke und Kiinstler, in Paris. 12mo. Berlin,
1839.
■ Treasures of Art in Great Britain. 3 vols. 8vo.
London, 1854.
Verzeichniss der Gemaelde-Sammlung des Koniglichen
Museums zu Berlin. 12mo. Berlin, 1841.
Walpole, Horace. Anecdotes of Painting in England, with some Account of
the principal Artists, &c., collected by the late George Vertue, with addi-
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Wornuin, R. N. The Epochs of Painting characterised. From the earliest
ages to the present time. 12mo. London, 1847.
Zaist, G. B. Notizie istoriche de' Pittori, &c., Cremonesi. 2 vols. 4to. Cre-
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Zanelli, Ip. Vita del Gran Pittore Cav. Conte Carlo Cignani, &c. 4to.
Bologna, 1722.
Zanetti, A. M. Della Pittura Veneziana e delle Opere pubbliche de' Vene-
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Zanetti, Al. Le Premier Si^cle de la Calcographie, ou Catalogue Raisonne
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Zani, P. Materiali per servire alia Storia delF Origine e de' Progressi
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Bologna, 1739.
R. N. W.
ERRATUM.
Page 203, third line from the end, /or Gregory V., read Gregory XV.
ITALIAN PAINTERS.
THIETEENTH TO THE EieHTEENTH CENTURY.
ABATI, NiccoLO, called also Niccolo
deir Abate, and Nic. da Modena : h. at
Modena about 1509-12, d. at Paris,
1571. Lombard SchooL He was the
scholar of Begarelli the sculptor, and
is supposed to have studied also with
Correggio. He painted chiefly in fresco,
and left many extensive works at Mo-
dena, at Bologna, and atFontainebleau,
whither he accompanied Primaticcio in
1552. In a note by Mariette to Orlandi,
it is asserted that Bellini was the family
name of Niccolo, and that he was
in France -vAdth Primaticcio in 1533.
Miindler suggests that his correct de-
signation is Niccolo Bellini di Abba, or
deir Abate, from the territory in which
his father was bom near Eeggio. Nic-
colo is recommended by the Carracci
in their "Sonnet" as the one perfect
model to be followed, " Si ponga solo
I'opere ad imitare," &c. ; his own great
model was Eaphael, whose style he
' successfully imitated.
\ There are records also of the follow-
, ing painters of the family of Niccolo :
— Giovanni Abati, or di Abba, his
father, d. 1559; Peeteo Paolo, his
brother, painted battle pieces, d. 1555 ;
GiULio Camlllo, his son, living 1570 ;
Ekcole, son of Giulio, b. 1563, d. 1613
— frescoes in the council hall at Mo-
dena; and Pietro Paolo, the younger
son of Ercole, b. 1592, d. 1630.
Works. Frescoes — Modena, Ducal
Gallery, series from the ^neid ; Palazzo
Comunale. Bologna, Leoni Palace,
Nativity : Via di San Mamolo, symbolic
subject. Oil pictures — Dresden Gallery,
Martyrdom of St. Peter and St. Paul.
London, Sutherland Gallery, Eape of
Proserpine : Castle Howard, Ulysses
returned to Penelope. (VedHani, Tira-
boschi, Miindler.)
ABATINI, GuiDO Ubaldo, b. at
Citta di Castello, 1600, d. at Eome,
1656. He studied in the school of the
Cavaliere d'Arpino, he afterwards imi-
tated Pietro da Cortona, and became a
good fresco painter. He also worked in
mosaic. Eoman School.
Works. Eome, Sta. Maria della
Vittoria, ceiling of the chapel of Sta.
Teresa. {Baglione Passeri.)
ABBIATI, FiLiPPO, b. at Milan, 1640,
where he died in 1715. He studied
under Carlo Francesco Nuvoloni, and
painted in oil and fresco. His works
are on a large scale, such as atSaronno,
St. John preaching in the Wilderness.
He belongs to the class of Machinists.
Milanese School. (Lanzi.)
ADDA, II Conte Feancesco d', b.
at Milan about 1520, d. 1550. Imitated
ADDA— ALBEKTI.
Leonardo da Vinci, and painted on pa-
nels and on slate for private cabinets.
Milanese School.
Works. Milan, Church of Sta. Maria
delle Grazie, an altar-piece representing
John the Baptist. (Lanzi, Zani.)
AGABITI, PiETRO Paolo, b. at Sas-
soferrato; living 1514-31. Umbrian
School. (Colucci, Lanzi.)
AGELLIO, Giuseppe, b. at Sorrento
about 1600. He was the pupil of Kon-
calU, whom, as well as other painters,
he assisted in his pictures, especially
the landscape backgrounds. NeapoHtan
School. (Dominlci.)
AGHI, Andeea Cordelle, called, in
Venice, Cordelia. Venetian School. A
pupil of Giovanni Bellini; painted small
panels in his style.
Works. Venice, Portrait of Card.
Bessarion, Scuola della Carita, or Aca-
demy. Berlin Gallery, the Marriage of
St. Catherine. {ZancUi, Lanzi.)
AGNELLI, N., a Roman, settled at
Turin about 1700, where he painted
a saloon of the palace. He imitated
Pietro da Cortona and Carlo Maratta.
(^Lanzi.)
AGOSTINO, DALI.E PnOSPETTIVE,
painted at Bologna about 1525. Mi-
lanese School. He was, apparently, the
same as the Agostino di Bramantino,
of Milan, skilled in foreshortening and
perspective, hence his name. {Lo-
mazzo.)
AGRESTI, Livio, called da Forli,
from his birthplace, was the pupil of
Perino del Vaga. He excelled in oil
and in fresco, and executed extensive
works in Rome, Forli, and elsewhere ;
he died about 1580. Principal works in
the church of Santo Spirito, Rome ; and
in the Cathedral and Town Hall of
Eorli. Roman School, {Baglioue.)
ALBANI, Fkancesco, b. at Bologna,
1578, where he died Oct. 4, 1660. He
was the pupil of Denis Calvart, and
early friend of Guido, with whom he left
Calvart for the school of the Carracci.
Albani followed with Guido Annibal
Carracci to Rome about 1602, and as-
sisted that painter in the Farnese, and
in the Chapel of San Diego, in the
Church of San Giacomo Degli Spag-
nuoli. He visited Rome a second time
in 1625, when he executed the frescoes
of the Verospi Palace (now Torlonia).
His pictures are celebrated for their
beautiful Amorini, painted from his own
children, of whom he had twelve bj
his second wife, Doralice Fioravanti ;
these children were also the frequent
study of the sculptors Algardi and
Fiammingo. He also introduced a pro-
fusion of Venuses, Dianas, Nymphs,
&c., but rarely male figures, into his
more characteristic works ; of sacred
subjects, however, he has left a great
variety : he executed nearly fifty lai'ge
altar-pieces. Albani belongs to the
Eclectic School of Bologna; he was a
graceful and elegant painter ; his fancy
compositions are generally agreeable,
especially his smaller mythological sub-
jects, with his charming Amorini, and
landscape backgrounds. His easel pic-
tures are numerous, in the principal
European galleries.
Works. Bologna, The Baptism of
Christ, Pinacoteca; San Guglielmo,
church of Gesu e Maria; Sant Andi'ea,
and a Noli me Tangere, church of
Santa Maria de' Servi ; the Annuncia-
tion, church of the Theatines; and a
chapel in the church of the Madonna
di Galliera. Rome, St. Sebastian, and
the Assumption of the Virgin, church
of San Sebastiano; frescoes from Ovid,
in the Torlonia Palace ; landing of
Venus on the island of Cythera, Ghigi
Palace ; and the Four Elements, Borg-
hese Gallery ; stories of Diana and
Venus, Florence Gallery ; the Toilet of
Venus, in the Louvre ; and the Dance of
Cupids, Dresden Gallery. (Malvasia.)
ALBERTI, Cherubino, b. at Borgo
San Sepolcro, in 1552, d. at Rome,
1615. He assisted his brother, Gio-
ALBEETI— ALFANI.
3
vanni, at Kome, but is much more cele-
brated as an engraver than as a painter.
(^Baglione.)
ALBEETI, Durante, probably of
the same family of Borgo San Sepolcro,
h. 1538, d. 1613, was also established
as a painter of reputation at Kome, in
the time of Gregory XIII.
ALBEETI, Giovanni, son of Alberto
Alberti, b. at Borgo San Sepolcro, in
1558, d. at Eome, 1601. He painted
in oil and fresco, excelled chiefly in
the latter, and was unrivalled in his
time for his clever foreshortenings of
the figure, general effects in perspec-
tive, and for landscape. His principal
works are, the Sala Clementina, in the
Vatican; the ceiling of the Sacristy
of San Giovanni in Laterano, painted
for Clement VIII.; and for Gregory
XIIL, some frescoes in the palace of
Monte Cavallo.
The Alberti are enumerated by Lanzi
among the imitators of Michelangelo.
(Bagllone.)
ALBEETINELLI, Maeiotto, a very
able pupil of Cosimo Eoselli, painted
in Florence, Viterbo, and in Eome.
He was the fellow-student and friend
of Fra Bartoiomeo di San Marco, and
imitated his style with great success;
he coloured, or rather painted, several
of his pictures. He does not, however,
show either the energy or grandeur
of style of Fra Bartoiomeo, but his
colouring is powerful, and his tone ad-
mirable, his composition good, and his
countenances have an earnest expres-
sion. He died about 3520, aged 45.
I Tuscan School.
Works. Florence, Gallery of the
Uffizj, the Salutation; in the Academy,
the Trinity and the Annunciation,
j from the Confraternity of San Zanobi,
a master-piece for tone. Berlin Gallery,
the Trinity and the Assumption of the
Virgin (the upper part is by Fra Bar-
tolommeo). Louvre, the Virgin and
Child. {Vasari, Zani.)
ALBEETONI, Paolo, a Eoman
painter of the school of Carlo Maratta.
He died about 1695. Pictures in San
Carlo on the Corso, in Santa Maria of
the Campo Marzo, and in other churches
of Eome. (Orlandi.)
ALBINI, Alessandro, b. at Bologna
in 1568, d. 1646. He was a very dis-
tinguished pupil of the Carracci. {Mal-
vasia.)
ALBONI, Paolo, a Bolognese land-
scape painter. He imitated the style
of Euysdael and other Dutch masters.
He lived some time at Vienna, and died
at Bologna in 1730. (Crespi.)
ALBOEESI, GiACOMO, b. at Bologna
in 1632, d. 1677. He was a pupil of
Domenico Santi and Agostino Mitelli,
and excelled as an architectural painter
in fresco. (Malvasia, Crespi.)
ALDEOVANDINI, the name of a
Bolognese family of artists, originally
of Eo^^go, distinguished as architectural
and decorative painters. Maueo, b.
1649, d. 1680; Pompeg Agostino, his
son, instructed in perspective by his
cousin, Tommaso Aldrovandini, b. at
Bologna in 1677, d. at Eome in 1739;
he painted in fresco, in distemper, and
in oil; Tommaso was bom at Bologna in
1653, and died there in 1736. He was
the pupil of his uncle Mauro. {Za-
notti. )
ALEMAGNA, Giusto di, painted, in
1451, a fresco of the Annunciation in
the convent of Santa Maria di Castello,
at Genoa : it is the oldest fresco in that
city ; the colouring is still fresh. It is
signed " Justus de Alemania." The
painter was evidently a German. {So-
prani.)
ALENI, Tommaso, called II Fadino,
&. at Cremona, painted in 1515. Lom-
bard School. His style very much re-
sembles that of Galeazzo Campi. Cre-
mona, church of San Domenico. (Zaist.)
ALFANI, Domenico di Paris, b. at
Perugia about 1483, still living in 1536.
A pupil of Pietro Perugino with Ea-
B 2
ALFANI— ALLE GEI.
phael. He imitated and enlarged upon
his master's style. His works, of which
several exist in the churches of Perugia,
have been till lately attributed to his
son, Orazio. In the gallery of the
Uffizj, at Florence, in the Tribune,
there is a Holy Family, now attri-
buted to this painter. Umbrian School.
ALFANI, Oeazio, the son of Dome-
nico, was b. at Perugia in 1510, and d.
in 1583. Umbrian School. His style
bears more resemblance to Eaphael's
second manner than to that of the Um-
brian painters generally. There are
pictures by him at Perugia, which may
be mistaken for the works of Eaphael,
especially some Madonnas, about which
the authorship is still disputed, but the
colouring of Alfani has less force than
that of Eaphael.
Works. Perugia, Birth of Christ, at
San Francesco ; Madonna and Child,
at the Augustine Convent ; and at the
Conventual Friars, a Crucifixion by the
two Alfani. {Mariotti.)
ALIBEANDI, Girolamo, called the
Eaphael of Messina, h. 1470, d. 1524,
He became a scholar of Antonello da
Messina, at Venice, and formed a friend-
ship with Giorgione; after the death
of Antonello, he entered the school of
Leonardo Da Vinci, at Milan, and ac-
quired some of his softness of light
and shade. At Messina, in the church
Delia Candelora, is a picture of the
Purification of the Virgin, painted by
Alibrandi in 1519 ; it is considered one
of the best pictiu-es in that city. ( Gae-
tano Grano.)
ALIENSE. [Vassilacchi.]
ALIGHIEEI, Giovanni, an Italian
monk, and one of the oldest artists of
Ferrara. He illuminated a MS. Virgil
in 1198, for the Carmelite monks of
Ferrara, which is still preserved. ( Cit-
tadella.)
ALLEGEI, Antonio, commonly
called CoRREGGio, from his birth-place,
6. 1493-4, d. at Correggio, March 5, 1534.
Lombard School, or Caposcuola of th(
School of Parma. He was establishe(
in Parma in 1519. His youth is in
volved in obscurity; his original in
structor appears to have been Tonin(
Bartolotto, a painter of Correggio ; h(
seems to have at once matured into thi
great master. His most remarkabl
technical quality is his soft andpowerfu
light and shade, strongly reminding o
the Milanese School of Leonardo d;
Vinci. There are, too, infinite gracf
beauty, and exuberance of life in th
expression of Correggio's countenances
and a deep sensibility pervades hi
compositions, though all his excellenc
tends to the sensuous development c
art. His tints are delicate, his colour
ing rich and glowing; he creates th
most powerful efiects from his skill ii
chiaroscuro, and his forms possess
wonderful breadth, with charming un
dulations of contour. He carried to th
highest perfection the faculty of fore
shortening ; but he paid more attentioi
to the massing of the draperies, and t
their flowing outlines, than to the stud;
of the human figure itself, which w
may call a distinctive characteristic c
the Lombard School. His several style
may be thus classed : — his first, some
what resembles that of Leonardo di
Vinci; in his second, we find the highes
mastery of chiaroscuro; and his thiri
combines these with his proverbia
grace, and that sensuous display o
limb, which from his excessive fondnesi
for foreshorteniugs, descended int(
manner, though at the same time con
stituting one of Correggio's capital cha
racteristics.
Works, Frescoes — at Panua (en
graved by the Cav. Toschi), Cupola o
San Giovanni, the Ascension of Christ
1520; Cathedral, the Assumption o:
the Virgin, 1522 (finished by Gandini)
Monastery of St. Paul, mythological
Oil pictures — Parma, in the Academy
St. Jerome, or Day, 1524; Madonns
ALLE GEI— ALTOBELLO.
della Scodella, 1530 ; Deposition from
the Cross ; Martyrdom of San Placido
and Santa Flavia; and the Procession
to Calvary. Dresden Gallery, the St.
George; the St, Sebastian; the Notte,
or Night'; and the Reading Magdalen.
Naples, Holy Family, La Zingarella
(the Virgin, said to be the portrait of
his young wife, Girolama MerUni).
Munich, Madonna Enthroned. Paris,
Louvre, Marriage of St. Catherine; Ju-
piter and Antiope. Berlin, Leda; lo.
Vienna, lo. Rome, Borghese Gallery,
Danae. London, National Gallery,
Education of Cupid; Ecce Homo; Holy
Family, La Vierge au Panier : Apsley
House, Christ's Agony in the Garden.
{Vasari, Tirahoschi, PungUeoni.)
ALLEGRI, PoMPONio Quieino,
called LiETO, the son of Correggio, b.
Sept. 3, 1521, living in 1593. Fresco,
in the Cathedral of Parma, Moses re-
ceiving the Tables of the Law. {4fo,
PungUeoni.)
ALLEGRINI, Feancesco, b. at Gub-
bio in 1587, d. at Rome, 1663. Roman
School. He was the pupil of the Cav.
D'Arpino, whom he resembled in stjde,
as in the frescoes of the cathedral and
church of the Madonna de' Bianchi at
Gubbio. His later works are superior
to his early productions ; some of his
best works in fresco are at Savona ; he
painted likewise battle-pieces, and in the
Colonna Palace at Rome are two land-
scapes by Claude, to which Allegrini
added the figures. His son, Flaminio,
executed some works in the Vatican.
{Sojn^ani and Ratti.)
ALLORI, Alessandro, called after
his uncle and master, Bronzino, 6. at
Florence in 1535, d. 1607. Tuscan
School. He ranks among the Floren-
tine anatomical mannerists and imi-
tators of Michelangelo. He published
a Treatise on Anatomy for artists in
1590. He was an excellent portrait-
painter, and as Lanzi has observed,
had the bad taste to introduce portraits
in the modem costume into ancient
historical subjects.
Works. Florence, Montaguti Chapel,
in the church of the Annunziata, paint-
ed in oil, in 1582; in the Gallery of
the Uffizj, the Sacrifice of Abraham;
and his own Portrait. The Berlin
Gallery contains a Portrait of Bianca
Capello, wife of the Grand Duke Fran-
cesco II.; and a Florentine Family
Portrait. (Baldinucci.)
ALLORI, Cristoeoro, b. at Florence
1577, d. 1621, sometimes called also
after his great uncle, Bronzino ; he was
the son of Alessandro, and was one of
the best painters of his time, more
especially in execution. He followed
the great reformers of the Florentine
School, Cigoli and Gregorio Pagani.
Like his father he was an excellent
portrait-painter. His most finished
pictures are the Judith with the head
of Holophernes, portraits of himself
and the beautiful Mazzafirra, his mis-
tress, the servant being the portrait of
her Mother; and the Miracle of San
Giuliano ; in the Pitti Palace ; and the
Beato Manetto, in the church de' Servi,
at Florence. In the Louvre is a small
characteristic picture, representing Isa-
bella, of Milan, pleading with Charles
VIII. for peace. Cristoforo was a
good landscape-painter, and he is said
to have made some copies, with slight
alterations in the backgrounds, of Cor-
reggio's Magdalen, which have passed
as duplicates by Correggio. {Baldi-
nucci.)
ALOISI. [Galanino.]
ALTISSIMO, Cristofano dell',
living in 1568. A scholar of Angelo
Bronzino, and a good portrait-painter.
His name appears to have been Papi.
Tuscan School. (Vasari.)
ALTOBELLO, Francesco Antonio,
I^eapolitan painter of the seventeenth
century; he was a native of Bitonto,
and a pupil of Massimo Stanzioni. His
pictures are excessively blue, otherwise
6
ALTOBELLO— AMERIGHI.
he was a good painter : his master-piece
is Sant' Ignazio, in the church of San
Francesco Saverio, Naples. {Dominici.)
ALUNNO, NiccoLo, of Fohgno,
painted from 1458 to 1499. Umbrian
School. He painted a tempera, and his
colouring is accordingly well preserved,
his heads are painted from nature, and
his example was followed by the sub-
sequent painters of his school, which
he much advanced. There are still
some remains of his pictures in the
cathedral of Assisi, in which Vasari
admired the Weeping Angels : he was
a painter of extraordinary merit for his
time.
There are several pictures hearing
the signature "Nicolai Fulginatis
opus," but they are probably not all by
Alunno, as there was also a Niccolo di
Liberatore, an old painter of Foligno.
There is a fine picture in the Brera at
Milan, dated 1465; and a Predella,
with six subjects, in the Louvre, from
the altar of San Niccolo di FoHgno.
{MariotU.)
AMADEI, Stefano, b. at Perugia
in 1589, d. 1644. He was the pupil of
Giulio Cesare Angeli; painted history
and portraits, and opened a school of
art at Rome. His pictures are chiefly
at Perugia. {PascoU.)
AMALTEO, PoMPONio, b. at San
Vito, in theFriuh,in 1505, d. about 1588.
He was the scholar and son-in-law of
Pordenone, in whose style he painted,
but with more delicacy of execution,
though less vigour; his colouring is
very gay and his drawing good.
In a Loggia at Ceneda, used as a
court of justice, are the three Judg-
ments, by him, of Solomon, of Daniel,
and of Trajan, painted in 1536, which
have been erroneously ascribed to Por-
denone by Ridolfi. Belluno also pos-
sesses some good works by Amalteo.
GiROLAMO, his brother, painted small
historical pictures, of very elaborate
finish ; he died young : and Quinttlia,
the daughter of Pomponio, painted por-
traits, and executed some works io
sculpture. Venetian School. {Altan
Itenuldis.)
AMATO, Gio. Antonio d' (II Vec-
chio), b. at Naples in 1475, and d. there
in 1555. He studied the pictures of
Silvestro Buono and Pietro Perugino,
and formed his style from them. His
works are exclusively religious ; several
of his oil pictures are still preserved at
Naples. Neapolitan School.
AMATO, Gio. Antonio d' (II Gio-
vane), b. at Naples in 1535, and d. in
1598. He was the nephew and pupil
of the elder Amato. His colouring is
exceedingly rich; at Naples, in the
church of the Banco de' Poveri, is still
his large and celebrated altar-piece of
the Infant Christ. Neapolitan School.
AMATRICE, Cola dell' (Filo-
TEsio), a Neapolitan painter and archi-
tect, domiciliated at Ascoli in 1523.
He was a native of Amatrice, in Cala-
bria, and there are dates on various
works at Ascoli, from 1514 to 1535 ;
he executed some frescoes at Citta
di Castello several years later. His
early works were dry and meagre in
style, but later in hfe he adopted the
improved design of his younger con-
temporaries, though he never visited
Rome. His principal works are the
Last Supper, in the Oratorio del Corpus
Domini; and the Procession to Cal-
vary, in the refectory of the Minori
osservanti delta Nunziata, at Ascoli.
{Vasari, Guida d' Ascoli.)
AMBROGI, DoMENico degl', a Bo-
lognese painter of the seventeenth cen-
tury, called also Menichino del Brizio,
after his master. An ornamental, land-
scape and architectural painter; he
also represented historical subjects,
both in oil and in fresco; they are
numerous in Bologna. (Malvasia.)
AMERIGHI, or MERIGI, Michel-
angelo, called from his birth-place,
Caeavaggio, b. 1569, d. at Porto Er cole,
AMEEIGHI— ANGAKANO.
1G09. Eoman School, He commenced
life as a mason's labourer, practised por-
trait some time in Milan, and acquired,
afterwards a fine taste for colour, from
the works of Giorgione and other masters
at Venice. He subsequently became
the assistant of the Cav. D'Arpino at
Kome, but eventually adopted a very
opposite style of painting, Caravaggio
is the head of the so-called naturalists,
his style is true, forcible, and vulgar;
his contrasts of light and shade are
strong to harshness, and his shadows
want transparency ; yet, in spite of its
vulgarity, his style, as new as bold,
found a host of imitators ; a bold and
literal delineation of nature now super-
seding the then prevailing too insipid
idealism or eclecticism : even Annibal
Carracci declared that Caravaggio
" ground flesh instead of colours,"
Works. Rome, the Pieta, or En-
tombment of Christ, in the Vatican;
the Card-Players, or II Giuco di Carte,
Sciarra Palace ; the Fortune-Teller, in
the Capitol; others in the Quirinal,
Lateran, Borghese, Corsini, Barberini,
Braschi, and Rospigliosi Palaces, Gal-
lery of the Uffizj, Florence. Palazzo
Prignole, Genoa, Raising of Lazarus :
Durazzo Palace, Palazzo Balbi, Con-
version of St, Paul. Galleries of Mu-
nich, Dresden, Berlin, Louvre, and
National Gallery. (Betlori.)
AMIDANO, PoMPONio, of Parma,
lived in 1595, Lombard School, One
of the followers and imitators of Par-
megiano. His master-piece was painted
for the church of the Madonna del
Quartiere at Parma, {Orlandi.)
AMIGAZZI, Giovanni Battista, a
Veronese painter, lived 1642, The pupil
and imitator of Claudio Ridolfo; a
good copyist also of Paul Veronese.
Many works at Verona. {Dal Pozzo.)
AMIGONI, Jacopo, h. at Venice,
1675, d. at Madrid, 1752. He visited
London in 1729, and practised here
history and portrait for ten years, and
returned to his own country with
5000/. He was afterwards court painter
to Ferdinand VI. of Spain. His style,
notwithstanding his success, was weak
and superficial : he was a bad imitator
of Sebastiano Ricci. {Zanetti, Walpole.)
AMIGONI, Ottavio, h. at Brescia in
1C05, d. there in 1661. He was the
pupil of Antonio Gandino; painted
chiefly in fresco. At Brescia, in the
Carmelite church, is a large fresco by
this artist and the younger Gandino.
{Orkmdl, BrognoU.)
AMOROSI, Antonio, lived in 1736,
at Ascoli, Roman School. He was in-
structed in the school of the Cav.
Giu. Ghezzi; he painted chiefly bam-
bocciate, or subjects from common life,
and with great skill, but occasionally
historical and religious works. He
painted a hall in the Town-House of
Civita Vecchia. (Pascoli.)
ANASTASI, Giovanni, b. at Sini-
gaglia in 1654, d. in 1704. Roman
School. His best works are at Sini-
gaglia, in the church della Croce.
{Marcheselli, Lanzi.)
ANDREASI, Ippolito, a painter of
Mantua of the sixteenth century (1540-
87), and scholar of Giulio Romano.
He painted from the cartoons of that
master. Works at Santa Barbara.
(Lanzi, Zani.)
ANDRIA, Tuccio di, painted in Sa-
vona in 1487. Genoese School. A
picture, a predeUa, by this artist, of the
Saviour Blessing the Disciples, is in the
Louvre.
ANDRIOLT, Girolamo, a Veronese
painter, living 1606. Works, in Santa
Caterina di Siena, at Verona. {Dal
Pozzo. )
ANESI, Paolo, a Florentine painter
of the eighteenth century; painted
chiefly landscapes, and ancient ruins in
ithe style of Paolo Pannini. Several
works at Florence and at Rome.
{Lanzi.)
ANGARANO, II Conte Ottaviano,
8
ANGAEANO— ANSALONI.
a Venetian painter of the seventeenth
century. At Venice, in the church of
San Daniele,is the Nati\ity, considered
his hest work. (Zanetti.)
ANGELI, FiLippo D', b. at Rome in
J600, d. 1660. Eoman School; called
II NapoHtano (he spent his youth at
Naples). He painted small landscapes
with figures, and marine and hattle-
pieces, with great skill, and spread a
taste for this class of art in Italy. He
lived some time at Florence, at the
court of Cosmo II. {Fabretti, Bag-
lione.)
ANGELI, GiuLio Cesaee, b. at Pe-
rugia about 1570, d. about 1630. He
was a scholar of Annibal Carracci, hut
did not adopt the Bolognese style. His
colour is better than his design, and his
draped figures superior to the undraped.
At Perugia, in the Oratorio di Sant
Agostino, are his best frescoes. (Pas-
colL)
ANGELI, Giuseppe, b. about 1715,
living in 1793. Venetian School. A
pupil and imitator of Piazzetta. His
heads have much expression. {Za-
netti.)
ANGELICO. [See Era Giovanni
DA Fie SOLE.]
ANGELINI, SciPioNE, b. at Ascoli
in 1661, d. in 1729. Roman School.
He painted flower-pieces ; his pictures
were numerous, and largely exported
by the dealers from Leghorn to France,
England, and Holland. (Pascoli.)
ANGUISGIOLA, or ANGUSSOLA,
SoFONisBA, b. at Cremona about 1533,
d. at Genoa about 1620. She belongs
to the Cremonese eclectics of the Lom-
bard School ; she was successively the
pupil of Bernardino Campi of Cre-
mona, and of Bernardino Gatti of Mi-
lan. She was an excellent portrait-
painter, and was invited to Madrid, by
Philip IL, where she painted several
portraits. Slie also executed small his-
torical subjects. Her conversation on
questions relating to art, in her old age.
was much courted at Genoa ; and Van-
dyck, who frequented her parties, is
reported to have asserted that he had
obtained more knowledge from a blind
old woman than from the study of the
great masters. She was twice married.
At Wilton, the Earl of Pembroke's,
there is the marriage of St. Cathe-
rine; at Althorp, Northamptonshire,
her own portrait, in which she is play<
ing on the harpsichord : there are others
of herself at Florence, Vienna, and at
Genoa, in possession of the Lomellini
family, into which she married. In
Berlin, in Ct. Raczynski's collection,
there was a family picture, by Sofonisba.
She instructed her sisters Lucia, Mi-
nerva, EuROPA, and Anna Maria in
painting, in which they all excelled.
{Vasari, Ratti.)
ANSALDI, Innocenzio, b. at Pescia
in 1734, d. at Florence in 1816. He
studied in Rome, and has left some
graceful works. Works in the chmrches
of Florence. He was a distinguished
writer on art. {Biographie Universelle,
Siipp.)
ANSALDO, Andrea, b. at Voltri,
1584, d. at Genoa, 1638. This distin-
guished painter of the Genoese School
was the pupil of Orazio Cambiaso ; he
also studied the works of Paolo Vero-
nese. He executed many fine works
in fresco and in oil, at Voltri and at
Genoa; some of his chief frescoes
have perished: he was one of the
ablest Italian painters of his age, and
Lanzi says, one of the few who painted
much and well at the same time.
Among his best works are, at Voltri,
San Carlo Boromeo staj-ing the Plague
at Milan, in the church of SS. Niccolo
ed Erasmo; and at Genoa, the Last
Supper, in the Oratorio of Sant' An-
tonio Abate, 1629. [Soprani and
Ratti.)
ANSALONI, ViNCENZio. A pupil of
Ludovico Carracci. Two only of his
works remain; in the church of San
ANSALONI— APOLLONIO.
Stefano, in the Fioravanti Chapel, the
Martyrdom of St. Sebastian ; and from
the church of the Celestines, now in
the Academy, the Virgin and Child in
the Clouds, with Saints helow. (Lanzi.)
ANSELMI, Giorgio, b. at Verona in
1723, d. 1797, was the scholar of Ba-
lestra. Principal work, frescoes of the
cupola of Sant' Andrea at Mantua. Ve-
netian School, i^ffo.)
ANSELMI, MicHELAKGELO, b. at
Lucca in 1491, d. 1554. Studied at
Lucca under II Sodoma, and afterwards
with the same master at Siena, whence
he is sometimes called Michelangelo da
Siena; he was, however, a devoted fol-
lower of Correggio; his outlines are
large and full, his heads well studied,
and his colouring glowing, but with too
much red in it; his composition is
weak.
Works. Parma, in the church of the
Madonna della Steccata, and other
churches. Louvre, Madonna and Saints,
much after the style of Correggio.
(Afd.)
ANSUINO DA FoRLi, p. about 1460.
Pupil of Squarcione. Engaged with
Andrea Mantegna, in painting the fres-
coes of the chapel of SS. Jacopo e
Cristoforo, in the church degl' Eremi-
tani at Padua. {Brandolese.)
ANTONELLO da Messina, called
also Antonello d'Antonio, Ant. Degl'
Antoni, and Antonello Mamertini, b. at
Messina about 1414, d. at Venice,
1493-6. Of great importance in the
history of Italian painting, from the
fact of his having introduced the Van
Eyck method of oil (or rather varnish)
painting into Italy. Antonello saw a
picture by John Van Eyck, at Naples,
about 1442, and being much astonished
at the character of the impasto, visited
Flanders in order to learn the secret
from the painter. He arrived at Bruges
after the death of John Van Eyck, who
died in July, 1441, but learnt the
method from the younger brother Lam-
bert Van Eyck. He appears to have
spent some years in the Low Countries,
and to have then settled eventually in
Venice about 1460-70, and communi-
cated the method to Domenico Vene-
ziano, through whom it subsequently
spread throughout Italy. His works
resemble the Van Eycks', but are in-
ferior.
The works of Antonello are scarce :
— Antwerp Gallery, a Crucifixion be-
tween the Two Thieves, with the in-
scription — 1475 Antonellus Messaneus
me 09 pinxt. Venice, Academy, the
Virgin Beading. Florence, at the UflSzj,
a male portrait. Vienna, Gallery, Dead
Christ, with Weeping Angels. Berlin,
Gallery, a Portrait of a young man
(1445?); the Head of St. Sebastian,
1478 ; and a Madonna and Child. Paris,
collection of Count Portalis, a Portrait.
{Vasari, Eastlake, Carton.)
ANTONIANO Ferrarese, or An-
tonio Alberto, of Ferrara, of the
school of Angiolo Gaddi, p. about 1438,
d. about 1450. Executed considerable
works in the Palace of Alberto D'Este,
at Ferrara; others at San Francesco
D'Urbino, and at Citta di CasteUo.
(Bariiffaldi.)
ANTONIO and GIOVANNI of
Padua. [Giunto Padovano.]
APOLLODOKO, Francesco, called
II Porcia, a portrait-painter of Friuli,
living at Padua in 1606. Venetian
School. {Ridolfi.)
APOLLONIO, Agostino, of Sant'
Angelo in Vado, painted about 1536,
Boman School. Assisted his uncle
Luzio Dolci in his works. He settled
at Castel Durante.
APOLLONIO, Jacopo, of Bassano,
d. 1654, aged about 70. Venetian
School. A relative of the Bassanos.
Though inferior to his models, he is
one of the best of their followers ; he
excelled in landscape.
Works. Bassano, the Dome, a
Magdalen ; San Sebastiano, St. Sebas-
10
APOLLONIO— AEETUSI.
tian and other Saints ; and a San Fran-
cesco at the Eiformati. (Lanzi.)
APPIANI, Andrea, b. at Milan in
1754, d. 1818. Lombard School. He
painted in fresco and in oils, and is
considered the best fresco-painter of
his age. In point of gracefulness, his
style resembles that of Correggio ; and
his works are free from the theatrical
character of his times; his colouring
is good, and his drawing elegant. He
was made a Knight of the Iron Crown
by Napoleon.
Works, JNIilan, Imperial Palace ; and
the church of Santa Maria Vergine.
{Ticozzi.)
APPIANI, Prancesco, h. at Ancona
in 1702, d. 1792. Roman School. Pupil
of Domenico Simonetti. He painted
many works at Perugia, where he settled,
and at Rome, conspicuous for delicacy
of design and harmony of colour.
Works. Rome, San Sisto Vecchio,
Death of San Domenico. Perugia,
churches of San Pietro de' Cassinensi,
St. Thomas, Monte Corona, San Fran-
cesco, and the Cathedral. (LanzL)
APPIANO, NiccoLA. A pupil of
Leonardo da Vinci, lived at Milan in
the beginning of the sixteenth century.
(LanzL)
AQUILA, PoMPEO dell', or Aqui-
lano, lived in the 16th century at Rome
and Aquila. Neapolitan School. He
painted in fresco and in oils.
Works. Rome, church of Sto. Spi-
rito, in Sassia, a Deposition from
the Cross : Aquila, frescoes. ( Or-
landi.)
ARAGONESE, Sebastiano, or La-
zaro Sebastiano, painted at Brescia
about 1567. He was a better drafts-
man than painter ; he drew chiefly with
the pen. (Orlandi.)
ARALDI, Alessandro, of Parma, d.
about 1528. Lombard School. Studied
at Venice under Gio Bellini, and painted
in the drier manner of the quattrocento
masters.
Works. Parma, church of the Car-
melites, the Annunciation. {Affo.)
ARBASIA, Cesare, of Saluzzo, in
Piedmont, d. in 1614. Lombard School.
His works somewhat resemble those of
his master, Federigo Zucchero. His
frescoes are superior to his oil paint-
ings. He was one of the founders of
the Academy of St. Luke, at Rome, of
which Zucchero was the first president.
Arbasia painted much in Spain, at Ma-
lagar, and Cordova; he visited that
country about 1579.
Works. Cordova, ceiling of cathe-
dral : Savigliano, ceiling of the church
of the Benedictine Monks: Saluzzo,
frescoes in the town-hall. ( Cean Ber-
mudez.)
ARCIMBOLDI, Guiseppe, b. at
Milan, in 1533, d. at Prague, 1593.
Milanese School. He painted portraits,
interiors of kitchens, and fancy pieces,
of strange caprice, which, at a distance,
resembled figures of men and women,
but on a nearer view were utensils,
flowers and leaves, fruits, &c., so dis-
posed as to cause the deception. He
lived chiefly at Prague, in the service
of the Emperors. {Lomazzo.)
ARDENTE, Alessandro, of Faenza,
d. at Turin, in 1595. Lombard School.
He was an excellent portrait-painter,
and painted much in the style of the
Roman School.
Works. Turin, at the Monte della
Pieta, the Conversion of St. Paul :
Lucca, San Giovanni, Baptism of
Christ; church of San Paolino, Sant'
Antonio Abate, with inscription — "Alex-
ander Ardentius Faventinus, 1565."
(Lanzi.)
ARETINO. [Spinello.]
ARETUSI, Cesare, called also Ce-
sare Modenese, was born at Modena,
and died at Parma, in 1612. He painted
also much at Bologna, where he was
made a citizen. He studied the works
of Bagnacavallo. He had great merit
as a portrait-painter, and copied the
AEETUSI— ASSISI.
11
works of Correggio with complete suc-
cess. Some of these copies have
passed as originals. He re-painted
the frescoes of Correggio for the new
Tribune of the cathedral of Parma, in
1587. Malvasia states that the car-
toons from which he worked, and which
are still preserved at Capo di Monte,
at Naples, were made from the originals
by Annibal andAgostino Carracci. Are-
tusi wanted the creative power ; in
technical qualities he was excellent;
he was a good copyist, and his colour-
ing has much affinity with that of the
Venetian painters.
Works. Bologna, Cupola of the ca-
thedral of San Pietro, assisted by Gio
BattistaFiorini: Parma, church of San.
Griovanni, Copy of the " Notte" of Cor-
reggio. (Malvasia.)
AEETUSI. [MuNAEi.]
AEMANI, Pier Martire, b. at
Eeggio, in the Modenese, 1618, d.
1669. Lombard School. He was the
scholar of Lionello Spada, with whom
he painted in Santa Maria, at Eeggio.
(Tiraboschi.) m.
AEZEEE, Stefano dell', lived about
1560, at Padua. He is esteemed by
; Eidolfi for his frescoes. He painted
much in the churches and convents at
Padua : he was an imitator of Titian, but
with varied success. Paduan School.
Works. Padua, church of San Gio-
vanni di Verzara, Christ on the Cross :
public library at Padua, the Hall of the
Giants. (Ridolfi.)
ASCANI, Pellegrino, a native of
Carpi, and a good flower-painter of the
17th century. Lombard School. {Ti-
raboschi.)
ASCIANO, Giovanni ' d', painted
about 1370. Sienese School. A pupil
of Berna da Siena. He completed a
series of frescoes left unfinished by
his master in the parish church gf
Arezzo' San Geraignano. The colour-
ing of Asciano is superior to that of
Berna. (LanzL)
ASCIONE, Angelo, a Neapolitan
fruit-painter of the latter part of the
17th century. The pupil of Gio Bat-
tista Euopoli. (Bominici.)
ASPEETINI, Amico, or Maestro
Amico, b. at Bologna, in 1474, d. 1552.
Bolognese School. He was of an ec-
centric and whimsical disposition. A
strange account of his habits and appear-
ance is given by Vasari. His works
are characteristic of the qualities of
his mind. He studied, according to
Malvasia, in the School of Erancia,
but his works show a mixture of all
styles. He ridiculed imitators. He
was a good animal-painter. He was
sometimes called Jmico da due penelli,
because he painted with both hands,
and also because he produced two
quahties of works, — the one excellent,
and the other excessively negligent.
Few of his works remain. At Bo-
logna, in the Palazzo della Yiola, is a
fresco of Diana and Endymion : others
in the churches of San Petronio, St.
Ceciha, and San Martino ; in San Fre-
diano, in Lucca; and there is a Nativity,
in the Berlin Gallery. (Malvasia.)
ASPEETINI, GuiDO, b. about 1460,
painted in 1491. Bolognese School.
His only remaining picture, according
to Giordani, is the Adoration of the
Magi, in the Academy of Bologna.
He is said to have been the pupil of
Ercole da Ferrara, and of his younger
brother Amico. (Malvasia.)
ASSEEETO, GiovAccHiNO, b. at
Genoa, 1600, d. 1649. Genoese School.
Studied under Borzone and Ansaldo.
Several of his works are in the churches
and convents of Genoa. (Soprani.)
ASSISI, Andrea di, called LTn-
gegno. Umbrian School. He was
contemporary with Pietro Perugino,
and is said to have been a scholar of
Niccolo Alunno. His only known work
is a Coat-of-Arms, painted for the town
house of Assisi, in 1484. There is a
picture in the gallery of BerHn, and a
12
ASSISI— A^^LLINO.
Holy Family in the Louvre, attributed
to him, but quite arbitrarily ; it is there-
fore useless to speculate upon his style.
He appears to have been a man of
general aptness for business, and held
several offices under the papal Govern-
ment at Perugia. His complete name
appears to have been Andrea di Aloisi.
(^Mumohr.)
ASSISI, TiBERio DI, or Tiberio
Diatelevi, lived in the earlier part of
the 16th century, and painted in the
style of Pietro Perugino. Umbrian
School. {Mar iota.)
ASTA, Andrea dell', b. at Bagnuoli,
about 1673, d. at Naples, 1721. Nea-
politan School. He was the pupil of
Solimena. He afterwards went to
Eome, where he improved himself by
the study of the works of Kaphael.
Works. Naples, church of St. Agos-
tino of the bare-footed friars, the Na-
tivity, and the Adoration of the Magi.
(DominicL)
ATTAVANTE, Fiorentino, an il-
luminator of the latter part of the
15th century, who was engaged chiefly
at Venice. In the library of St. Mark
there is a MS. of Marcianus Capella,
signed, Attavantes Floreniinns, pinxit,
and in the Royal Library at Brussels a
splendid folio missal, illuminated by
him, at Florence, for Matthias Corvi-
nus, king of Hungary, in the years
1485-87. {Vasari.)
AVANZI, Gt5iseppe, b. at Ferrara,
in 1665, d. 1718. Ferrarese School.
He was of the school of Costanzo
Cattanio. His pictures are more nu-
merous than select; besides sacred
subjects, he painted landscapes, fruit,
and flowers, on canvas and on copper,
mostly alia prima, or at once.
Works. Ferrara, the Certosa, Be-
heading of John the Baptist : others
at the church of the Madonna della
Pieta : at San Domenico, a Marriage
of St. Catherine. (Bamffaldi.)
AVANZI, Jacopo d', of Verona, or
probably of Bologna, and the pupil of
Vitale da Bologna. The Avanzi were
an ancient and noble family of that
place. Jacopo executed some works
with Galasso, of Ferrara, and Cristo-
fano, of Bologna, in the old church of
the Madonna di Mezzaratta, which,
says Lanzi, is to the School of Bologna
what the Campo Santo is to that of
Pisa. The frescoes of the chapel of
San Felice, in the church of Sant'
Antonio, at Padua, painted in 1376,
with Altichiero da Zevio, are con-
sidered Jacopo's best works ; they were
long supposed to be the works of Giotto.
Other frescoes, in which Jacopo d'
Avanzi was engaged, are those of the
Cappella di San Giorgio, at Padua, also
painted by DAvanzi and Altichiero da
Zevio, about 1378 ; in both of which
works it is not improbable that he was
employed by Da Zevio. DAvanzi
painted also some frescoes at Verona,
which were admired by Andrea Man-
tegna; and Michelangelo and the Car-
racci are said to have thought very
highly of his works at Bologna. There
are a Crucifixion and a Madonna
crowned by her Son, in the gallery of
the Academy, both signed Jacobus Pauli,
/., which Giordani attributes to this
painter. [Zevio.] (Malvasia, Forster.)
AVANZINO, b. at Citta di Castello,
in 1552, d. at Eome, 1629. He was
the scholar of Pomarancio, and exe-
cuted several frescoes in the churches
of Rome. (Baglione.)
AVELLINO, GiLTLio, called II Mes-
sinese, d. about 1700. He was born at
Messina, but lived and painted chiefly
at Ferrara, where he revived the art of
landscape-painting, which had been
neglected after the age of the Dossi.
Avellino was the scholar of Salvator
Rosa, and painted much in his style,
and he enriched his views with ruins,
architectural objects, and small well-
executed and spirited figures. (Lanzi.)
AVELLINO, Onofkio, b. at Naples,
AVELLTNO— BADAEACCO.
13
in 1674, d. at Eome, in 1741. Nea-
politan School. Was first the pupil of
Luca Giordano, then of Solimena. He
was more especially a portrait-painter,
but he painted also battles, and he
made many good copies of the pictures
of Giordano, of that class which have
been sold in England and elsewhere as
originals. The same has happened
also, according to Dominici, with some
of his copies of Solimena. He painted
at Naples and at Rome.
Works. Rome, vault of the church
of San Francesco di Paola : Sorrento,
Chiesa del Carmine, the Virgin en-
throned, with many Saints.
AVERARA, Giovanni Battista, of
Bergamo, he d. Nov. 10, 1548, in the
prime of life, of the bite of a dog.
Venetian School. In the character of
his landscapes, and in his colouring,
he seems to have taken Titian for his
model. He was particularly excellent
in his landscape backgrounds: he
painted almost exclusively in fresco.
(Miizio, Tassi.)
AVIANI, an architectural painter of
Vicenza of the early part of the 17th
century. Venetian School. He painted
also sea views and landscapes : he has
selected some of the most remarkable
views in Venice for his subjects. His
figures were painted by Carpioni.
{Lanzi.)
AVOGADRO, PiETRO, a painter of
Brescia of the early part of the 18th
century. He was the pupil of Pompeo
Ghiti, of Brescia, but followed the
Bolognese, with the addition of the
livelier colouring of Venice. He holds,
in the opinion of many, says Lanzi,
the' fourth place among the great
painters of Brescia; these are — Ales-
sandro Bonvicino, or the Moretto of
Brescia; Latanzio Gambara, and Giro-
lamo Savoldo. Avogadro's master-piec^
is, perhaps, in the church of St. Joseph,
the Martyrdom of Santi Crispino and
Crispiniano.
AZZOLINI, Mazzolini, or Asoleni,
Gio Bernardino, a clever Neapolitan
painter, and modeller in wax, who
settled at Genoa about .1610. He
excelled in expression both in his
pictures and in his wax models. He
appears to have been elected a member
of the Roman Academy of St. Luke
in 1618. He painted chiefly at Genoa.
Works, Genoa, church of the Mo-
nache Turchine, an Annunciation :
church of San Giuseppe, Martyrdom
of St.' ApoUonia. {Soprani, Orlandi.)
BACCARINI, Jacopo, of Reggie, d.
1682. Lombard School. A pupil and
imitator of Orazio Talami. His style,
says lianzi, displays much judgment,
combined with a great deal of grace.
Works. Reggio, a Repose in Egypt,
and the Death of St. Alessio; both in
the church of San Filippo. (Tira-
boschi. )
BACHIACCA, IL. [Ubertini.]
BACICCIO. [Gaulli.]
BADALOCCHIO, or ROSA, Sisto,
b. at Parma, about 1581, d. 1647. He
studied under Annibal Carracci, fol-
lowed him to Rome, and assisted him
in the chapel of San Diego. His works
somewhat resemble those of his friend
and companion Lanfranco ; he was
employed also with Guido and Do-
menichino in the church of San Gre-
gorio, at Rome, and he assisted Albani
at the Verospi Palace, where he executed
two of the frescoes of Polyphemus and
Galatea. Badalocchio and Lanfranco,
in 1607, published a set of etchings
from Raphael's Bible, in the Loggie,
with a dedication to Annibal Car-
racci.
Works. Parma, in the Academy, —
St. Francis receiving the Stigmata; the
Coronation of the Virgin; Virgin and
Child, with Saints. (Malvasia.)
BADARACCO,Giovanni Raffaello,
b. at Genoa, 1648, d. 1726. Genoese
i.
14
BADAEACCO— BALDI.
School. The son and scholar of
Guiseppe ; he afterwards studied in
the school of Carlo Maratta, at Kome,
but his style resembles more that of
Pietro da Cortona.
Works. Polcevera, in the Certosa,
two large pictures from the history of
the patron Saint Bruno. (Rattl.)
BADARACCO, Guiseppe, called 11
Sordo, b. at Genoa, about 1588, d. 1657.
Genoese School. Scholar of Ansaldo.
He lived afterwards some time at Flo-
rence, where he copied and imitated
the works of Andrea del Sarto. (So-
prani.)
BADILE, Antonio, b. at Yerona,
1480, d. 1500. Venetian School. The
instructor of Paul Veronese and Bat-
tista Zelotti. He was the first Veronese
painter to adopt the cinquecento style
of drawing and treatment.
Works. Verona, church of San
Bernardino, the Raising of Lazarus ;
San Nazaro, the Virgin and Child in
the Clouds, with various Bishops below.
(Dal Pozzo.)
BAGLIONE, Cav. Giovanni, b. at
Rome, about 1573, still living in 1612.
Roman School. He painted much at
Rome, chiefly in fresco, and is the
author of the " Lives of the Painters,
Sculptors, Architects, and Engravers,
from 1572 to 1642," the year of its
pubhcation. Baglione was principal
or president of the Academy of St.
Luke in 1618.
Works. Rome, St. Peter's, the
Raising of Tabitha; San Niccolo, in
Carcere, the Last Supper.
BAGLIONE, Cesare, b. at Bologna,
about 1550, living 1610. He was the
contemporary of the Carracci, and spent
some years at the court of Ottavio
Farnese, duke of Parma, and was
afterwards a favourite with the Duke
Ranuccio, for whom he executed many
works. He painted in fresco with ex-
traordinary celerity and great ability,
selecting subjects of all kinds, whether
religious, serious, humorous, figures,
animals, fruit, flowers, or landscape.
His fantastic taste occasionally excited
the ridicule of the Carracci, but chiefly
for the absurdity of his ornamental
designs. He was a great humourist
and noted boon companion, and used
to say it only required good wine to
make good colour. Messer Cesare,
says Malvasia, was loved by all who
knew him.
Works. Bologna, church of the
Madonna del Soccorso, the Ascension.
Parma, Ducal Palace. (Malvasia.)
BAGNACAVALLO. [Eamenghi.]
BAGNADORE, Piermaria, of
Brescia, painted in 1588, Hving in
1611. Venetian School. A follower
of II Moretto. Many works at Brescia.
(Brognoli.)
BAGNOLI, Gio. Francesco, b. at
Florence, 1678, d. 1713. An animal,
fruit, flower, and a figure, painter ; he
painted much in- the pictures of other
artists.
BAIARDO, Gio. Battista, d. young
in 1657. Genoese School. Historical
painter ; judicious in composition, and
graceful in design; excelled in fresco
and in oil : his principal frescoes have
perished. (Soprani.)
BALASSI, Mario, b. at Florence,
1604, d. 1667. Tuscan School. He
was the pupil of Passignano, whom he
accompanied to Rome. He was a good
copyist of the great masters : the Trans-
figuration he copied for the Barberini
family is now in the capuchin church
of the Conception, at Rome. He
painted small iiistorical pictures and
pieces of still-life ; some of which,
when old, he injured by retouching
them. (Lanzi.)
BALDI, Lazzaro, b. at Pistoja, 1623,
d. 1703. Tuscan School. Was the
scholar of Pietro da Cortona, and
painted much at Rome, where his
pictures in oil and fresco are still nu-
merous.
BALDI— BAMBINI.
15
Works. Eome, Academy of St. Luke,
the Martyrdom of San Lazzaro. Pis-
toja, San Francesco, the Annunciation :
Madonna dell' Umilta, the Eepose in
Egypt. {Orlandi, Lanzi.)
BALDINI, Fra Tiburzio, of Bo-
logna, painted, 1611. Bolognese School.
He is said to display magnificence in
his architecture, and great copiousness
in his composition, but his colomring in
the figure is rather cold.
Works. Brescia, Santa Maria delle
Grazie, Marriage of the Virgin ; and
the Murder of the Innocents. {Lanzi.)
BALDINI, PiETRO Paolo, an his-
torical painter of the middle of the
seventeenth century: the scholar of
Pietro da Cortona. There are several
of his works still extant in the
churches of Eome. [Titi.)
BALDOVINETTI, Alessio, b. at
Florence, 1422, d. Aug. 29, 1499. Tus-
can School. The scholar of Paolo
Uccello, and master of Domenico Ghir-
landajo. Though he painted in the
old dry manner, he seems to have been
influenced in some degree by the Fle-
mish mode of treating the landscapes
and other accessories, which, like the
works of his master Uccello, give evi-
dence of the study of nature. He
worked also in mosaic. There is a
picture by Baldovinetti in the gallery
of the Uffizj, at Florence. (Vasari.)
BALDEIGHI, Guiseppe, b. at Stra-
della, 1723, d. at Parma, 1802. Lom-
bard School. He was the pupil of
"Vincenzio Meucci at Florence, and of
Boucher at Paris.
Works. Parma, gallery of the Aca-
demy,PromeLheus released by Hercules.
{Lanzi.)
BALDUCCI, Giovanni, called Cosci,
b. at Florence, about 1540, d. at Naples,
about 1600. Tuscan School. Pupil
and assistant of Battista Naldini. He
painted many works in fresco and in
oil, at Florence, at Eome, and at Naples.
Works. Florence, cathedral, the
Last Supper; church of the Crocetta;
Sta. Maria Novella; and at Sta. Pras-
sede, at Eome, Christ praying in the
Garden ; and others. {Baglione.)
BALESTEA, Antonio, b. at Verona,
1666, d. there, Apr. 21, 1740. Venetian
School; he studied at Venice under An-
tonio Bellucci, and painted at Bologna
and at Eome, where he became the
pupil of Carlo Maratta. His works
somewhat resemble those' of Maratta,
and partake less of the Venetian than
of the Eoman or Eclectic Schools : he
preserved the Venetian colour, and drew
with vigour and correctness. Balestra
engraved a few plates.
Works. Venice, for the Scuola della
Carita, a Nativity, and a Deposition from
the Cross ; a Santa Chiara, in Sant' An-
tonio, at Padua ; at the Dominicans in
Verona, a San Vincenzio ; Bologna,
Church of Sant. Ignazio, the Virgin
and Child, with Saints ; and several in
the churches and palaces of Eome.
(Zanetti.)
BALESTEIEEI, Domenico, of the
Piceuo, painted in 1463. Umbrian
School.
Works. At Urbino, in the church of
San Eocco. {Lanzi.)
BALLI, SiMONE, of Florence, settled
in Genoa about 1600. Genoese School.
He was the pupil of Aurelio Lomi, but
painted something in the style of
Andrea del Sarto, both large and small
pictures on copper.
Works. At the Spinola Palace, Cor-
negliano. {Soprani^
BALLINI, Camillo, living 1570.
Venetian School. Painted in the
Ducal Palace. He is accounted among
the mannerists and followers of Palma
Giovane. {Zaneiti.)
BAMBINI, Cav. Niccolo, b. at
Venice, 1651, d. 1736. Venetian
School. Pupil of Mazzoni, and also
the scholar of Carlo Maratta, at Eome.
Painted somewhat in the style of
Liberi, whom he equalled, says Lanzi,
16
BAMBINI— BAEBIERI.
in the beauty of his women. At
Venice, in San Stefano, is an altar-
piece of the Birth of the Virgin, by
Bambini, more in the style of the
Eoman School. (Zanetti.)
BAMBINI, Jacopo, d. 1629. Fer-
rarese School. A pupil of Domenico
Mona. Bambini and Giulio Croma
established the first Life-Academy in
Ferrara.
Works. Ferrara, cathedral, three
altar-pieces — the Flight into Egypt;
the Annunciation ; and the Conversion
of St. Paul. (Baruffaldl)
BANDIERA, Benedetto, b. at
Perugia, 1557, d. 1634. Roman School.
He is supposed to have been a pupil of
Barocci. (PascoU.)
BARABBINO, Simone, of Polcevera,
b. about 1585, d. about 1620. Genoese
School. A distinguished scholar of
Bernardo Castello, who was jealous of
the merit of his pupil. Barabbino
removed to Milan, but he forsook
painting after a time for trade, got
into debt, and died in prison.
Works. Genoa, at the Nunziata del
Guastato, San Diego, Restoring the
Blind Child to Sight. Milan, San
Girolomo, a Madonna and Dead
Christ. {Soprani.)
BARBALUNGA, Antonio, called
Ricci, h. at Messina, 1600, d. at Rome,
Nov. 2, 1649. He studied at Rome
under Domenichino, whose pictures he
copied and imitated: he became one
of the principal painters of bis time ;
returned to Messina, and formed a
school there on the principles of the
Carracci.
Works. Rome, Church of the
Teatini, Monte Cavallo, San Gaetano ;
Sant Andrea della Valle, the As-
sumption. Messina, several works.
{Pascoli.)
BARBARELLI. [Giorgione.]
BARBATELLI, Bernardino, called
Poccetti and dalle Grotte, h. at Florence,
1548, d. 1612, was the pupil of Michele
Ghirlandajo. He studied the works of
Raphael in Rome, and though excel-
lent in the higher walk of painting,
turned his attention Avith complete
success also to aU accessory descrip-
tions of the art; landscape, flowers,
ornament, &c. His works are nume-
rous at Florence, in fresco and in oil,
chiefly the former. (Lanzi.)
BARBELLO, Jacopo, b. at Cre-
mona in 1590, d. 1656. Venetian
School. He studied in Naples.
Works. Brescia, San Francesco.
Bergamo, San Luzzaro, and other
churches of that city. (Averoldo.)
BARBIANI, Andrea, living 1754.
Bolognese School. Painted history in
the style of Cesare Pronti.
Works. Ravenna, Vault of the Ca-
thedral, the Four Evangelists ; other
churches at Ravenna and Rimini.
(Lanzi.)
BARBIANI, Giovanni Battista, d.
at Ravenna, 1650. Bolognese School.
He resembles Bartolomeo Cesi.
Works. Ravenna, at the Francis-
cans, two altar-pieces of St. Andrea
and San Giuseppe : cathedral, fresco
in the dome of the chapel of the
Madonna del Sudore, Assumption of
tbe Virgin. {Guarienti.)
BARBIERI, Domenico del, known
also as Domenico Fiorentino, b. about
1506. Tuscan School. The pupil and
assistant of Primaticcio, and of II Rosso,
whom he accompanied into France,
and greatly assisted in ornament-
ing the palaces of Fontainebleau and
Meudon, more especially in the stucco-
work. He executed some frescoes after
the designs of Primaticcio. Domenico
was also a good engraver. (Vasari.)
BARBIERI, Francesco, called II
Legnago, b. 1623, d. at Verona, 1698.
Venetian School. A pupil of Gandini
and Pietro Ricchi ; painted history and
landscapes : his works are numerous.
{Orlandi.)
BARBIERI, Giovanni Francesco,
BAEBIEEI— BAKOCCL
17
called, from his squint, II Guercino
da Cento, where he was born, Feb. 2,
1592 ; he died at Bologna, Dec. 22,
1600. Bolognese School. Guercino
was a follower, not a pupil, of the
Carracci. He was self-taught; his
father used to carry wood to the towns,
and carried Guercino with him : in
these visits Guercino educated himself.
He studied some time at Bologna and
Venice, and then repaired to Rome,
where he seems to have been influenced
by the works of Michelangelo da Cara-
vaggio. He returned to Cento in 1623,
remained there for twenty years, until
the death of Guido, when he removed
to Bologna: he died rich. Guercino
is distinguished from Guido Eeni by
his greater vigour and power of ex-
pression, and generally much greater
force of shadow. He had three dif-
ferent styles ; his early manner is
characterised by this depth of shadow,
as in his model, Caravaggio; he
became one of the most decided of
the so-called Tenebrosi (so called from
the inordinate prevalence of dark
tints) ; this style is conspicuous for
strong general eflect. His second
style is distinguished by less violent
contrasts, a more delicate colouring,
and more select design. In his third
manner he endeavoured to imitate the
delicate style of Guido, and lost in so
doing his owm original vigour of ex-
pression, colour, and chiaroscuro, and
degenerated into insipidity and senti-
mentalism, the bane of many of
Guido's pictures. The works of Guer-
cino are extremely numerous, his larger
pictures alone amounting to 250, of
which 306 are altar-pieces. He also
etched a few plates.
Works. Cento, church of Santo Spi-
rito, and other churches. Bologna,
gallery of the Academy, St. William
of Aquitaine, kneeling before St. Ber-
nard, assuming the garb of a monk;
and the Virgin appearing to San Bruno.
Rome, Spada Gall., the Last Moments
of Dido ; Capitol, Sta. Petronilla ( Guer-
cino's master-piece) ; Villa Ludovisi, the
Aurora; Vatican, Incredulity of St.
Thomas. Florence, Pitti Palace, St.
Peter raising Tabitha. Piacenza, Cu-
pola of cathedral, frescoes. Genoa, Pa-
lazzo Brignole Sale, Cleopatra ; the
Virgin Enthroned; and others. Fer-
rara, Cathedral, St. Lawrence. St.
Petersburg, Hermitage, Madonna and
Child ; Christ and his Disciples. Tu-
rin, Royal Palace, the Prodigal Son,
and other works : among the best of
his later pictures is the Dismissal of
Hagar, in the Brera, at Milan. Guer-
cino's brother, Paolo Antonio Baebie-
Ei, also a painter of Cento, died some
years before him, in 1649. He excelled
in animals, flowers, fruit, &c. (Calvi.)
BARBIE RI, Pier Antonio, born at
Pavia, 1663; painted in 1704. Pupil
of Bastiano Ricci, and studied in
Rome : many works at Pavia. Lom-
bard or Milanese School.
BAROCCI, Fedeeigo, b. at Urbino
in 1528, where he died, Sept. 30, 1612.
Roman Scliool. He was the scholar of
Battista Franco, but became eventually
a decided imitator of Correggio, and
he caused a certain reaction in the
decline of art of that period: he
attempted to combine the qualities of
Raphael and Correggio, but though he
drew well, and was distinguished for a
great delicacy of light and shade, he
wanted the higher aesthetic and dra-
matic qualities of art, and was alto-
gether deficient in force; his colouring
also is ofiensively purple or pink, as
Mengs has observed, it wants the
yellow tints.
Works. Perugia, cathedral. Descent
from the Cross. Urbino, Last Supper.
Rome, Chiesanuova, the Visitation,
and the Presentation in the Temple;
the Minerva, the Eucharist; Vatican,
Santa Michelina; Borghese Palace,
St. Jerome. Naples, Holy Family.
18
BAEOCCI— BAETOLOMEO.
Loreto, Annunciation. Florence, Uf-
fizj, Christ with the Magdalen, Noli
me Tangere; and the Madonna del
Popolo. Louvre, Madonna in Glory,
with Saints. National Gallery, Ma-
donna del Gatto. (Bellori.)
BAETOLI, DoMENico, painted
1438-44. Sienese School. Said by
Vasari to have been the nephew and
scholar of Taddeo Bartoli, which is
now doubted; he was a native of
Asciano.
Works. Siena, Hospital della
Scala, frescoes, the Works of Mercy.
Berlin Museum, the Assumption of
the Virgin, attributed to him. ( Vasari.)
BAETOLI, Taddeo, b. at Siena,
1363, d. Sept. 1422. Sienese School.
Taddeo was one of the most advanced
painters of his age. Such of his
works as remain, and many of his
frescoes have perished, are conspicuous
for that simple and impressive piety of
feeling which characterises all the
better masters of the quattrocento
schools. Taddeo executed many works,
at Perugia, Volterra, Padua, and in
the neighbourhood of Siena.
Works. Perugia, Academy, Ma-
donna and Child, and two Angels, with
musical instruments ( 1403) ; two pic-
tures of Saints (?) ; Church of St. Agos-
tino. Descent of the Holy Ghost.
Siena, Academy, the Annunciation ;
walls of the chapel of the Palazzo
della Signoria, Life of the Virgin ; St.
Christopher, &c. (1407-14); Santa
Caterina della Notte, Madonna and
Child, with Angels. San Gemi-
gnano, Virgin and Saints ; San Gemi-
gnano. Volterra, Sant' Antonio, various
Saints. Louvre, Virgin and Child, and
Saints. (Vasari.)
BAETOLINI, Giuseppe Maria, b.
at Imola, 1657, d. 1721. Bolognese
School, The pupil and imitator of
Pasinelli and Cignani.
Works. Imola, San. Domenico, and
other churches.
BAETOLO Di Feedi, painted 1356-
88, I. 1409. Sienese School. He
was, according to Vasari, the father of
Taddeo Bartoli, or di Bartoli; this
appears to be an error.
Works. Siena, Gallery of the Aca-
demy, Presentation in the Temple;
Sposalizio ; Assumption of the Virgin.
Berlin Gall., St. Catherine borne to
Heaven by Angels ; The Adoration of
the Kings.
BAETOLOMEO, di San Maeco,
Era, called also Baccio della Porta,
b. in Savignano in 1469, d. at Florence,
in the convent of St. Mark, Oct. 6,
1517, aged only forty-eight. Tuscan
School. This great painter received
his early instruction in the school of
Cosimo Eoselli, and there, says Vasari,
studied the works of Leonardo da
Vinci. Bartolomeo had been the
friend of Savonarola, and in 1497,
when that enthusiast had reached the
height of his influence, he commenced
a crusade against the representation of
the naked form, and induced Barto-
lomeo, Lorenzo di Credi, and some
other distinguished artists, actually to
contribute their own works towards a
great bonfire at the celebration of the
Carnival of that year. And when, in
May of 1498, Savonarola was strangled
and his body publicly burnt by order
of the then authorities of Florence, it
had such an effect upon Bartolomeo,
that in the summer of 1500 he entered
the Dominican Convent at Frato, gave
up his profession, and assumed the
monastic garb: he did not return to
his profession until 1500. He was
without exception the most distin-
guished painter in Florence before the
return of Leonardo from Milan. His
own peculiar style seems to have been
afterwards considerably influenced both
by Eaphael and by the works of Leo-
nardo, whose prominent relief, ad-
mirable chiaroscuro, and delicacy of
execution, Era Bartolomeo fully at-
BAETOLOMEO— BASAITl.
19
tained : and some of his works are, in
composition and general grandeur of
design, equal to Raphael himself. The
Madonna della Misericordia at Lucca
was mistaken hy Pietro da Cortona for
a work of Ptaphael. The Presentation
in the Temple, at Vienna, is quite
worthy of the prince of painters : the
St. Mark, in the Pitti Palace, wants
force and decision, or, otherwise, it
would he one of the nohlest single
figures of modern art. His figures
are distinguished by simplicity, dignity,
and grace ; individually, and in their
general attitudes in groups. His dis-
position of draperies is admirable ; he
is said to have been the first who
taught the use of lay figures (of wood,
with joints,) for the more convenient
disposal of drapery. His pictures, for
the most part, consist of Holy Fami-
lies, or Madonnas in Glory, sur-
rounded by Saints and Angels, and
frequently adorned with very beautiful
architectural compositions. It has
been remarked by Mrs. Jameson as
somewhat strange, "that the earliest
examples of undraped boy-angels are
by this artist." In 1509 he entered
into a contract with Mariotto Alberti-
nelli, and from this date for three
years several pictures were painted by
the two conjointly, or in partnership :
they had previously joined before, 1494,
but separated on account of Savona-
rola; Albertinelli did not approve of
that reformer: the compositions were
always by II Prate. Pra Bartolomeo
visited Venice in 1508, and Eome in
1513.
Works. Florence, Ufiizj, two small
(early) pictures of the Birth and Cir-
cumcision of Christ; Sketch of the
Presentation in the Temple, at Vienna ;
the Virgin and the Patron Saints of
Florence, in chiaroscuro; two figures
of Prophets, Job and Isaiah, in the
Tribune: Pitti Palace, St. Mark;
Christ after the Eesurrection, sur-
rounded by the Evangelists ; Holy
Family, with St. Anne; a Madonna
Enthroned, with Saints : Gallery of
the Academy, the Dead Christ mourned
by St. John and the Marys ; San Vin-
cenzio, Dominican ; the Virgin appear-
ing to St. Bernard, 1507 ; the Virgin
and infant Jesus, St. Catharine, and
other Saints ; a Pieta; five portraits of
Saints, including that of Savonarola;
and five other similar portraits in
fresco : on the wall of a chapel in
a small court of Sta. Maria Nuova,
the Last Judgment, in fresco, 1499 :
church of San Marco, the Madonna,
with Saints. Naples, the Studj Gallery,
the Assumption of the Virgin. Rome,
in the Quirinal Palace, St. Peter and
St. Paul: Corsini Gallery, the Ma-
donna. Lucca, San Romano, the Ma-
donna della Misericordia, 1515; God
the Father surrounded by Cherubim,
with Mary Magdalen and St. Catherine
of Siena below, 1508 : San Martin o,
the Madonna, with Saints, 1509. Pisa,
Santa Caterina, the Virgin, with Saints,
1511. Siena, Academy, St. Catherine
of Alexandria, 1512 ; St. Maiy Mag-
dalen. Vienna, Imperial Gallery, the
Presentation in the Temple, 1516.
Berlin Gallery, the Assumption of the
Virgin (painted in conjunction with
Mariotto Albertinelli). Lou\Te, the
Salutation, 1515 ; the Marriage of St.
Catherine, 1511. Besan9on Cathedral,
a Madonna, with Saints. England,
Panshanger, a Madonna, with Christ
and the Baptist. {Vasari. Marchese.)
BARTOLOMEO, Maestro, lived
at Florence in 1236. He is said tcr
have been the painter of the cele-
brated miracle-performing picture of
the Annunciation in the church de'
Servi, at Florence, attributed by Vasari
to Pietro Cavallini.
BASAITl, Marco, painted from
aboiit 1470 to 1520. Venetian School,
probably a pupil of Bartolomeo Vi-
varini. He was the able competitor
c 2
20
BASAITI— BATONL
of Giovanni Bellini, inferior in the
modelling of the features, but in some
respects his superior. He followed in
some degree the progress of Venetian
art, still retaining his own peculiarities
of the quattrocento style. His colour-
ing is extremely brilliant, his com-
position and expression are good, and
his general management of the acces-
sories and landscapes is superior to his
time.
Works. Venice, Santa Maria de'
Frari, Coronation of the Virgin, with
St. Jerome and other Saints below
(commenced by Bartolommeo Viva-
rini) ; Sta. Maria degli Angioli, Ascen-
sion of the Virgin; San Pietro di
Castello, St. Peter, and other Saints ;
Gallery of the Academy, the Calhng of
St. Peter and St. Andrew, by some
considered Basaiti's master-piece, 1511 ;
Christ Praying in the Garden, with
several Saints, 1510; Sant' Antonio
Abbate; San Jacopo; and a Dead
Christ. Murano, San Pietro Martire,
Assumption of the Virgin. Vienna,
Gallery, the Calling of James and
John, 1515. Munich, Gallery, Deposi-
tion from the Cross. Berlin, Gallery,
Madonna and Child, St. Anne, Sta.
Veronica, and other Saints ; St. Sebas-
tian bound. {Moschini.)
BASCHENIS, EvAuisTO, b. at Ber-
gamo, 1617, d. 1677. Venetian School.
He represented musical instruments
with extraordinary skill, together with
various other objects, on tables ; fruit,
still-hfe &c. {Tassi.)
BASSANO. [Da Ponte.]
BASSETTI, Maecantonio, b. at Ve-
rona, 1588, d. 1030. Venetian School.
Pupil of Brusasorci, and a great ad-
mirer of the Venetians and especially
Tintoretto, whose works he copied in
Venice : he studied also in Eome.
His pictures are few ; but says Lanzi,
they are great in drawing, and excellent
in colouring.
Works. Verona, San Stefano, Ve-
ronese bishops : San Tommaso, St.
Peter and other saints : Sant' An astasia,
the coronation of the Virgin. (JBi-
dolji.)
BASSI, Francesco, called 11 Cre-
monese da' Paesi, b. at Cremona, 1642,
d. about 1700. A good landscape-
painter, who also painted the figures
and animals in his views. He lived
some time at Venice. There was
another figure and landscape painter
of this name, of Cremona, known as
the younger ; he was the pupil of the
elder Bassi. He was also the pupil of
Pasinelli in Bologna : he died young
in 1693. {Zaist, Crespi.)
BASTARUOLO, II, or Guiseppe
Mazzuoli, d. 1589. Ferrarese School.
A pupil of Turchi. He was drowned
while bathing in the Po. There are
several good works by Mazzuoli at
Ferrara, in the Gesu, an Annunciation,
and a Crucifixion ; at the Capucini,
the Ascension ; at the Zitelle di Santa
Barbara, an altar-piece, several Saints.
(Lanzi.)
BAT ONI, Cav. Pompeo Gieolamo,
b. at Lucca, 1708, d. at Eome, 1787.
Roman School. The pupil of Francesco
Fernandi. The works of this painter,
the most distinguished of his time,
were much influenced by the new or
academic form of eclecticism, which had
now arisen, and in which was attempted
a union of the severe beaut;y and design
of the antique with the various perfec-
tions of the great masters of modern art ;
it was a renewal of the attempt of the
Carracci. Batoni's pictures are well
drawn, well coloured, and well painted;
he illustrates the beau ideal of the
academic taste, in which art has too
often ended in its mere means : his
works were executed for the sake of
their drawing and colouring : the in-
tellectual is absorbed in the tech-
nical. Batoni is commonly considered
the last great painter of Italy. He
painted several great altai'-pieces, and
BATONI— BELLINI.
21
many portraits and smaller works, all
remarkable for their careful execution,
high finish, and insipidity.
Works. Kome, Sta. Maria Maggiore,
the Annunciation ; Monte Cavallo, in
the Pavilion, Christ giving the keys to
Peter : Santa Maria degli Angeli, the
Fall of Simon Magus : San Celso, great
altar-piece. Lucca, San Crocifisso, St.
Bartholomew. Dresden, St. John in
the Wilderness ; the Magdalen. St.
Petersburgh, Lisbon, &c. ( Boni, Lanzi. )
BAZZANI, Giuseppe, d. 1769.
Lombard School, fresco painter. Pupil
of Giovanni Canti. He studied the
works of Kubens at Mantua, where
he died Director of the Academy.
BEAUMONT, Cav. Claudio Fran-
cesco, 6. at Turin, 1694, d. 1768. He
studied in Eome, and made his choice
in the imitation of the style of Fran-
cesco Trevisani, of Venice, very popular
at Rome at that time. Beaumont was
a good imitator, and is one of the most
distinguished painters of Piedmont;
he, too, is reckoned among the last of
the Italians.
Works. Turin, Royal Palace, library,
frescoes ; Chiesa della Croce, a Descent
from the Cross. {Lanzi.)
BECCAFUMI, DoMENico, or cor-
rectly, Mecherino, h. at Siena, 1484, d.
according to Vasari (living 1551 accord-
ing to DellaValle), 1549. Sienese School,
of which he was one of the principal
masters, and the rival of Razzi. He
was an imitator of Pietro Perugino,
but later enlarged his style by study-
ing the works of Raphael and Michel-
angelo, but did not improve it : he
forsook his original softness for a
species of clumsy plumpness, and his
heads became harsh and ugly. He
excelled in perspective, and was fond of
foreshortenings. He worked in bronze
as well as in painting, and executed in*
mosaic and niello (black cement) some
parts of the pavement designs of the
choir of the Duomo at Siena.
Works. Siena, Palazzo della Sig-
noria ; Oratory of San Bernardino ;
San Francesco; Academy. Florence,
the Uffizj. Rome, the Borghese.
Naples, the Studj. And in the gal-
leries of Munich and Berlin. ( Vasari.)
BECCARUZZI, Francesco, a painter
of Coneghano, pupil of Pordenone.
Venetian School, p. 1527-40.
Works. Venice, Academy, St. Francis
receiving the Stigmata, with many
Saints below. (Ridolji.)
BEINASCHI, or Benaschi, Cav.
Giovanni Battista, b. at Turin, 1636,
d. at Naples, 1690. Neapolitan School.
He studied at Rome under Pietro del
Po, and imitated the works of Lan-
franco. He settled in Naples, and
painted several ceilings, and other
works in fresco there, and also esta-
blished a considerable school. Angela
Beinaschi, his daughter, was a good
portrait-painter ; she died in Rome in
1717, aged 51. (Orlandi.)
BELLINI, Bellin, painted about
1 500. Venetian^ehool. The pupil of
Giovanni Bellini. His pictures have
sometimes been mistaken for those of
his master. {RidoJfi.)
BELLINI, Flllippo, of Urbino,
painted in 1594. Roman School. He
was a successful imitator of Federigo
Barocci.
Works. Loreto, Basilica, the Cir-
cumcision. Ancona, the Dome, Mar-
riage of the Virgin. Fabriano, Chiesa
della Carita, the works of Charity, in
fourteen pictures. (Lanzi.)
BELLINI, Gentile, h. at Venice,
1421, d. Feb. 23, 1507 (or rather 1508,
as Feb. is now among the first instead
of the last months of the year.) Vene-
tian School. The son of Jacopo, and
the elder brother of Giovanni Bellini,
named after da Fabriano. Gentile was
sent by the Venetian Government to
paint the portrait of the Sultan Mah-
moud IL, who gave Gentile a remark-
able lesson in objective truth of repre-
BELLINI— BELLOTTO.
sentation. The painter presented the
picture of the head of John the Baptist
on a charger, and the Sultan remarked
that he had made the adhering portion
of the neck project from the head,
which he said was incorrect, as it
always retired close to the head when
separated from the hody, and he had
the head of a slave cut off on the spot,
establishing the truth of his criticism
by terrible reality.
Works. Yenice, Academy, Proces-
sion on the Piazza di San Marco,
1466 ; a Miracle of the Cross. Milan,
Brera, St. Mark preaching at Alexan-
dria. Dresden, Holy Family. Berlin,
Madonna and Child. Louvre, Eecep-
tion of a Venetian Ambassador at
Constantinople ; portraits of the painter
and his brother, of which there is ap-
parently a copy in the Berlin Gallery.
{Midolft.)
BELLINI, GiACOMO, or Jacopo, b. at
Venice, about 1395-1400, d. 1470.
Venetian School. He was the pupil of
Gentile da Fabriano, and the father of
Gentile and Giovanni Bellini. He
appears to have studied with Gentile
in Florence some time before 1424.
Works. Venice, in the possession of
Sig. Mantovani, a volume of drawings
(1430). Verona, Episcopal Palace, a
Crucifixion. Lovere, Count Tadini, a
Madonna. Tre\'iso, San Leonardo, Ma-
donna, with Saints. (Ridolji.)
BELLINI, Giovanni, b. at Venice,
1426, d. Nov. 29, 1516. Venetian
School. Son of Jacopo Bellini, and
the Caposcuola of this school of its
earlier or quattrocento development, and
the greatest painter of his time in
Italy. " Venetian colouring," says
Kugler, " attained under Giovanni, if
not its highest truth of nature, its
greatest intensity of transparency."
Kidolfi already observes that the style
of Giovanni was an aggregate of all
that was beautiful in painting in his
time ; and Lanzi remarks that he
wanted but a softness of outline to put
him on an equality with even the
greatest cinqiiecento masters. His
style was individual, and he excelled
in portrait; his forms are rather full
than meagre, and his pictures are dis-
tinguished by a fine detail of costume
and elaboration of ornament. His
earlier works are x>ainted in tempera;
but he was one of the first Venetians
to adopt the then novel method of oil-
painting, about 1475. Marco Basaiti and
Vittore Carpaccio were his great rivals.
Works. Venice, Sacristy of Sta.
Maria de' Frari, Madonna and Child,
with Saints (1488) : Academy, four
pictures of the Madonna and Child,
with various Saints : San Zaccaria,
Madonna enthroned (1505) : SS. Gio-
vanni e Paolo, Madonna enthroned,
with Saints : San Salvatore, Christ at
Emmaus : San Fantino, Madonna
and Child: San Giovanni Crisostomo,
St. Jerome reading, and other Saints
(1513). Manfrini Gallery. Naples,
the Transfiguration, Holy Family, and
a portrait. Rome, Calhimucini Gal-
lery, Bacchanalian scene, background
by Titian, 1514: and in other collec-
tions. Vicenza, Sta. Corona, Baptism
of Christ. Florence, a Pieta ; an apostle ;
and his own portrait. Munich, Ma-
donna. Dresden Gallery, Christ; and
a portrait of Leonardo Loredano
(1502). Berlin Gallery, a Pieta, Ma-
donna and Child, a Presentation in the
Temple, and three other pictures attri-
buted to Bellini. Vienna, Female
figure, naked (1515); Holy Family.
London, National Gallery, head of the
Doge, Leonardo Loredano : Virgin and
Child in the collection of the late Lord
Dudley. {Vasari, Eidolfi.)
BELLOTTI. [Canaletto.]
BELLOTTO, Pietro, b. at Bolzano,
1625, d. at Garignano, 1700. Venetian
School. Pupil of Forabosco. He
painted landscape, architecture, but
principally portraits and caricatures,
BELLOTTO— BEELINGHIEEI.
23
which he finished with an extreme
minuteness. (GuarientL)
BELLUCCI, Antonio, b. at Pieve
di Soligo, 1G54, d. there, 1726. Vene-
tian School. Painted much in Italy,
Germany, and in England. His nephew,
says Walpole, "went to Ireland and
made a fortune there by painting por-
traits." Bellucio was fond of strong
contrasts of light and shade ; he exe-
cuted large works, but excelled in
small figures : he introduced many into
the landscapes of Tempesta.
BELTEAFFIO, Giovanni Antonio,
b. 1467, d. 1516. Lombard School.
A pupil of Leonardo da Vinci, amateur.
He painted in the simple sombre style
of the majority of the Milanese followers
of Leonardo.
Works. Louvre, Vierge de la Famille
Casio. Berlin Museum, Sta. Barbara ;
Portrait of one of the Bentivoglio
family; Madonna and Child.
■ BELTRANO, Annella, or Annella
di Kosa, d. 1649, aged about 36.
Neapolitan School. The pupil of
Massimo Stanzioni, and the wife of her
fellow pupil Agostino Beltrano. The
husband and wife painted together, and
their pictures were sometimes touched
by Stanzioni, and sold as his own. Annel-
la was killed by her husband through
unfounded jealousy of her master Stan-
zioni. Agostino fled to France, but
returned to Naples in 1660, and died
there in 1665.
Works. Chiesa della Pieta de' Tur-
chini, the Birth and the Death of the
Virgin. {Dominici.)
BELVEDERE, Andrea, b. 1646, d.
1732, Neapolitan School. Scholar of
Giambattisto Ruoppoli; painted fruit
and flowers. {Dominici.)
BENEFIAL, Cav. Marco, b. at
Rome, 1614, d. 1764. Roman School.
A pupil of Buonaventura Lamberd.
He painted in fresco and in oil with
ability, and gained himself a reputation
by some of his works, far above the
other artists of his time, but having a
large family he was always poor. His
monument is in the Pantheon at
Rome.
Works. Rome, Palazzo Spada, a
saloon : Academy of St. Luke, Christ
and the woman of Samaiia. Viterbo,
Dome of the Cathedral.
BENFATTO, Luigi, b. at Verona,
1551, d. 1611. Venetian School.
Pupil and nephew of Paul Veronese,
whose style and works he imitated with
great skill. {Ridolfi.)
BENINI, SiGisMONDo, b. at Cre-
mona, living 1762. Lombard School.
A pupil of Angelo Massarotti ; was a
good landscape-painter. {Panni.)
BENSO, GiuLio, b. at Pieve del
Tecco, about 1601, d. 1668. Genoese
School. Pupil of Gio. Battista Paggi :
he painted history and architectural
perspective with great ability, chiefly
in fresco; he executed few works in
oil.
Works. Genoa, Church of the Nun-
ziata del Guastato, the Coronation of
the Virgin; San Domenico; Santo
Spirito; and other churches. {So-
prani. )
BERGAMASCO, II. [Castello.]
BERLINGHIERI, Bonaventura,
of Lucca. This name is on a tempera
picture of St. Francis, painted in 1235
for the Marquis Montecuccoli, in the
castle of Guiglia, near Modena. This
picture is supposed to have been some-
thing of a portrait, as the saint died
only nine years before. The original
picture is now in San Francesco, in
Pescia ; the Guiglia picture and one
mentioned by D'Agincourt, in the Va-
tican, are copies. The date and name
are written in gold at the feet of the
saint, who has the Stigmata, and holds
a book in his left hand. This date is
five years before the birth of Cimabue.
There is an outline in Rosini. {Betti-
nelli. Rosini.)
BERLINGHIERI, Camillo, caUed
24
BEKLINGHIERI— BESOZZI.
II Ferraresino, b. 1596, d. 1635. Fer-
rarese School. A pupil of Carlo
Bononi.
Works. Ferrara, San Niccolo, the
miracle of the Manna ; Sant Antonio
Abbate, the Annunciation.
BEKNA, or BARNA, of Siena, d.
about 1380. Sienese School. Some
works in Sant' Agostino, Siena; in
Eome, in the Tabernacle of the Late-
ran ; at Arezzo ; and in the churcli of
San Gemignano, scenes from the life
of Christ. Bema was killed by a fall
from the scaffolding whilst engaged on
these last works : they were completed
by his pupil Giovanni dAsciano. (Bal-
dinnucci. Rumohr.)
BERNABEI, Pier Antonio, called
DELLA Casa. Painted at Parma, about
1550. Lombard School. A follower
of Correggio; his colouring is very
effective : he was one of the best fresco
painters of his time.
Works. Parma, Cupola of the Ma-
donna del Quartiere, Paradise; Aca-
demy, Marriage of the Virgin; the
Madonna and Child, with Saints.
{Lanzi.)
BEENASCONI, Laura, a Roman
lady, living in 1674, who painted
flowers in the manner of Marco Nuzzi,.
her master.
BERNAZZANO, Cesare, living
1536. Milanese School. Painted
landscape, fruit, and flowers, with
great diligence.
BERN IE RI, Antonio, a celebrated
miniature-painter of Correggio : b. 1516,
d. 1563. (Tiraboschi.)
BERRETTINI, Cav. Pietro, of
Cortona, b. 1596, d. 1669. Tuscan
School. This artist, better known as
Pietro da Cortona, possessed a fatal
facility of execution, and is the founder
of that superficial style of painting know
as the Machinist, which hastened
the decay of art in the seventeenth
century. Quick in invention, and rapid
in execution, he attained a more bril-
liant than solid reputation ; he was the
chief rival of Sacchi at Rome, and the
followers of these masters constituted
two great factions which divided Rome,
that of Pietro da Cortona, through the
aid of Bernini, completely taking the
lead in fresco.
Works. Rome, Palazzo Barberini,
ceihng of the grand saloon ; at the
Capucini, the Conversion of St. Paul.
Florence, Palazzo Pitti, several apart-
ments, fresco. (Pascoli.)
BERRETONI, Niccolo, b. at
Montefelto, 1637, d. 1682. Roman
School. Among tbe ablest of the
scholars of Carlo Maratta ; he studied
also with Simone Cantarini, from whom
he acquired the admirable execution of
the Bolognese masters.
Works. Rome, Santa Maria di
Montesanto, the Madonna, with St.
Francis and other Saints. (Pascoli.)
BERTOJA, Jacopo, living in 1754.
Lombard School. Supposed to have
been the scholar of Parmegiano ; but
according to Lomazzo he was the pupil
of Ercole Procaccini.
Works. Parma, Academy, the Birth
and the Marriage of the Virgin ; and
five frescoes of Mythological subjects
from the Ducal Garden Palace.
BERTOLOTTI, Gio. Lorenzo, b.
at Genoa, 1640, d. 1721. A pupil of
Fran. Castiglione, and one of the
principal Genoese painters of his
time.
Works. Genoa, La Chresa della
Visitazione, the Visitation of Mary to
Elizabeth ; others in the various
churches of Genoa. (Eaiti.)
BERTUSIO, Gio. Batista, d. 1644.
Bolognese School. Studied under
Denis Calvart, and subsequently with
Guido and Albani, in the school of the
Carracci. He professed to be another
Guido, but was not considered so by
his contemporaries. (Mulvasia.)
BESOZZI, Ambrogio, b. at Milan,
1648, d. there, 1706. Lombard School.
BESOZZI— BIBIENA.
25
A scholar of Giro Ferri, and one of the
followers of Cortona's style. He painted
in Kome, in Venice, and in Milan ; and
was a skilful decorator.
Works. Milan, Sant' Amhrogio, and
other chm-ches and collections. {Or-
landi.)
BETTI, Padre Biagio, b. at Pistoja,
1545, d. 1615. Tuscan School. Pupil
of Daniele da Volterra at Kome. He
was an historical painter, a sculptor,
and a miniature-painter.
Works. Kome, Monastery of the
Theatines, in the Refectory, Miracle of
the Loaves and Fishes'; in the Library,
Christ disputing -with the Doctors.
(Baglione.)
BETTINI, DoMENico, b. at Florence,
1644, d. at Bologna, 3 705. Pupil of
Jacopo Vignali ; he afterwards studied
in Kome under Mario Nuzzi, and he
lived many years at Modena. He
painted fruit, flowers, birds, fish, &c.,
and he introduced gay and natural
backgrounds in the place of the plain
dark grounds commonly made by
flower-painters. {Guarienti.)
BETTO. [PiNTURICCHIO.]
BEVILACQUA. [Salimbeni.]
BL'INCHI, Baldassare, b. at Bo-
logna, 1614, d. at Modena, 1679. Bolog-
nese School. Studied under Agostino
Mitelli, whose daughter he married.
Painted architectural perspective, and
ornament; and executed many works in
the palaces of Mantua and Modena.
( Crespi. )
BIANCHI, Francesco, or Frari, b.
1448, d. Feb. 8th, 1510 (1511). Lom-
bard School. He is said by Vendra-
mini, who quotes Lancilotto's MS.
chronicle, to have been Correggio's
master : his works are well coloured,
and combine some other excellences
of the quattrocento style.
Works. Modena, San Francesco.*
Louvre, Madonna, with Saints.
BIANCHI, Pietro, b. at Rome,
1694, d. 1739. Roman School. The
pupil of Gio. Bat. Gaulli and Benedetto
Luti. He was remarkable for his in-
dustry, and the versatility of his powers,
in history, portrait, landscape, animals,
&c.
Works. Kome, Sta. Maria degli An-
geh, the Conception, executed in Mosaic,
in St. Peter's. {JD'Argensvillc.)
BIANCO, Baccio del, 6. at Florence,
Oct. 4, 1604, d. at Madrid, 1656. Tus-
can School. Pupil of Bilivert; he
painted in oil and fresco, drew also
caricatures, burlesque scenes, skir-
mishes, &c., with the pen ; and practised
fortification, and taught perspective in
the Academy of Florence. In 1650 he
entered the service of Philip II. of
Spain, as painter and engineer. Bal-
dinucci has published his autobio-
graphy.
BIANCUCCI, Paolo, b. at Lucca,
1583, d. 1653. Tuscan School. Among
the ablest scholars of Guido Keni,
whose manner he imitated : the pictures
of Biancucci have also been sometimes
mistaken for those of Sassoferrato.
Works. Lucca, San Suffragio, Pur-
gatory : San Francesco, an altar-piece.
( Malvasia . Lanzi.)
BIBIENA, Ferdinando Gai.li da,
b. 1657, d. 1743. Bolognese School;
the son of Gio. Maria. He studied
in the school of Carlo Cignani,
painted perspective and architectural
views, and displayed extraordinary ta-
lent as a scene-painter. He was long
employed at Pai'ma and Vienna.
BIBIENA, Francesco Galli da, son
of Gio Maria, b. 1656, d. 1729. Bo-
lognese School. Studied under Lorenzo
Pasinelli and Carlo Cignani. He
painted the figure and perspective
pieces, and inserted the figures in the
pictures of his brother Ferdinando,
and was, hke him, an excellent scene-
painter. Francesco was also a prac-
tical architect, and was engaged at
Genoa, Mantua, Rome, Naples, Ve-
rona, and Vienna.
BIBIENA— BISSOLO.
BIBIENA, or Galli da Bibiena,
Giovanni Maria, h. at Bibiena, 1625,
d. 1655. Bolognese School. A Pupil
and imitator of Albani.
There were several other artists of
this family.
Works. Bologna, Certosa, the As-
cension : San Biaggio, Sant' Andrea ;
La Carita Sant' Anna. {Crespi.)
BICCI, Lorenzo di, b. at Florence
about 1350, d. 1427. Tuscan School.
Pupil of Spinello Aretino, and one of
the last masters who adhered to the Giot-
tesque type. The Bicci family, of which
Lorenzo is the head, became celebrated
in the history of painting in Tuscany,
but the different members and their
works have been confounded by Va-
sari and by Baldinucci. The editors
of the new Florentine edition of Va-
sari, by Le Monnier, have cleared up
many of these obscurities.
Works. Florence, Loggia of Sta.
Maria Nuova, the Consecration of that
Church by Pope Martin V., 1418.
BICCI, Neri di, the grandson of
Lorenzo, b. 1419, d. 1586. Bicci was
an industrious painter, and executed a
great number of works in tempera,
though few can now be identified.
His Journal, from the year 1453 to
1475, is still preserved in the library of
the IJjBBizj, at Florence. The subjects
he most commonly painted, and these
he painted many times, were : — the An-
nunciation ; the Assumption, and the
Coronation of the Virgin; the Virgin
and Child, accompanied with Saints ;
the Crucifixion ; and the Holy Trinity.
From three to five pounds of our
money appears to have been the com-
mon sum he received for a large pic-
ture ; it was, however, not an insigni-
ficant sum then, as it was the price of
a small house.
Works. Florence, San Leonardo ad
Afcetri, the Assumption and the Coro-
nation of the Virgin : Convent of the
Annunziata, the Coronation of the Vir-
gm: San Niccolo, Madonna and Child,
with Saints : Santa Felicita, the Patron
Saint : Academy, Madonna and Child,
with Saints ; and the Crucifixion ; and
others. San Pancrazio, San Giovan-
Gualberto, fresco (1454) : and in Santo
Spirito, St. Luke the Evangelist. Si-
ena, in the Academy, the Madonna and
Child, with Saints. Arezzo, San Michele,
an altar-piece (1466). In the Berlin
Gallery is a Madonna and Child, with
adoring Angels, attributed to Neri.
BIGAKI, ViTTORio, b. at Bologna,
1692,^.1776. Bolognese School. Scho-
lar of Antonio Dardani, painted in
fresco and in oil : he was one of the
principal Italian painters of the 18th
century.
Works. Bologna, churches and pa-
laces ; Madonna della Guardia, Cupola.
Porretta, Ranuzzi Palace. (Fiurillo.)
BIMBI, Bartolomeo, b. at Florence,
1648, d. 1725. Tuscan School. A
pupil of Angelo Gori. Painted fruit
and flowers.
BISCAINO, Bartolomeo, 6. at Ge-
noa, 1632, d. 1657, Genoese School.
Pupil of Valerio Castelli. Biscaino
was a good engraver. Many of his
etchings ai'e preserved in collections :
his pictures are rare.
Works. Genoa, Santo Spirito, the
Virgin, with San Ferrando. Dresden
Gallery, the Woman taken in Adultery;
the Adoration of the Magi; and the
Circumcision. (Soprani.)
BISSOLO, Pier Francesco, painted
about 1500. Venetian School. Pupil
of Gio. Bellini. This artist is distin-
guished by a softness and gracefulness
not common at that early period.
Works. Venice, Academy, Christ
exchanging the Crown of Thorns for
the Crown of Gold with St. Catherine,
formerly in San Pietro Martire, at
Murano : Manfrini Galler}', Annun-
ciation: Treviso Cathedral, Santa Gi-
ustina. Berlin Gallery, the Eesurrec-
tion of Christ. (Zanetti.)
BISSUCCIO— BOLOGNA.
27
BISSUCCIO, Leonaedo di, fifteenth
century. Milanese School. The only
remaining known work of this painter
displays much aifinity with those of
Giotto ; " but the form and expression
of the heads are sweeter, especially of
the angels, which recall Fiesole. The
portraits are individual in character,
the arrangement of the whole simple
and grand." (Kugler.)
Works. Naples, Monumental chapel
of Gian Carracciolo, in San Giovanni
a' Carbonari, built 1433, Christ crown-
ing the Virgin ; the body of Carracciolo
as found after his murder ; several mem-
bers of his family; and some subjects
from the life of the Virgin : inscribed with
the name and coimtry of the painter.
BOCCACCINO, Boccaccio, b. at
Cremona. Painted 1496-1518. Mi-
lanese School. His pictures resemble
those of Pietro Perugino, and are even
superior in some respects, in the opi-
nion of Lanzi. He was the master of
Garofolo before he visited Kome.
Works. Cremona, San Vincenzo,
the Virgin with San Vincenzo and
Sant' Antonio; the Marriage of the
Virgin; Frieze in the dome; subjects
from the life of the Virgin (1515):
and in many other churches of Cre-
mona. (Panni.)
BOCCACCINO, Camillo, b. at Cre-
mona about 1508, d. 1546. Lombard
School. This painter displays in his
works a good knowledge of perspective
and foreshortening. Vasari terms him
a good practical painter ; Lomazzo men-
tions him with Correggio, Titian, and
Gaudenzio Ferrari, as one of the
greatest colourists ; and Lanzi terms
him the greatest genius of the Cre-
monese School.
Works. Cremona, cupola of San Si-
gismondo, the four Evangelists; also
the raising of Lazarus, and the Womati
taken in Adultery (1537). Many other
works are described by Panni. Berlin
Gallery, Holy Family.
BOCCACCINO, Francesco, b. at
Cremona, about 1670, d. 1750. Mi-
lanese School. He studied under
Brandi and Maratta, at Rome, and
painted chiefly mythological subjects,
in the manner of Albani, for private
collections. {Lanzi. )
BOCCHI, Faustino, b. at Brescia,
1659, d. about 1742. Venetian School.
A pupil of Fiamminghino : he painted
Bambocciate, genre, or low subjects.
BOCCIARDO, Clemente, called
Clementone, b. at Genoa, 1620, d.
1658. Genoese School. A pupil of
Bernardo Strozzi; he studied also in
Eome with Benedetto Castiglione, and
attained a good style.
Works. Florence Gallery, his own
portrait. Pisa, the Cathedral ; and at the
Carthusians, Martyrdom of St. Sebas-
tian. (Soprani.)
BOLOGNA, Franco da, or Franco
Bolognese, painted in 1313. He was
the pupil of Oderigi of Gubbio, and
was the first Bolognese who shook ofi"
the conventional Byzantine type, and
attained to some freedom of treatment
directly from nature. Dante mentions
him in his Purgatorio.
" Piti ridon le carte
die pennelleggia Franco Bolognese."
Cant. xi.
Franco was invited to Eome by Boni-
face VIII. to decorate some MSS. in
the Vatican. Vitale, Cristoforo, Lo-
renzo, Simone dai Crocifissi, and Ja-
copo d'Avanzi, are said to have been
his scholars. They were all engaged
in the church of the Madonna di Mez-
zaratta.
Works. Bologna, Ercolani Palace,
a Madonna (1313).
BOLOGNA, GuiDO, Ventura, and
Ursone da, the three earliest names
mentioned in the history of painting
in Bologna. There are said to be re-
mains of their respective works in Bo-
logna of 1221 ; 1197-1217 ; and 1226.
(Malvasia.)
28
BOLOGNA— BONIFAZIO.
BOLOGNA, SiMONE da, called Dai
Crocifissi, painted in 1377. Bolognese
School. The pupil of Franco Bo-
lognese. There are still some remains
of his works, excellent for their time,
in San Stefano, and in San Michele
in Bosco.
BOLOGNA, ViTALE DA, called Dalle
Madonne, painted 1320-1345. Bo-
lognese School. The pupU of Franco
Bolognese.
Works. Bologna, Malvezzi Palace,
St. Benedict.
BOLOGNINI, Gio. Battista, b.
1611, d. 1688. Bolognese School. A
pupil, imitator, and copyist of Guido
Reni. He engraved also several of his
pictures.
BOMBELLI, Sebastiano, b. at
Udine, in 1635, living in 1716. Ve-
netian School. A pupil of Guercino,
and an admirahle copyist of the pic-
tures of Paul Veronese. He painted
chiefly portraits, for which he acquired
a great reputation in and out of Italy.
His portraits have more of the deli-
cacy of Guido than the force of Guer-
cino. Owing to the use of a particular
varnish of his own, it is said, his pic-
tures have hecome obscured by time,
and by the same means he injured
several old pictures to which he ap-
plied it. {Lanzi.)
BONACCORSL [Vaga.]
BONATTI, Gio., called Giovannino
del Pio, b. at Ferrara, 1635, d. 1681.
Ferrarese School. He studied first
under Guercino, and afterwards under
Pietro Francesco Mola in Rome, where
he was one of the principal rivals of
Carlo Maratta.
Works. Rome, the Capitol, Sisera
and Jael ; Rinaldo and Armida : Chiesa
Nuova: Santa Croce in Gerusalemme.
BONCUORE, Gio. Battista, b. at
Campliinthe Abruzzi, 1643, d. 1699.
Roman School. Studied at Rome
under Albani. (PascoU.)
BONESI, Gio. GiKOLAMO, b. at Bo-
logna, 1653, d. 1725. Bolognese School.
A pupil of Gio. Viani, but he became
an imitator of Cignani. (Zanotti.)
BONFIGLI, Benedetto, h. at Pe-
rugia, about 1420, still living in 1496.
Umbrian School. One of the most
eminent painters of Perugia, and Pietro
Perugino's master. Though his figures
are frequently stiff and hard, we find a
delicacy of execution in the back-
grounds, and a correctness of per-
spective, very uncommon at that time ;
in the landscape background Bonfigli
was perhaps the best of his period.
In the figiu'e he was very inferior to
Giovanni da Fiesole, or to Gentile da
Fabriano.
Works. Perugia, San Domenico,
Adoration of the Kings (1460): Pa-
lazzo del Consiglio, frescoes of San
Ludovico and Sant Ercolaneo, 1454.
{Pascoli.)
BONI, GiAcoMO, b. at Bologna,
1688, d. 1766. Bolognese School. A
pupil of Cignani, and also of Marc
Antonio Franceschini, whom he as-
sisted at Rome and Genoa, where
Boni executed his chief works ; for the
churches, and the palaces of the no-
bility, in fresco and in oil.
BONIFAZIO of Verona, commonly
called Bonifazio Veneziano, b. at Ve-
rona, in 1491, d. 1553. He was one of
the principal of Titian's scholars and
imitators, and executed many works in
Venice, but hard in character compared
with the pictures of his master, and
other of the great cinquecento painters.
Bonifazio's pictures in a measure com-
bine the simplicity or crudeness, per-
haps, of the quattrocento, with the ful-
ness of form and the powerful effect
of light and shade and colour of the
cinquecento. A discrepancy of dates
seems to establish the fact that there
must have been two painters of this
name, whose works are now eon-
founded.
Works. Venice, the Academy, four-
BONIFAZIO— BONVICINO.
20 ,
teen pictures collected from various
churches and religious houses, — one
is dated 1562, and must belong to
another painter ; others in the church
Dei Tolentini, and in the Palazzo
Eeale. Korae, the Borghese Gallery.
Florence, the Uffizj. Turin, the Ma-
dama Palace. Milan, Brera, the find-
ing of Moses, formerly attributed to
Giorgione. Paris, the Louvre, the
Ptaising of Lazarus, and two Holy
Families, with Saints. Berlin Gallery,
the Woman taken in Adultery. (Bi-
dolfi, Lanzi.)
BONINI, Giovanni, of Assisi.
Painted at Orvieto, in 1321. Koman
School. {Delia Valle.)
BONINI, GiEOLAMO, called L'An-
conitano (of Ancona), living 1660.
Bolognese School. A pupil, friend,
and assistant of Albani, and a good
imitator of his style.
Works. Louvre, Christ adored by
Angels, by St. Sebastian, and St. Bo-
naventura.
BONISOLI, Agostino, I. at Cre-
mona, 1633, d. 1700. Milanese School.
A pupil of Battista Tortiroli, and Luigi
Miradoro ; and he studied the works of
Paul Veronese, but painted chiefly
portraits, and small religious and his-
torical subjects, dispersed in private
collections. His principal picture is
from the life of St. Antony, in the
church of San Francesco, Cremona.
{Panm.)
BONONE, Caelo, h. at Ferrara,
1569, d. 1632. Ferrarese School. A
pupil of II Bastaruolo. He studied
the works of the Carracci at Bologna,
with such purpose, that he was called
eventually the " Carracci of Ferrara."
This resemblance is only apparent,
says Lanzi, in his smaller, not in his
larger, compositions ; the Carracci
being sparing in their figures, whilst
the number of actors, and the richness
of the various decorations in Bonone's
pictures, di Macchina, grand suppers,
and similar festive crowded subjects,
have a much greater affinity with the
compositions of Paul Veronese. Some
of his simpler compositions have been
attributed, without hesitation, to Lu-
dovico Carracci.
Works. Ravenna, Eefectory of the
Regular Canons of San Giovanni, the
Feast of Ahasuerus, the master-piece
of his ornamental works. Ferrara,
San. Benedetto, Feast of Herod : Re-
fectory of the Carthusians, the Miracle
at Cana: others in Santa Maria del
Vado : San Francesco : Sant Andrea,
&c. ( Baruffaldi.)
BONVICINO, Alessandro, called
II Moretto da Brescia, b. at Rovato,
about 1500, living in 1556. A'enetian
School. He studied in the school of
Titian, and his early works display a
close imitation of that great painter.
He subsequently endeavoured to ac-
quire the majestic character of Ra-
phael, and in this supposed or at-
tempted union succeeded in attaining
a dignified and agreeable style, which
places him in the highest rank of
painters. His Holy Families, distin-
guished for their sentiment of pure
devotion, may be ranked among the
noblest productions of the Venetian
School. His colouring is much less
glomng than that of most Venetian
painters, bordering on the cold or
silvery, but not less harmonious ; some
of his pictures are enriched with good
landscape backgrounds.
Works. Brescia, San Clemente, the
Assumption of the Virgin, with St. Cle-
ment and other Saints ; Sta. Maria de'
Miracoli, San Giuseppe ; Santi Nazaro
e Celso; San Giovanni Evangelista,
and many other churches and galleries
of Brescia. Milan, Conversion of St.
Paul. Frankfort, Stiidel Institution,
Madonna enthroned, with the four doc-
tors of the Church. Berlin Gallery,
Adoration of the Shepherds; the Vir-
gin enthroned in the Clouds, and three
80
BONVICINO— BOSCHI.
other pictures. Vienna, San Justino,
and Duke Ercole of FeiTara. Louvre,
two small pictures of Saints. {Bidolji,
BrognoU.)
BONZI, PiETRO Paolo, called II
Gobbo da Cortona and II Gobbo de' Car-
racci, d. about 1640. Bolognese School,
a pupil of Annibal Carracci, and a good
landscape-painter.
BOEDONE, Cav. Paeis,6. atTrevigi,
1500, d. Jan. 19, 1570 (1571). Venetian
School. A pupil of Titian. He stu-
died also the works of Giorgione, and
painted in the style of Titian with such
success, that a doubt might easily arise
as to whether the work were by the
master or the pupil. He painted in
Trevigi, Venice, and in France, which
country he appears to have visited in
1538, by the invitation of Francis I.
Though not inferior to the best Vene-
tian masters, in historical works, Bor-
done's greatest success was in portrait
painting ; his female portraits are femi-
nine and graceful : he painted the most
beautiful women of the French court,
and had the art, says Eidolfi, of making
these works appear fancy pictures rather
than portraits.
Works. Venice, Academy, the Pre-
sentation by the Fisherman of the Eing
of St. Mark to the Doge; Paradise:
Manfrini Palace, Madonna and Child.
Florence, Pitti Palace, the Eiposo.
Louvre, two portraits, and another pic-
ture. Berlin Gallery, two portraits
and three other pictures. Bridgwater
Gallery, London, the Eiposo. {Za-
netti.)
BOEGHESE, Pieteo. [Bella
France so A.]
EOEGHESI, Gig. Ventura, b.
about 1640, at Citta di Castello, d. May
20, 1708. Eoman School. A pupil of
Pietro da Cortona; he imitated his mas-
ter, assisted him in his works, and
completed some of those that were left
unfinished at his death.
Works. Eome, San Niccolo da To-
lentino, the Annunciation and Corona-
tion of the Virgin. (OrlandL)
BOEGOGNONE, AMBROGio,orFos-
sano, painted about 1490-1535, Mila-
nese School. A pupil of Vincenzio
Foppa, distinguished by a simple por-
trait treatment of his figures and grace-
ful natural expression; much in the
style of Bernardino Luini.
Works. Milan, Sant Ambrogio,
Christ's Eesurrection ; and Christ dis-
puting with the Doctors : San Simpli-
ciano, the Coronation of the Virgin.
Others at Cremo, in Valsassina; the
Certosa di Pavia, &c. BerUn Gallery,
the Madonna enthroned, and the Vir-
gin and Child. {Lomazzo.) •
BOEEONI, Cav. Gio. Angelo, b. at
Cremona, 1684, d. at Milan, 1772. Mi-
lanese School. A pupil of Angelo Mas-
sarotti.
Works. At Cremona and Milan.
(Zaist.)
BOEZONE, Luciano, h. at Genoa,
1590, d. 1645. Genoese School. A
distinguished portrait-painter; he ex-
ecuted also many works for churches
and collections : he was killed by a fall
from a scaffolding while engaged paint-
ing a picture of the Nativity, in the
Nunziata del Guastato. His three sons,
Gio. Battista, Carlo, and Francesco,
were also painters. Francesco (1625-
1679) was a good landscape-painter,
and spent some time in the service of
Louis XIV.
Works. Genoa, San Domenico, the
Presentation in the Temple: Santo Spi-
rito, the Baptism of Christ; and others.
(Soprnni.)
BOSCHI, Fabrizio, b. at Florence,
about 1570, d. 1642. Tuscan School.
A distinguished pupil of Domenico
Passignani.
Works. Florence, All Saints, San.
Bonaventura celebrating Mass : Cer-
tosa, Martyrdom of St. Peter and St.
Paul. ( Baldin tied. )
BOSCHI, Francesco, b. atFlorence,
BOSCHI— BEANDI.
81
1619, d. 1675. Tuscan School. The
nephew and pupil of Matteo Eoselli.
He was a good portrait-painter; he
also assisted Eoselli and his father,
Fabrizio Boschi, and executed some
original works in fresco in the churches
of Florence.
Works. Louvre, portrait of Galileo.
BOSELLI, Antonio, of San Gio.
Bianco, in the Val. Bremhana, painted
from 1509 to 1527. Venetian School.
From a picture at Bergamo, he seems
to have adhered to the types of the
quattrocento.
Works. Bergamo, San. Cristoforo,
St, Peter, St. Paul, and St. Luke (1509).
Louvre, four heads of Saints. (Tassi.)
BOSELLI, Felice, b. 1650, d. 1738.
Lombard School. A pupil of Gioseffo
Nuvolone. He was a good copyist of
the figure. But his original works come
under the category of still-life, though
he painted birds, beasts, and fishes,
living as well as dead. His pictures
are common in the collections of Pia-
cenza. {Lanzi.)
BOTTICELLI, Sandro Filipepi,
called Botticelli, b. at Florence, 1447,
d. 1515. Tuscan School. This artist,
first the pupil of Botticelli, a jeweller,
studied afterwards under Fra Filippo
Lippi. His compositions are full
of energy ; his sacred scenes are rich
in figures, which have a characteristic
and varied expression, and are well
drawn, though in the prevailing dry
manner of the quattrocento. He was
one of the earUest masters of allegory,
and his picture of " Calumny," from
Lucian's description of a similar work
by Apelles, of Ephesus, in the gallery
of the Uffizj, is as remarkable for its
originality of subject, as for tlie quaint-
ness of its source.
Works. Florence, Uffizj, Madonna
crowned by Angels; Yenus Anadyo-
mene, wafted on a Shell to the Shore f
the Calumny of Apelles: Academy,
Coronation of the Virgin, with the four
doctors of the church. Eorae, Sistine
Chapel, the History of Moses; three
subjects in fresco. Louvre, two Holy
Families. Berhn Gallery, five pictures.
(Vasari.)
BEAMANTINO, or Bartolomeo
SuARDi, painted about 1500-1529.
Lombard School. A pupil of Bramante,
the architect, who was himself a pain-
ter originally, whence his name of Bra-
mantino. He visited Eome with the
great architect, and was employed by
Julius II. in making a series of por-
traits, highly spoken of by Vasari. Bra-
mantino had great skill in imitation,
and was a complete master of perspec-
tive, not omitting its application to the
human figure, or what is more tech-
nically termed, fore-shortening. Agos-
tino da Milano, the pupil of Bramantino,
is probably the Agostino di Bramantino
mentioned by Lomazzo and others,
and the Agostino dalle Prospettive of
Bologna.
Works. Milan, Brera, Madonna en-
throned with Two Angels (fresco) : San
Sepolcro, Dead Christ mourned by the
two Marys. Padua, the Certosa, Eoof
of the Chapel of St. Bruno; the Vis-
conti Family presenting a Plan of the
Building to the Virgin (fresco). Ber-
lin Gallery, a Madonna and Child, with
Saints, and an allegorical piece.
BEANDI, Cav. Giacinto, b. at Poh,
1623, d. 1691. Eoman School. Studied
first under Gio Giacomo Sementi, and
afterwards under Lanfranco, whose
works he imitated. His early pic-
tures are the best, as his love of gain
seems to have made him eventually
indifierent ; and his works, though in-
dicating great facility, are distinguished
by the infallible imperfections of hasty
execution.
Works. Eome, San Silvestro, the
Assumption of the Virgin : Gesu e
Maria, al Corso, the Crowning of the
Virgin: San Eocco, St. Eoch giving
the Sacrament to the Pestiferous.
32
BRANDI— BUONCONSIGLI.
Gaeta, the Catliedral, and tlie Nun-
ziata. (Pascoli.)
BRIZIO, Feancesco, b. at Bologna,
1574, d. 1623. Bolognese School. He
studied first under BartolomeoPasserot-
ti and afterwards in the school of Lodo-
vico Carracci, where, though until his
twentieth year he was a shoemaker's
shop-boy, he soon proved his extraor-
dinary ability as a painter, and the
universality of his powers. He painted
history, architectural views, and land-
scape, and excelled in perspective.
Agostino Carracci instructed him in
engraving, in which art likewise he
attained to great proficiency : many of
his prints are extant. His son M-
lippo was also a painter of ability.
Works. Bologna, San Petronio,
Coronation of the Madonna del
Borgo : San Michele in Bosco.
{Malvnsia.)
BRONZING, Angelo, b. at Monte-
celli, 1502, d. 1572. Tuscan School.
A pupil of Pontormo, the friend of
Vasari, and an enthusiastic admirer
of Michelangelo, though not of that
mannered anatomical school which
arose from the injudicious imitation of
Michelangelo, and of which Bron-
zino's nephew, AUori, was one of the
principal promoters. Bronzino was an
excellent portrait-painter, though his
colouring was rarely good. His nephew
Allori is also frequently called Bronzino.
Works. Florence,^ Gallery of the
Ufiizj, Limbo, or the Descent of Christ
into Hell : Santa Maria Nuova, a
Pieta. Louvre, a portrait of a
Sculptor ; Christ appearing to the
Magdalen. (Vasari.)
BRUNI, DoMENico, b. at Brescia,
1591, d. 1606. Venetian School. He
was the pupil of Tommaso Sandrini,
and painted architectural views and
perspective subjects, for which class
of pictures he is considered one of
the best of the Italian painters.
(Oi'landi.)
BRUSASORCL [Riccio.]
BUFFALMACCO, or BUONAMICO
DT Cristofano, b. at Florence about
1273, living 135]. Tuscan School.
Bufi'almacco is a nickname given to
this artist by Boccaccio. Vasari's
accounts of him are chiefly from the
novels of Boccaccio and Sacchetti.
The frescoes attributed to him in the
Campo Santo are barbarous works, but
Vasari states that when he chose to
exert himself, which was not often, he
was equal to any of his contem-
poraries : he was the pupil of Andrea
Tafi. Some of the works ascribed by
Vasari to Buffalmacco in the Campo
Santo, those especially from the Book
of Genesis, are attributed to Pietro di
Puccio d'Orvieto, and with more pro-
bability to Francesco da Volterra: the
others were very much repainted in 1667.
Works. Pisa, Campo Santo, the
Creation ; the History of Noah ; and
scenes from the Life of Christ :
Academy, St. Umilta. Assisi, San
Francesco, the chapel of the Magda-
lene. ( Vasari.)
BUGIARDINI, GuiLiANo, b. at
Florence, 1481, d. 1556. Tuscan
School. He studied under the
Sculptor Bertoldo, AlbertineUi, and
Fra. Bartolomeo, and painted his-
torical pieces and portraits : in the
latter subjects he excelled; hev/as also
a good colourist. He painted the
portrait of Michelangelo, with whom
he was intimate, and who aided him
in his works. He painted much in
the style of AlbertineUi.
Works. Florence, Santa Maria
Novella, Martyrdom of St. Catherine:
UflBzj, Holy Family. Bologna Gallery,
St. John in the Wilderness ; Madonna
and Saints. Berlin Museum, Death of
Lucretia ; and two sacred subjects.
{Vasari.)
BUONARROTI. [Michelangelo.]
BUONCONSIGLI, Giovanni, caUed
II Marescalco. Native of Vicenza.
BUONCONSIGLI— CAGNACCI.
Painted 1497-1514. Venetian School.
He painted in the style of the Bellini
School, and lived chiefly at Venice.
Works. Vicenza, San Bartolomeo,
a Pieta, &c. : Oratorio de' Turchini,
the Virgin and Child, with Saints.
Montagnana, the Cathedral. (Eidolji,
Mosca.)
BUONI, SiLVESTRO DE, also Buono,
the son of Buono de' Buoni, and the
pupil of Lo Zingaro, and the Donzelli.
He died ahout 1480, distinguished for
his beautiful works and for his pious
life. His pictures are well coloured
and delicate and effective in their light
and shade, much in the taste of Peru-
gino and the Umbrian School. This
painter, says Dominici, is often
confounded with Silvestro Morvillo,
called Bruno, who lived a century later
than Buono.
Works. Naples, San Pietro Martire,
the Assumption of the Virgin : Santa
Eestituta (now united with the Dome)
the Virgin and Child with the arch-
angel St. Michael and Sta. Eestituta ;
Gallery of the Studj, Death of the
Virgin. Church of Monte Oliveto, the
Ascension of Christ. {Dominici.)
BUPiRINI, Giovanni Antonio, b. at
Bologna, 1G56, d. 17XJ7. Bolognese
School. Pupil of Canuti and of
Pasinelli, he studied and imitated the
works of Paul Veronese, and painted
much in fresco. He belongs to the
Pittori di Macchina, or Machinists, of
the eighteenth century, distinguished
more for the bravura, or facility of
their works, than for their excel-
lence.
Works. Bologna, Palazzo Albergati.
BUSCA, Antonio, b. 1625, d. 1686.
Milanese School. Pupil of Ercole
Procaccini whom he assisted at Turin.
Busca executed several works in Milan,
where he enjoyed a considerable repu- •
tation.
BUTI, LoDovico, painted about
1590. Tuscan School. A pupil of
Santo di Titi. He studied also the
works of Andrea del Sarto.
Works. Florence, Ognissanti, the
Ascension of Christ: UflSzj Gallery, the
Miracle of the Loaves. {Baldinucci.)
BUTTINONE, Bernardino, of
Treviglio, painted 1484, d. about 1520.
Milanese School. Painter and archi-
tect. He was the pupil of Vincenzo
Civerchio. Lomazzo speaks of his ex-
cellent Icnowledge of perspective, on
which he left a treatise in manuscript.
Works. Milan, San Pietro in Ges-
sate, chapel of Sant' Ambrogio.
C AC CIA, Guglielmo, called II
MoNCALVO, h. in Montabone, in the
Novarese, 1568, d. about 1625. Lom-
bard School. He was more celebrated
as a fresco painter than in oils; his
backgrounds have the unusual merit of
a skilful treatment of the landscape, in
which he imitated Paul Brill. His de-
sign seems to have been influenced hy
that of the Eoman School; but his
heads frequently resemble those of Sab-
batini, whom Lanzi supposes to have
been his master. (Tiraboschi, Lanzi.)
Works. Moncalvo, Chiesa dei Con-
ventuali. Milan, Sant' Antonio Abate,
the titular Saint, with St. Paul. Novara,
San Gaudenzio, Deposition from the
Cross : San Paolo, the Cupola.
Orsola, Maddalena, and Francesca,
the daughters of Caccia, painted cabi-
net pictures and altar-pieces, which
somewhat resemble the works of their
father, whom they also assisted in his
pictures.
CAGNACCI, or Canlassi, Guido, b.
at Arcangelo, 1601, d. 1681. Bolog-
nese School. A pupil of Guido Eeni,
and an imitator of his later manner.
He lived and worked much in Ger-
many, principally at the court of Leo-
pold I. At Bologna, in the Zambeccari
Palace, are some of his pictures ; some
are in the Ducal Gallery at Modena.
D
CAIEO— CALIAEI.
CAIRO, Car. Francesco, b. in Varese,
in the Milanese, 1598, d. 1674. Lom-
bard School. A pupil of Pier Fran-
cesco Morazzone. He studied at liome,
and also the works of Titian and of
Paul Veronese at Venice, and deve-
loped a good style : there are many
excellent portraits by him.
Works. Venice, Santa Maria degli
Scalzi, Santa Teresa. Milan, the Bi-era,
San Saverio, Santa Teresa.
CALDARA, PoLiDORO, b. at Cara-
vaggio, about 1495, d. 1543. Lombard
School. He is commonly called Poli-
doro da Caravaggio, and is chiefly cele-
brated for the ornamental works in
chiaroscuro, painted for Raphael in
the Vatican: he was originally employed
at the Vatican about 1512 as a labourer;
Maturino, one of Raphael's assistants,
discovered Polidoro's ability and fos-
tered it. They worked togethei-, and
imitated ancient statues and bas-reliefs,
and ancient sculptured ornaments of
any kind. Few of these works remain,
but some are preserved in prints, as
the Niobe by Galestruzzi. He visited
Naples after the sack of Rome in 1527,
but settled finally at Messina, where
he was assassinated by his servant. In
Messina, Polidoro foi'sook his classical
chiaroscuro for a rich florid style,
somewhat of the tenebrous school, and
of a naturalist tendency. Kugler sug-
gests (in his second edition) that Poli-
doro was the first to indicate that natu-
ralist style which afterwards became
the basis of the Neapolitan School, and
was carried to so great a length by
Michelangelo da Caravaggio and Spag-
nuoletto.
Works. Naples, Studj Gallery, Christ
bearing his Cross (mentioned by Va-
sari as a master-piece). Rome, Corsini
Palace, drawing of the History of Niobe.
Berlin Gallery, St. Luke. Louvre, scene
from the History of Psyche. ( Vasari.)
CALDERARI, Gio. Maria, b. at
Pordenone about 1500, d. about 1564.
Venetian School. A pupil of Porde-
none, whom he imitated so successfully
that the works of the pupil have been
mistaken for those of the master. He
has executed some good works in
fresco at Montereale and Pordenone.
{Lanzi.)
CALETTI, Giuseppe, b. at Ferrara,
about 1600, d. about 1660. Ferrarese
School, called 11 Cremonese. He stu-
died chiefly the works of Dossi and of
Titian, and was a successful imitator of
the latter. He painted Bacchanalian
scenes and sometimes sacred subjects.
At San Benedetto at Ferrara are St.
Mark, and the four doctors of the
Church, by Caletti. (Lanzl.)
CALIARI, or Cagliaei, Paolo, com-
monly called Paul Veronese, b. at Ve-
rona,'l528, d. at Venice, April 20, 1588.
Venetian School. Pupil of his uncle,
Antonio Badile. Venice was the chief
scene of this great painter's career;
Titian seems to have been his great mo-
del, especially for colouring. Though
not equal to Titian in the flesh-colouring
and modelling, and inferior likewise in
character and expression, he yet pos-
sessed all the power of Titian as an
ornamental painter in execution, and
in the vivid brilliancy of his colouring;
in the richness of his draperies and in
tlie transparency of his shadows he
surpassed in his best works all other
masters of his school. He delighted
to treat festive subjects in their most
gorgeous aspect: this love of magnifi-
cence was his passion, hence his scrip-
tural pictures have no religious interest;
as in the pictures of Rembrandt the
costumes, whatever the subject, are
those of his own times. All the pomp
and splendour of the eastern merchant
or oriental prince are displayed in the
simplest representation from the Scrip-
tures. iEsthetically Paul Veronese is
essentially the painter of the Mag-
nificent, in which he has yet scarcely
been approached by any other master.
CALTAEI— CAMBIASO.
35
His greatest work perhaps is the Mar-
riage at Can a, in the Louvre; of pro-
fane subjects, the Rape of Europa, in
the ancient Palazzo della Eepubblica,
at Venice, is one of the most beautiful.
The magnificent architectural back-
grounds of the pictures of this painter
are said to have been the work of his
brother Benedetto Caliaii. Benedetto
Caliari and Carlo and Gabriele, the sons
of Paolo, are known as the " Heirs "
of Paul Veronese, and finished several
works under this title. Carlo died
young in 1596; Gabriele in 1631, aged
63 ; and Benedetto in 1598, aged 60.
Works. Louvre, Paris, several exam-
ples, including the great Marriage at
Cana,from San Giorgio Martire, Venice.
This picture contains about one hun-
dred and twenty heads and figures,
many of which are portraits, comprising
the principal men of Venice of that
time. Venice, San Sebastiano ; Palazzo
Reale; Accademia, Christ Supping with
the Pharisee; and tliirteen otlier pic-
tures. Verona, San Fermo Maggiore.
Vicenza, Santa Corona, Milan, Brera,
Baptism of Christ; and others. Berlin
Gallery, Madonna and Child, with
Angels and Saints; and other works.
Munich Gallery. Dresden Gallerj% Na-
tional Gallery, &c. {Bidolji, Zanctti.)
CALVI, Lazzaro, b. at Genoa in
1502, d. 1606, aged 105. Son of Agos-
tino Calvi, who was the first of the
Genoese painters to discard gold back-
grounds. Lazzaro and his elder brother
Pantaleo were the most distinguished
of the scholars formed by Perino del
Vaga, at Genoa. They painted toge-
ther the fayade of the Palazzo Doria
(now Spinola), at Genoa, which was
considered a complete school of design
for the human figure. Lazzaro exe-
cuted many other works in his long
life, fit Genoa and elsewhere; but ii#
most of them he was assisted by his
brother. He was a jealous and ambi-
tious character; Soprani states that he
poisoned Giacomo Barzone, a clever
young Genoese painter, who promised
to become a serious rival to him.
CALZA, Antonio, b. at Verona, 1653,
d. 1714, Venetian School. He studied
at Bologna, under Cignani; and at
Rome, under the French battle-painter,
Borgognone; and subsequently distin-
guished himself at Bologna for such
battle-pieces and landscapes. {Gua-
rienti.)
CAMAS SET, Andrea, b. at Bevagna,
1602, d. 1648, Roman School. Stu-
died under Domenichino and Andrea
Sacchi, at Rome, He painted in many
of the public edifices at Rome in oil
and fresco, and was skilful in land-
scape.
Works. Rome, The Rotonda, the
Assumption of the Virgin ; the Capuc-
cini, a Pieta; Baptistery of the Late-
ran, the Triumph of Constantine.
{Passeri.)
CAMBIASO, LucA, called also Lu-
chetto da Genova, b. at Moneglia, 1527,
d. in the Escurial, in Spain, 1585. Ge-
noese School, The son and pupil of
Giovanni Cambiaso, a good painter.
Luca was a painter of surprising facility
and power, and he had much of the
Roman style. He went to Spain in
1583, with his son Orazio, and there in
the Escui'ial executed extensive works
for Philip XL, who paid him 12,000
ducats for a fresco of Paradise on the
ceiling of the choir of the church of
San Lorenzo, probably the largest sum
up to that time in the history of modern
Art ever paid to the artist for a single
work.
Works. Genua, San Francesco di
Paula; Palazzo Pallavicini; Palazzo
Spinola, Serralba (near Genoa), Pa-
lazzo Imperiale, the Rape of the
Sabines. The Escurial, the ceiling of
the Choir, representing Paradise ; John
the Baptist preaching in the Wilder-
ness (in oil). {Soprani, Cean Ber-.
mudez. )
D 2
86
CAMPAGNOLA— CANTAEINI.
CAMPAGNOLA, Domenico, the son
or scholar only of Giulio, and nephew
of Girolamo Campagnola, lived at Pa-
dua, 1518-1543. Venetian school. He
studied in the School of Titian, was a
good imitator of that master, and ex-
cited his jealousy. He was an excellent
fresco-painter, a landscape-painter, and
an engraver. Several of his plates are
dated 1517.
Works. Florence, Pitti Palace, Adam
and Eve. Padua, Scuola del Santo :
the Duomo : Palazzo del Podesta :
Palazzo Giustiniano al Santo: Scuola
del Carmine: Library of the Univer-
sity. (Brandolese, A I. Zanetti.)
CAMPI, Bernakdino, h. at Cremona,
1522, d. 1592. Lombard School. He
was the pupil, and probably the rela-
tion, of Giulio Campi. He was an
enthusiastic student of the works of
Eaphael, and eventually rivalled his
kinsman, Giulio Campi, though he
appears never to have visited Eome.
Bernardino was a good portrait-painter.
Works. Cremona, San Gismondo,
the Cupola. Louvre, a Pieta. Antonio
and Vincenzio Campi, also painters,
were of the same family. (Zaist.)
CAMPI, Giulio, b. at Cremona
about 1500, d. 1572. Lombard School.
The head of the Eclectics of Cremona,
and the son of Galeazzo Campi, a mas-
ter of the quattrocento, who instructed
his son in the simjDler elements of his
art, and then placed him with Giulio
Romano, at Mantua, under whom he
became a great master. He attempted
the combination of the excellences of
the Northern and Roman Schools, and
is called the Ludovico Caracci of Cre-
mona. His brothers Antonio and Vin-
cenzio, his pupils and assistants, also
acquired great reputation. The Campi
are the great Macchinisti of Lombardy.
Works. Cremona, Santa Margherita :
Sant' Agostino : San Gismondo. Bres-
cia, Palazzo Communale, Sala del Con-
siglio, frescoes. Rocca di Soi-agno, the
Peats of Hercules. Mantua, Dome of
San Girolamo. Milan, San Paolo.
{Zaist.)
CAMPIDOGLIO, Michelangelo
Pace, called del, h. at Rome, about
1600, d. about 1670. Roman School.
A pupil of Fioravente, distinguished in.
the same class of work. He painted
fruit, flowers, &c. with great mastery.
{PascoU.)
CAMPOLO, Placido, h. at Messina,
1693, d. 1743. A Messinese painter;
studied at Rome under Sebastiano
Conca, and copied the works of Raphael,
and the antique marbles. He returned
to Messina in 1731, and painted the
ceiling of the Galleria del Senato, in
fresco. {Hackert.)
CANAL, Antonio, called II Cana-
LETTO, h. at Venice, Oct. 18, 1697, d. at
Venice, Aug. 20, 1 768. Venetian School.
He was originally a scene-painter, but
studied long in Rome, and acquired a
European reputation by the truth and
accuracy of his architectural prospects
of Venice. His style is hard, but his
pictures appear to have much darkened
through time; they are remarkable for
their correct perspective and elaborate
detail; he used the Camera Lucida.
The figures in his pictures were some-
times introduced by Tiepolo. There
is an excellent collection of Can alette's
works belonging to her Majesty at
Windsor. (ZcmettL)
CANALETTO, Bernaedo, or cor-
rectly, Bellotto, b. at Venice, 1724,
d. at Prague, 1780. Venetian School.
The nephew and pupil of Antonio, in
whose style he painted so perfectly,
that the works of the two cannot be
distinguished. Bellotto lived much in
Germany ; at Dresden is a fine collec-
tion of his works, in a distinct gallery,
called " The Thiele and Canaletto Col-
lection."
CANTARINI, SiMONE, called Tl
Pesaeese, b. at Oropezza, 1612, d. at
Verona, October 15, 1648. Bolog-
CANTAEINI— CAEDUCCIO.
37
nese School. He studied under Pan-
dolfi, Claudio Eidolfi, and afterwards
at Bologna with Guido. He spent also
some time at Rome. In execution,
Cantarini was perhaps the best of all
the Carracceschi and the rival of Guido
himself, to whom he was even superior
in the extremities ; his portraits are
admirable ; as are his heads generally.
He was inordinately vain of his abilities,
and accordingly disagreeable, and it is
supposed that he was poisoned: he
died at the early age of 36. He etched
several plates in a masterly manner.
Works. Pesaro, at the Philippines,
the Magdalen ; at the Predicants, San.
Domenico. Cagli, at the Franciscans,
Sant Antonio; Rimini; San Jacopo;
the Titular ; and San Pietro. Bologna
Gallery, portrait of Guido (a master-
piece); and two sacred subjects. Milan,
Brera, Transfiguration. Louvre, seve-
ral specimens. {Malvasia.)
CANUTI, Domenico Maria, b. at
Bologna, 1620, d. 1684. Bolognese
School. Among the best of the pupils
of Guido, who followed his later
manner; and an excellent fresco-
painter.
Works. Bologna, Church of P. P.
Olivetani, Descent from the Cross,
called the Notte del Camtti : Academy,
San Benedetto, the Virgin in Glory;
Palazzo Pepoli. Rome, Palazzo
Colonna. {Malvasia.)
CAPANNA, or Campana, Puccio,
painted about 1334. Tuscan School.
One of the followers of Giotto. He
painted in the church of San Francesco,
at Assisi ; after the death of Giotto :
several of these works are preserved,
also the frescoes of the Cappella di
San Lodovico; and a Santa Maria
Egiziaca, in San Francesco, at Pistoja.
( Vasari. )
CAPELLO, Gio. Antonio, h. ok
Brescia, 1669, d. 1741. Venetian
School. A pupil of Pompeo Ghitti ;
he studied also at Bologna under
Lorenzo Pasinelli, and at Rome under
G. B. Gaulli. He painted in fresco
and in oils, chiefly at Brescia, where
are works by him in many of the
churches. (Ticozzi.)
CAPPELLINO, Gio. Domenico, b.
at Genoa, 1580, d. 1651. Genoese
School. A pupil of Gio Battista Paggi.
There are several of his works in the
churches of Genoa. (Soprani.)
CARACCIOLO, GiAMBATTisTA, b. at
Naples, 1580, d. 1641. Neapolitan
School. He was a pupil of Michel-
angelo da Caravaggio ; and studied
also the works of Annibal Carracci
in the Farnese Gallery at Rome ; but
the naturalism of Caravaggio had a
greater influence upon his style.
Caracciolo joined Spagnoletto and
Corenzio, in a conspiracy to prevent
all talented strangers by persecution
from establishing themselves as
painters in Naples.
Works. In the churches of Santa
Maria della Solitaria : Sant' Anna dei
Lombardi: Sant' Agnello, &c., at
Naples. (jDominicL)
CARAVAGGIO. [Ameeighi, Cal-
DARA.]
CARBONE, Gio. Bernardo, b. at
Albaro, 1614, d. 1683. Genoese
School. A pupil of Andrea de'
Ferrari, an historical and portrait-
painter, in the latter branch dis-
tinguished. His portraits are said
to have much of the style of those of
Vandyck. {Ratti.)
CARD!. [CiGOLi.]
CARDISCO, Marco, called Marco
Calabrese, painted from 1508, to
1542. Neapolitan School. Said to
have been the pupil of Polidoro da
Caravaggio. He painted at Naples
and its vicinity; his best works are in
the church of Sant' Agostino, at
Aversa. (Vasari.)
CARDUCCIO, Bartolomeo, b. at
Florence, about 1560, d. at Madrid
1608. Tuscan School. Pupil of
CAEDUCCIO— CAEOTTO.
Federigo Zucchero, whom be assisted
in the great cupola at Florence, and
afterwards accompanied to Madrid in
1585. Carduccio was many years in
the service of the kings Philip II. and
III. ; he painted a great portion of the
frescoes in the cloisters of the Escu-
rial, and executed many other works
in Spain. His brother Vincenzio, who
had shared his labours in Spain, suc-
ceeded him as painter to Phihp III.
in 1600. Cean Bermudez states that
the arts were greatly advanced by
these painters in Spain. Vincenzio
educated a numerous school, and
published a book of Dialogues on
Painting, in Spanish. He died 1636.
His principal work is the series on the
Life of St Bruno and other Saints, in
the Carthusian convent of Paular.
CARIANO, Giovanni, h. at Bergamo,
about 1480, living 1519. Venetian
School. Eidolfi calls him a follower
of Giorgione ; he painted portraits
and historical subjects, and excelled in
the former : his best works are at
Bergamo; in San Gottardo, is the
Virgin and Saints, which, says Tassi,
Zuccarelli pronounced one of the
finest pictures in Italy ; it was painted
about 1510. {Tassi.)
CAELONI, Gio. Battista, h. at
Genoa, 1594, d. 1680. The brother
and assistant of Giovanni, and also the
pupil of Passignano ; he completed the
unfinished works of his brother, and
executed extensive works in fresco, in
the cathedral of the Guastato at
Genoa, and other churches. He is
considered superior even to Giovanni
in design and in the delicacy of his
fresco tints, with the same brilliant
efiect of colouring. The painters of
this name are numerous in the
Genoese School. Giovanni Batista
had twenty-four children by his wife
Niccoletta Scorza, and several of his
sons painted. {Ratti.)
CAELONI, Giovanni, 6. at Genoa,
about 1590, d. at Milan, 1630. Genoese
School. Studied at Florence under
Domenico Passignano and painted in
a good style many frescoes in Milan,
Genoa, and other towns, imitating the
works of Tavarone, whom he surpassed
in colour and in the correctness of his
outline.
CARNOVALE, Fea, or Bartolomeo
Coradini of Urbino ; hving 1485. This
early Umbrian painter was probably
the pupil of Fra Jacobo of Venice, of
the same confraternity. He was the
best painter of Urbino of his time ;
Bramante studied his works, and Pun-
gileoni supposes him to have been the
master of Giovanni Santi, the father of
Eaphael. Fra Carnovale was unques-
tionably one of the better quattrocento
masters.
Works. Milan, Brera, the Virgin
and Child, with Saints. This is the
portrait of the Duchess of Urbino,
Battista Sforza, with her Child; the
Duke is kneeling on her left, in the
act of adoration ; painted 1472 ; it is
engraved in RosinL {Marchese.)
CAEOSELLI, Angelo, b. at Eome,
1585, d. 1653. Eoman School. Was
an imitator of Michelangelo da Cara-
vaggio. He painted chiefly portraits
and small figures, was an admirable
copyist, and, says Passeri, " a good
restorer of old pictures." The same
authority says " he painted some pic-
tures for Charles I. of England."
CAEOTTO, Gio. Francesco, h. at
Verona, 1470, d. 1546. Venetian
School. Studied under Liberale and
Andrea Mantegna at Mantua; and
painted in the same severe style of
form, with the addition of a warmer
colouring. He advanced in the free-
dom of his style with the rapid develop-
ment of art in his time ; combining
Venetian, Lombard, and Eoman ex-
cellences of colour, light, and shade,
and form. He excelled in landscape,
like many other Venetians subsequent
CAKOTTO— CAEEACCL
39
to Titian. His brother Giovanni was
a painter.
Works. Sant' Eufemia, Archangel
Michael, and Saints ; on the side wall
the History of Tobias : San Giorgio :
San Fermo Maggiore. Frankfort,
Stadel Institute, a small Madonna and
Child. Berlin Gallery, Virgin and
Child, with Angels. (Vasari.)
CAKPACCIO, ViTTORE, 6. at Venice,
about 1450, living in 1522. Venetian
School. John BelUni, Marco Basaiti,
and Vittore Carpaccio, were the three
principal painters of Venice of their
time. Carpaccio is distinguished by
the uniform general excellence of all
departments of his pictures in accord-
ance with the peculiar development of
his art in his time ; but he belongs
strictly to the quaUrocentisti. Some of
his works are in tempera. A Benedetto
Carpaccio painted in 1537-41.
Works. Venice, Academy, the Pre-
sentation in the Temple, and eleven
other pictures, from various churches
and religious houses, eight representing
the History of St. Ursula (1495), others
illustrating the Miracles of the Cross,
&c. San Vitale, an altar-piece. Milan,
the Brera, four pictures. Berlin Gal-
lery, St. Peter blessing St. Stephen
and other Believers. Paris, Louvre,
the preaching of St. Stephen. (Fa-
saH.)
CARPI, GiROLAMO (BlANCHi) DA, 6.
at Ferrara, and died there in 1556,
aged 55 according to Vasari, or 68
according to Tiraboschi. Ferrarese
School. A pupil of Garofolo. He
painted many excellent portraits at
Bologna ; and applied himself with
great industry at Parma, to the study
and copying of the works of Corregio.
Da Carpi executed several frescoes in
company with Garofolo after the return
of the latter from Rome, and several
independently for the Duke Ercole A.
of Ferrara ; a series of the Princes of
Este at the palace of Copario, and
others. Girolamo was also an archi-
tect ; he visited Rome, and served
Innocent III. in that capacity.
Works. Ferrara, Santa Maria in
Vado, a Miracle performed by St. An-
thony of Padua ; Cathedral. Rovigo,
San Francesco. Bologna, San Martino
Maggiore, the Adoration of the Magi ;
San Salvatore, Madonna and Child,
with Saints. Dresden Gallery, Ma-
donna di San Sebastiano. {Vasari^
Tiraboschi.)
CARPIONI, GiULio, b. at Venice,
1611, d. at Verona, 1074. Venetian
School. A pupil of Padovanino. He
painted historical subjects, and also
bacchanalian scenes and capried. His
works are usually of a small sixe : he
was a good portrait-painter, and etched
several plates. {Orlandi.)
CARRACCI, Agostino, b. at Bologna,
August, 1559, d. at Parma, March 22,
1601. Bolognese School. His father
was a tailor ; he was placed first with a
jeweller, and then by the advice of his
cousin Lodovico Avith Prospero Fon-
tana, and afterwards with Domenico
Tibaldi, and Cornelius Cort, with the
latter of whom he paid particular at-
tention to engraving, with which he
was always more occupied than paint-
ing. Agostino was the most active
teacher in the Academy until 1600,
when he accompanied his brother to
Rome; he stayed there, however, a
short time, and then entered the ser-
vice of the Duke Ranuccio of Parma.
Agostino Avas the most learned of the
CaiTacci,liewas also the best colourist;
and he ranks amongst the best en-
gravers of his time. The Communion
of St. Jerome, by him, is one of the
most important pictures in the Bo-
lognese Gallery. He painted very few
pictures. Antonio Caeeacci, h. at
Venice, in 1583, was the son of Ago-
stino : he died at Rome, in 1618. In
the Louvre is a picture of the Deluge
by him.
40
C A.EKAC CI— C AEK AC CI.
Works. Bologna Academy, the
Communion of St. Jerome. Louvre,
infant Hercules strangling the ser-
pents. National Gallery, Cephalus and
Aurora and Galatea, two Cartoons,
made for frescoes in the Farnese Gal-
lery, Eome. (Malvasia.)
CAERACCT, Annibale, l. at Bo-
logna, 1560, d. at Eome, July 15, 1609.
Bolognese School. The younger bro-
ther of Agostino. His early youth
was spent in his father's shop, hut his
cousin Lodovico rescued him from
tailoring and made a painter of him.
Annibale was an active teacher in the
school, but more by example than pre-
cept. In 1600 he went to Eome by
the imatation of Cardinal Odoardo
Farnese, for whom he painted the
celebrated gallery of the palace of that
family at Eome ; it was completed
about 1604. It is a great work, but is,
sesthetically, little more than an ex-
ample of high technical skill : it shows,
however, those qualities most com-
monly aimed at by painters, and those
most easily understood and most
generally applauded : — fine drawing, in
a taste combining both the qualities of
the Vatican Stanze, and the Sistine
chapel, with difficult and skilful fore-
shortenings, and a gay efiective light
and shade ; the compositions also are
exquisite, but these otherwise excellent
frescoes do not even suggest the
slightest notion of expression or senti-
ment, beyond Avhat may be conveyed
by the mere play and attitude of
healthy limbs. The subjects are from
classical mythology : the whole Gallery
is engraved by Carlo Cesio. Annibale
was one of the few of the earlier
Italians who paid attention to land-
scape ; some of his backgrounds of
this class are of a fine character; in
some woi'ks the landscape is the prin-
cipal.
Works. Bologna, Gallery of the
Academy, Madonna and Child, with
angels and saints ; and five other works.
Dresden Gallery, St, Eoch. Florence,
Uffizj, Tribune, Holy Family; and
Bacchante. Eome, Farnese Palace ;
chapel of San Diego, in San Gia-
como degli Spagnuoli ; Doria Palace ;
landscapes. Louvre, a Pieta and
twenty-four other pictures. Castle
Howard, the three Marys, and other
pictures. London, National Gallery,
Erminia takes Eefuge Avith the Shep-
herds; Domine quo vadis ; two land-
scapes, and four other specimens.
{Malvasia, Passeri.)
CAEEACCI, LoDOVico, b. at Bo-
logna, April 21, 1555, d. Dec. 13, 1619.
He Avas the pupil of Prospero Fontana
and Passignano at Florence, and the
founder of the Eclectic School of Bo-
logna. The famous school of the
Carracci was opened in 1589, carried on
by the cousins conjointly to 1600, and
by Lodovico alone until his death.
They professed to show how a painter
might become perfect, by endea\'our-
ing to acquire the respectiA'e excellen-
cies of the various Caplmaestri of the
great Italian schools. It is this selec-
tion from several which constitutes
their Eclecticism. It is the substantial
principle of all academies, various
great masters ^being held up as the
special models of imitation in the
difierent departments of the art.
Though such an attempt must ever
be hopeless, as it reduces the art to
simple copying, and supposes all men
to be similarly endowed. The best
productions of Lodovico and of his
scholars, exhibit qualities that elevate
them very much above the ordinary
inanities of the Macchinisti and man-
nerists of their time. Lodovico was
simple, and even sombre in his colour-
ing, and his Avorks are distinguished
for a solemn light and shade, which is
perhaps carried to excess. The merits,
however, of the CaiTacci, were almost
exclusively technical ; drawing, colour-
CAEKACCI— CASTAGNO.
41
ing, and even composition may be
reduced to rules, but invention, ex-
pression, sentiment, to be genuine
must proceed from individual percep-
tion. The masters they particularly
held up as models were, Eaphael, Mi-
chelangelo, Titian, Correggio, Tibaldi,
Primaticcio, Parmigiano, and Niccolo
deir Abate.
Works. Bologna Academy, the
Transfiguration; the Calling of St.
Matthew ; the Virgin enthroned ; and
ten other pictures in oil : cathedral,
Annunication (fresco). London, Nation-
al Gallery, Susannah and the Elders.*
Belvisi enumerated 78 pictures' by
Lodovico in Bologna, and 75 else-
where in 1825, besides 53 others lost
or dispersed. {Malvasia, Belvisi.)
CAKKIEKA, RosALBA, b. at Venice,
1675, d. 1757. Venetian School. A
pupil of Gio A. Lazari, of Diamantini,
and Balestra. She painted miniatures ;
but devoted herself chiefly to drawing
in crayons (or Pastell-painting), in
which she was very successful in por-
traits, and gained a European reputa-
tion. There are many examples of
her pastell drawings in the gallery at
Dresden. {Zanetti.)
CARRUCCI. [PONTORMO.]
CASENTINO, Jacopo di, painted
1351, rf. 1380. Tuscan School. Pupil
of Taddeo Gaddi ; he painted in the
style of his own time, when he was
considered a good fresco-painter : he
was also an architect, and one of the
founders of the Florentine Academy.
At Florence, in the church of Or San
Michele, are traces of his works ; also
at Arezzo in the cathedral, and in San
Bartolomeo. (Vasari.)
CASOLANI, Alessandeo, b. at
Siena, 1552, d. Jan. 20, 1606. Sienese
School. A pupil of Salembeni and
Roncalli. ^
Works. Siena, Chiesa del Carmine,
the Martyrdom of St. Bartholomew.
{Baldimicci.)
CASSANA, Niccolo, called Nicco-
letto, b. at Venice, 1659, d. in London,
1 714. Son and pupil of Giovanni Fran-
cesco Cassaua. He imitated the works
of Strozzi, and painted portraits with
great success. One of his historical
works, the Conspiracy of Catiline, is in
the Gallery of Florence, where he
painted for some years in the service
of the Grand Duke Ferdinand. He
painted also several portraits in Eng-
land, where he was court-painter to
Queen Anne. {Batii.)
CASTAGNO, Andrea del, some-
times called the Infamous, b. at Cas-
tagno, in Mugello, about 1406, d. about
1480. Tuscan School, He was the con-
temporary of Masaccio ; but inferior to
him, though a good painter for his time ;
and is most remarkable as being the
first Florentine who attempted the
new method of oil-painting, a secret
which he learnt of Domenico Vene-
ziano, engaged with Castagno in Santa
Maria Nuova. Some works on the walls
of the Portinari chapel, by these two
painters, long since perished, are the
first oil pictures of this class known to
have been executed in Italy : and Va-
sari relates that when Andrea succeeded
in getting his secret from Domenico, he
assassinated him, about the year 1463.
Up to that time Andrea had painted in
distemper, and the pictures by him
preserved in the Florentine Academy
are in this method : he must have
been upwards of fifty years of age be-
fore he commenced oil painting. This
painter is sometimes called Andrea
degli Impiccati, from the pictures of the
Pazzi, and other conspirators con-
cerned in the death of Juliano de
Medici, whom he represented in 1478
hanging, with their heads downwards,
on the facade of the palace of the Po-
desta : it was considered Andrea's best
work, but it has long since perished.
Works. Florence, at the Monasteries
degli Angeh, and San GiuHano ; and at
42
CASTAGNO— CASTEO.
Legnaia, frescoes : in the Academy,
St. Jerome in the Desert, Mary Magda-
lene, John the Baptist, and another pic-
ture. In the Berlin Museum are two
tempera pictures, attributed to Castagno,
a St. Jerome, and a Pieta. ( VasarL)
CASTE LLO, Bernardo, b. at Albaro,
near Genoa, 1557, d. 1629. Genoese
School. A pupil of Andrea Semini
and of Lucca Cambiaso. He painted
in a rapid and superficial manner, and
gained a great reputation at Genoa,
where his works in fresco and in oil
abound. He was the friend of Marino
and Tasso, and made many designs
for the " Jerusalem Delivered " of the
latter, published in 1590, some of which
were engraved by Agostino Carracci.
His youngest son Valerio Cas-
TELLO, who died in 1659 in his 34th
year, was also a distinguished fresco-
painter. There are several excellent
works by him in the churches of
Genoa ; and a Eape of the Sabines in
the Palazzo Brignole, by some accounted
his master-piece ; it is somewhat in
the style of Paul Veronese. Valerio
painted also battle-pieces, and other
small easel pictures. {Soprani.)
CASTELLO, Castellino, b. 1580,
d. 1649. Genoese School. A pupil of
Gio Battista Paggi. He executed many
works, and was an excellent portrait-
painter. (Soprani.)
CASTELLO, GiACOMO da, a Vene-
tian painter of birds and animals, who
lived about 1600. His pictures of
birds in some private collections of
Venice are excellent. (Lanzi.)
CASTELLO, Giovanni Battista,
called II Bergamasco, b. at Bergamo,
about 1500, d. at Madrid, 1569. Ge-
noese School. A pupil of Aurelio
Busso. He studied also in Kome,
where he became likewise an architect.
He painted, in conjunction with Luca
Cambiaso,the last Judgment on the walls
of the Nunziata di Portoria at Genoa.
He executed other good works at Genoa,
especially a large fresco in the Palazzo
Grillo, representing Dido's entertain-
ment of ^neas. In 1 567 he was invited
to Spain by Philip IL, and appointed
architect of the royal Palaces : he was
also engaged on several works in fresco,
which were interrupted by his death.
His sons, Fabriccio and Granello, as-
sisted him, and carried on his works in
Spain. There was another Giovanni
Battista Castello of Genoa, who was a
celebrated illuminator, and who was
employed by Philip in Spain, He
died at Genoa, in 1637, aged 90. {So-
prani, Cean Bermudez.)
CASTELLUCCI, Salvi, b. at Arezzo,
in 1608, d. 1672. Was a clever fresco-
painter of the school of Pietro da Cor-
tona; he executed many showy works
at Arezzo, and painted some good
easel pictures in oil, which are richly
coloured. {Lanzi.)
CASTIGLIONE, Gio. Benedetto,
called II Grechetto, b. at Genoa, 1616,
d. at Mantua, 1670. Genoese School.
Studied under Paggi and Gio. Andrea de'
Ferrari : he painted history, portraits,
landscapes, and animals. He excelled
more especially in pastoral landscape
and animals, in which class of works
he acquired a great reputation : he has
not yet had his superior in Italy. In
the churches of Genoa are many of
his works : in San Luca, the Madonna
di Castello, and others ; and in the
Palazzo Brignole. Paris, in the
Louvre, are eight characteristic pictures
by Castiglione. He is also distinguished
for many admirable etchings, remark-
able for their effective light and shade.
Salvatore the brother, and Francesco
the son, of Gio. Benedetto, painted
landscapes and animals in a similar
style. {Soprani.)
CASTEO, GiAcoMO di, b. in the
Piano di Sorrento, 1597, d. 1687.
Neapolitan School. Studied under
Gio. Battista Caracciolo, and afterwards
under Domenichino : he painted at
CASTEO— CAVALLINO.
48
Naples, and at Sorrento, where at Sant'
Aniello, the Sposahzio, the Annuncia-
tion, and the Archangel Michael expel-
ling Lucifer from Paradise, are his
principal works. He was a celebrated
picture restorer. {Dominici.)
CATENA, ViNCENZio, b. at Venice,
about 1470, d. about 1532. Venetian
School. Accounted amongst the scho-
lars of Gio Bellini, who at first painted
in the severe manner of that master;
his later productions are more broadly
treated, in the manner of Giorgione.
He painted some excellent portraits
and cabinet' pieces, by which he ac-
quired a great reputation during his
life-time.
Works. Venice, Academy, the Flagel-
lation of Christ; Madonna and Child,
with St. Francis, and St. Jerome ; San
Girolamo ; Sant' Agostino : Manfrini
Gallery, Adoration of the Kings. Ber-
lin Museum, Madonna and Saints;
Portrait of Eaimond Fugger. {Ridoljiy
Zanetti.)
CATI DA Jesi, Pasquale. Roman
School. Executed many works in Rome
during the latter part of the sixteenth
century, of which the Martyrdom of
St. Lawrence, in fresco, in the church
of San Lorenzo, in Paneperna, painted
for Gregory XIIL, is his principal
work, showing that he was one of the
better followers of the anatomical
school of Michelangelo. {Baglione.)
CATTANIO, CosTANZo, b. 1602, d.
1665. Ferrarese SchooL He studied
under Ippolito Scarsellino, and after-
wards with Guido Reni : he was fond
of representing soldiers and banditti, to
whom he gave a ferocious and bravo-
Uke expression ; but he sometimes dis-
played the more characteristic delicacy
of the school of Guido, in his rehgious
pieces.
Works. Ferrara, Church of Sap
Giorgio, the Flagellation, and the Ecce
Homo: Santo Spirito, the Annuncia-
tion. (Baruffaldi.)
CAVAGNA, Gio. Paolo, b. in the
neighbourhood of Bergamo, about 1550,
d. May 20, 1627. Venetian School.
He studied first at Venice, in the
school of Titian, and became after-
wards a pupil of Gio. Battista Moroni,
at Bergamo. He was a good portrait-
painter, and also painted history, much
in the style of Paul Veronese, and little
inferior to that master: he excelled as
a fresco-painter. His son Francesco,
called Cavagnuola, was likewise a
painter of considerable merit.
Works. Bergamo, Santa Maria, Mag-
giore, the Assumption of the Virgin ; the
Nativity; Esther and Ahasuerus : Santa
Lucia, the Crucifixion, with many
Saints, in Sto. Spirito, and other
churchs. (Tassi.)
CAVALLINT, Pietro, b. at Rome,
and died at an advanced age about
1344. Roman School. He was archi-
tect, Mosaic-worker, and painter, and
was the contemporary, if not the pupil,
of Giotto, whom he assisted in the
Mosaic of the Navicella, in St. Peter's
at Rome. He executed also some
original Mosaics, in the Basilica of San .
Paolo, and in Santa Maria, in Traste-
vere. He painted some frescoes at
Florence, Orvieto, and Assisi, of which
there are still remains, and as they are
inferior to those of Giotto, it is not im-
probable that he was an older painter ;
and he may, as Vertue suggests, have
beeen the Petrus Romanus Civus of the
inscription on the shrine of Edward
the Confessor^ in Westminster Abbey,
1279.
Works. Assisi, San Francesco, the
Crucifixion. Rome, Santa Maria, in
Trastevere, the Life of the Virgin.
(Vasari.)
CAVALLINO, Beenardo, b. at Na-
ples, Dec. 10, 1622, d. 1656. Nea-
politan School. A pupil and imitator
of Massimo Stanzioni, but Rubens was
his model for colouring. He painted
sacred and profane subjects on a small
44
CAVALLINO— CEEEINI.
scale, on canvas and on copper. His pic-
tures are rare, except in the collections
of Naples and in Spain. (DominicL)
CAVALUCCI, Antonio, b. at Sermo-
neta, 1752, d. at Rome, 1795. A painter
of the modern Roman School. He
painted, originally, miniature, and be-
came the rival of Mengs and Batoni,
at Rome : he excelled chiefly as a
colourist. The family of the Gaetini
at Rome, possess some of his works,
and in the Palazzo Cesarini is a Ve-
nus and Ascanius. San Francesco di
Paola, in the Casa Santa, at Loreto,
and Santa Bona, in the cathedral at
Pisa, are considered his master-pieces.
{Lanzi.)
CAVAZZONI, Francesco, b. at Bo-
logna, 1559, living in 1612. Bolognese
School. Studied first under Bartolom-
meo Passerotti, and later, in the school
of Ludovico Carracci. His pictures
have the characteristic good drawing
and good colouring of the school of
the Carracci.
Works. Bologna, Santa Madalena
di Via, the Magdalen at the Feet of
Christ ; St. Cecilia ; the Crucifixion ;
San Giovanni, in Monte, St. John
preaching. (Crespi.)
CAVEDONE, Jacopo, b. at Sassuolo,
in the Modenese, 1577, d. at Bologna,
1660. Bolognese School. An able
scholar of the Carracci. In his best
works, he imitated successfully the
colouring of Titian ; his later works
are inferior, owing to his many misfor-
tunes; he died in a state of extreme
indigence.
Works. Bologna, Academy, the Vir-
gin and Child in glory, San Petronio
and other Saints, his master -piece,
painted in 1614 ; San Pietro Martire :
San Paolo, the Nativity and the Adora-
tion of the Magi. Paris, Louvre, St.
Cecilia before the organ. {Tlraboschi,
Giordani.)
CECCO DI Martino, painted about
1380. Sienese School.
CELESTI, Cav. Andrea, b. at A^e-
nice, 1637, d. 1706. Venetian School.
Pupil of Matteo Ponzone. In his
flowing outline and gorgeous draperies,
he seems to have taken Paul Veronese
as his model; his colouring is rich, but
too positive, the middle tints having
disappeared in some of his pictures,
perhaps owing to the practice of paint-
ing on dark grounds. He painted his-
tory, sacred and profane, landscapes,
genre; and cabinet-pieces, gallery-pieces,
and altar-pieces ; and was distinguished
for a surprising facility of execution.
In the Church of the Ascension at Ve-
nice is the Adoration of the Magi, by
Celesti ; but he is now nowhere better
seen than in the Gallery at Dresden.
Works. Bacchus and Ceres; Sam-
son delivered into the power of the
Philistines ; the Murder of the Inno-
cents ; and the Adoration of the Golden
Calf. (Boschini.)
CERQUOZZI, Michelangelo, call-
ed Michelangelo delle Battaglie, b. at
Rome, 1602, d. 1660. Roman School.
A pupil of Pietro Paolo Bonsi, il Gobbo
de' Carracci. Cerquozzi was a cele-
brated genre and battle painter; he
painted also fruit and flowers. Cer-
quozzi has also the surname of delle
Bambocciate ; he was a complete and
successful imitator of Peter Laar; in
his style of colouring, be belongs to
the tenebrosi. His master-piece was
considered Masaniello in the Market-
place at Naples, now in the Spada Pa-
lace, Rome.
Works. Rome, Salviati Palace, the
four Seasons : Spada Palace, Masani-
ello ; the Dead Ass, Berlin Museum,
the Entrance of the Pope into Rome.
Louvre, an Italian Masquerade. {Pas-
seri.)
CERRINI, Gio. DoMENico, called
II Cavaliere Periiglno, b. Oct. 24, 1609,
d. 1681. Roman School. A pujjil of
Scaramuccia and of Guido. His pic-
tures, it is reported, were frequently
CEREINI— CHIAEI.
45
touched by Guido, and were sold as the
origiual works of that master. Cerrini
was distinguished for his elegant co-
louring, and graceful heads. {Pas-
coli.)
CP^RVI, Bernardo, d. 1630. Lom-
bard School. A pupil of Guido; he
painted some excellent frescoes in the
Dome at Modena, and several altar-
pieces in the churches of that town.
His drawing was correct, and much
admired by Guido. (Vedriani.)
CESARI, Cav. Guiseppe, b. at
Rome, about 1568, d. 1640. Roman
School. He is sometimes called the
Cavaliere d'Arpino, from his father's
native place. He was the most popu-
lar painter in Rome of his age, and at
the same time the most energetic and
the most superficial. Neither Cara-
vaggio nor Annibal Carracci succeeded
in any degree in diminishing Cesari's
popularity; he survived them both for
thirty years; he was the head of the
so-called Idealistic in contradistinction
to the Naturalisti, of which school
Caravaggio was the head. His works
are executed with great spirit, but with
an utter disregard of nature, except,
perhaps, in his horses, in which he
certainly excelled : his design is slight
and incorrect, heads, hands, draperies,
all undefined, indeed, little more than
indicated, but executed with such dash-
ing facihty, as to ensure the popular
applause. His brother and assistant,
Bernardino Cesari, died before him.
Works. Rome, Capitol, in the Con-
servatorio, the Story of Romulus and
Remus, and other events from Roman
history (Cesari was engaged at inter-
vals for fory years on these frescoes).
Monte Cavallo, frescoes in the choir of
San Siivestro. (Baglione.)
CESI, Baetolomeo, b. at Bologna,
1556, d. 1629. Bolognese School. ^
pupil of Francesco Bezzi; he studied
also the works of Pellegrino Tibaldi.
His pictures were much admired by
the Carracci, and studied by Guido.
His tints are delicate, and his attention
to nature was much greater than that
of other artists of his time ; he painted
more in fresco than in oils.
Works. Bologna, Certosa, Christ in
the Garden, and Descent from the
Cross: San Giacomo Maggiore, the
Virgin and Infant in the Clouds : Pa-
lazzo Favi, frescoes, illustrating the
life of iEneas. He executed also
excellent works at Ferrara, Florence,
and Siena. (Malvasia.)
CESIO, Carlo, b. near Rieti, 1626,
d. 1686. Roman School. A pupil of
Pietro da Cortona, in whose style he
painted. Cesio executed several good
frescoes in Rome, but is better known
as an engraver, especially for his series
of the " Farnese Gallery," by Annibal
Carracci.
CHENDA, Alfonso Rivarola, called
II, b. 1607, d. 1640. Ferrarese School.
The best pupil of Carlo Bonone; he
completed the Marriage of the Virgin
at Santa Maria in Vado, at Ferrara,
which his master had only sketched.
In the churches of San Niccolo, Sant'
Agostino, and San Guglielmo are some
of his original works. {Tiraboschi,
Lanzi.)
CHIAPPE, Giovanni Battista, h.
at Novi, 1723, d. 1765. Genoese School.
Studied in Rome, painted chiefly at
Milan, and was, says Ratti, the last
Genoese artist of great merit. In the
church of the Jesuits, St. Ignazio, at
Alessandria, is a large picture by him
of the patron, Loyola.
CHIARI, Giuseppe, b. at Rome,
1654, d. about 1727. Roman School.
An able pupil of Carlo Maratta. He
finished some of the pictures of his
master, as also some of tbose of Pietro
da Cortona. His cabinet and easel
pictures are his best works.
' Works. Rome, Spada Palace, four
pictures representing subjects from
Ovid: Santa Maria del Suffragio, the
CHIAEI— CIMABUE.
Adoration of the Magi. Colonna and
Barberini Palaces, frescoes.
CHIAKINI, Maec Antonio, b. near
Bologna, 1652, d. 1730. Bolognese
School. A pupil of Francesco Quaino
and Domenico Santi. He painted ar-
chitectural views and landscapes, in
which Sigismondo Caula frequently
inserted the figures. He executed
many works for the Palaces of Bo-
logna; and at Milan, and Vienna.
CHIAVISTELLI, Jacopo, b. at Flo-
rence, 1618, d. 1698. Tuscan School.
A pupil of Fahrizio Boschi and of
Michelangelo Colonna. He painted
architectural and perspective views, in
fresco and in oil, at Florence, in the
Palazzo Cerretani, &c.
CIAMPELLI, Agostino, b. at Flo-
rence, 1578, d. 1640. Tuscan School.
A pupil of Santo di Titi, a painter of
great reputation at Rome in the pon-
tificate of Clement VIII.
Works. Rome, Santa Prassede, the
Crucifixion: Sta. Maria in Trastevere,
on the walls of the Apsis, Angels : the
Gesii, some frescoes: Sto. Stefano di
Pescia, the Visitation.
CIGNANI, Cav. Conte Caelo, b. at
Bologna, May 25, 1628, d. at Forli,
Sept. 6, 1719. Bolognese School. Al-
bani was liis principal master; but he
studied also the works of Correggio and
of Raphael with great assiduity, and
became the most distinguished painter
of Bologna of his time : his biographer
calls him The Apelles of his age. His
works are graceful and correct, but
eminently academic; extremely pretty,
but deficient in the substantial. He
has been called tlie last of the Bolog-
nese ; he excelled in fresco and in oil.
His son Felice Cignani was his assist-
ant and imitator.
Works. ForH, Cupola of the Ma-
donna del Fuoco, the Assumption of
the Virgin. Other works at Parma,
Florence, Urbino, &c., and iu many
European galleries. {Zanelli.) _
CIGNAROLI, GiAMBETTiNO, h. at
Salo, near Verona, 1706, d. 1770. Ve-
netian School. A pupil of Santo Prunati
and Antonio Balestra. He painted in
the manner of Maratta, though unequal
to that master in colouring. He was
one of the most distinguished of the
Italian oil-painters of the eighteenth
century, and the most eminent of his
time. In 1769, the Emperor, Joseph II.,
visited Cignaroli in his studio, and re-
marked afterwards, that in Verona he
had seen two very rare things — the
Amphitheatre, and the first painter of
Europe. In Sant' Antonio Abate, at Par-
ma, is the Flight into Egypt, one of his
best works ; there are others at Verona,
PontremoU, Pisa, <fec. {Bevilacquaj
Lanzi, Fiorillo.)
CIGOLI, Cnv. LoDOvico Cardi da,
b. at Cigoli, Sept. 12, 1559, d. at Rome,
June 8, 1613. Tuscan School. A pupil
of Alessandro Allori, and Santo di Titi.
He was one of the great reformers of
the Florentine School, and was the first
who successfully opposed the Anatomi-
cal School of Michelangelo's imitators.
Cigoli's style was founded much on that
of Barocci and the Carracci. In colour
he was superior to Barocci. Some of
his large altar-pieces are considered
among the finest oil-pictures in Italy.
The Lame Man Healed, formerly in
St. Peter's, now destroyed, was pro-
nounced by Andrea Sacchi the third
picture in Rome : there are prints of it
by Dorigny, Callot, and Scacciati.
Works. Florence, Pitti Palace, Ecce
Uomo; and Christ Walking on the
Sea : Uffizj, the Stoning of St. Stephen ;
and others. Louvre, the Flight into
Egypt; and others. {Baldinucci.)
CIMABUE, or Gualtieei, Giovan-
ni, b. 1240, living 1302. Tuscan
School. Called by Vasari, but with
little foundation in truth, the father of
Modern Italian Painting. His education
is unknown ; there were, however, cer-
tainly as good and earlier Italian pain-
CIMABUE— COLLE.
47
ters in Tuscany. Cimabue, however,
was in a great measure free from the
conventionalities of the old Byzantine
style, and gave individual expression to
the heads ; he folded the draperies and
grouped the figures with greater art
than the Greeks, and if he did not
revive painting in Italy, he at least
upheld it with honour and glory in his
time, and was a worthy follower of
Giunta of Pisa, whose pupil at Assisi
he may possibly have been, if he ever
painted at Assisi. Time may show
that all the frescoes in that church
attributed to Cimabue, by Vasari^ were
the works of Giunta.
Works. Assisi, frescoes in the upper
church of San Francesco, History of
the Old and New Testament (it is now
disputed whether Cimabue ever painted
in this church). Florence, Academy,
Madonna and Child, with Angels {tem-
pera) : Santa Maria Novella, Madonna :
in the Kucellai Chapel : Santa Croce,
Chapel of San Francesco, St. Fran-
cis (doubtful). Pisa, Duomo, Mosaic.
Louvre, Madonna and Angels, formerly
in San Francesco, at Pisa. ( Fasari,
Mumohr.)
CITTADINI, PiERFRANCE SCO, called
II Milanese, b. at Milan, 1616, d. 1681.
Bolognese School. He studied origi-
nally in Eome, and then became the
pupil of Guido, at Bologna, but even-
tually distinguished himself as a pain-
ter of game, and of fruit and flowers.
His historical pieces are rare. His two
sons, Gio Battista and Carlo, followed
the same style; game, still life, &:c.
{Giordani.)
CLOVIO, GixTLio, b. at Grisone, in
Croatia, 1498, d. at Kome, 1578. He stu-
died at Eome, in the school of Giulio Eo-
mano, but by the advice of that master
took to miniature painting ; Girolamo
dai Libri instructed him in this branch
of the art, and he eventually attained
the distinction of being the most cele-
brated miniature-painter of his time
in Italy. His works are distinguished
almost exclusively for tlieir high finish ;
they are inferior to those of IVIemling.
He is an example of what industry- will
do without genius or taste ; his draw-
ing is mannered and ill-proportioned.
Works. Naples, Eoyal Library, Uf-
fizio della Madonna. British Museum,
Miniatures of Charles V. {Vasari.)
CODAGOEA, YiviANO, painted at
Eome about 1650. Eoman School.
He was a landscape and architectural
painter, and drew the majority of the
ruins of ancient Eome ; the figures were
mostly inserted by Domenico Gar-
giuoli. The collections of Naples pos-
sess several joint works by these artists ;
Codagora's works are correct in per-
spective, but have blackened through
time. {Lanzi.)
COLA, Gennaro di, h. about 1320,
d. about 1370. Neapolitan School. A
pupil of Maestro Simone, the friend
and contemporary of Giotto; he com-
pleted the unfinished works of his mas-
ter in the cathedral, and executed with
his fellow pui)il Stefanone, some exten-
sive frescoes from the Old and New
Testaments, in the church of San Gio-
vanni a Carbonara, which have now
perished. His works are necessarily
somewhat constrained, hard, and dry :
Dominici says some of his remaining
pictures are executed in oil; this must
be an error for tempera.
Works. Naples, Sta. Maria della
Pieta, the Mater Dolorosa, with the
dead body of Christ; in a chapel of the
same church, the penitent Magdalen.
{Dominici.)
COLLE, Eapfaellino del, of Colle,
nearBorgo San Sepolcro, painted 1515-
1516. Tuscan School. He studied
first under Eaphael, and subsequently
became a scholar of Giulio Eomano,
whom he assisted in the Hall of Con-
stantine, in the Vatican; and at the
Palazzo del Te at Mantua. In the
churches of San Eocco, and of the
48
COLLE— CONTAEINL
Osservanti di San Francesco, at Citta,
San Sepolcro, are the two pictures of
the Eesurrection of Clirist, and the
Assumption of the Virgin, mentioned
by Vasari. (Lanzi.)
COLLEONI, GiROLAMO, painted at
Bergamo in 1532-55. Venetian School.
A pupil, or painted in the style, of
Titian. His Marriage of St. Cathe-
rine, in the Carrara Gallery, at Ber-
gamo, says Lanzi, must be mistaken for
a work of Titian's, but for the inscrip-
tion on it with the name of CoUeoni.
He went to Spain and painted in the
Escurial, for Philip II. {Tassi.)
COLONNA, Michelangelo, 6. near
Como, 1600, d. at Bologna, 1687. Bo-
lognese School. Studied under Gabri-
ello Ferrantino, and afterwards Avith
Dentone. Colonna, according to Crespi,
was the best of the Bolognese fresco-
painters. He executed many" works in
Bologna, Florence, and elsewhere, in
company with Agostino Mitelli; their
fame for their rich perspective com-
binations extending to the court of
Philip IV. of Spain, where they executed
several works, Colonna painting the
figures, and Mitelli the architecture.
The Albergati Palace contained Co-
lonna's best works in Bologna. {Mal-
vasia, XJrespi.)
COMODI, Andrea, h. at Florence,
1560, d. 1638. Tuscan School. A pupil
and assistant of Cigoli ; he painted more
in Eome than at Florence. He imi-
tated the works of the great masters of
the past century, especially those of
Eaph'ael and Correggio, with such suc-
cess, that even in his own time, his
copies were mistaken for originals.
His own pictures were chiefly Ma-
donnas.
Works, Eome, the Corsini Gallery,
a Madonna : San Carlo a' Catenari,
frescoes of the Sacristy. Florence Gal-
lery, Fall of the Angels, in chiaroscuro.
(^Baldinucci.),
CONCA, Cav. Sebastl&.no, b. at
Gaeta, 1676, d. at Naples, 1764. Eo-
man School. The pupil of Solimena;
he went early to Eome, and became a
follower of Pietro da Cortona. He was
ready, rapid, and superficial.
Works. Siena, Sta. Maria della
Scala, the Probatica, or Sacred Pool
of Siloam. Eome, Santa Martina, the
Assumption: San Giovanni in Late-
rano, Jonah.
CONCIOLO, painted in 1219, at
Subiaco, a Consecration of a Church,
signed Conxiolus innxlt. {Lanzi.)
CONDIVI, Ascanio, a painter of
Eipatransone. Tuscan School. A pu-
pil of Michelangelo, of whom he
published a Life, in 1553. 4to. Eome.
A new edition, with notes by Gori and
Mariette, was published in Florence in
1746. 4to.
CONEGLIANO, Giambattista Ci-
MA DA, painted 1493-1517. Venetian
School. He was one of the most dis-
tinguished followers or contemporaries
of Gio Bellini, and resembles him
much in his works. Cima is particu-
larly distinguished for his brilliant co-
louring and his landscape backgrounds,
frequently representing his native place
Conegliano. He belongs strictly to the
quattrocento school. His son, Carlo
Cima, imitated his works.
Works. Parma, Cathedral, the Vir-
gin, with Saints. Venice, Santa Maria
del Carmine, the Birth of the Virgin and
Child; Santa Maria della Misericordia,
Tobias and the Angel : Academy, Ma-
donna and Saints; Incredulity of St.
Thomas. Louvre, Madonna, with
Saints. Milan, the Brera; St. Peter;
and several other pictures. Dresden,
Presentation of the Virgin in the Tem-
ple. Berlin Gallery, the portrait of
Gio. Bellini, and four sacred subjects.
CONTAEINI, Cav. Giovanni, &. at
Venice 1549, d. at Prague, 1605. Ve-
netian Scliool. Historical and portrait
painter, who adopted Titian for his
model, and acquired a deserved reputa-
CONTAKINI— CORTE.
tion as an eflFective master, especially in
portraits.
Works. Venice, Santacroce, the Cru-
cifixion : San Francesco di Faola : and
other churches. {Ridolfi.)
CONTE, Jacopino del, h. at Flo-
rence, 1510, d. at Rome, 1598. Tuscan
School. Studied in the school of An-
drea del Sarto, hut resided chiefly at
Rome. He painted many portraits and
some historical pieces, in fresco and
in oil.
Works. Rome, San Giovanni De-
collato, the Deposition from the Gross ;
and St. John Preaching: the Cappu-
cini, Monte Cavallo, a Pieta; and St.
Francis receiving the Stigmata. {Bag-
lione.)
CORENZIO, Cav. Bellisasio, h.
1558, d. at Naples, 1643. Neapolitan
School. A Greek hy birth ; he studied
five years in the school of Tintoretto,
at Venice, and afterwards, about 1590,
settled at Naples. He followed in some
degree the manner of the Carracci, but
was more influenced by the style of Cara-
vaggio and Tintoretto. He possessed
extraordinary rapidity of hand and faci-
lity of execution, especially in fresco, in
which he executed vast works. He was
the reputed head of that infamous
cabal, or Neapolitan Triumvirate, con-
sisting of Caraccioio, Spagnoletto, and
himself, who had determined to exclude
or expel all able competitors from
Naples, by any means fair or foul. He
is said to have poisoned with his own
hand his most able scholar, Luigi Ro-
drigo. Corenzio himself was killed by
a fall from a scaffolding.
Works. Naples, Cappella de' Cata-
lani in San Giacorao degli Spagnuoli,
the ceiling: the Trinita degh Spag-
nuoli, the Coronation of the Virgin;
the Visitation ; and the Presentation in
the Temple: at the Benedictines, the
Feeding of the Five Thousand. {3o-
minici.)
CORONA, Leonardo, h. in Murano,
1561, d. 1005. Venetian School.
Studied the works of Titian and Tin-
toretto, and copied the pictures of the
former with such success that his
copies have been mistaken for originals.
His manner, however, resembles more
that of Tintoretto than Titian's.
Works. Venice, S.S. Giovanni e
Paolo, the Annunciation : San Stefano,
the Assumption. (Lanzi.)
CORRADO, GiAQULNTo, h. at Mol-
fetta, 1693, d. at Naples, 1765.
Neapolitan School. One of the prin-
cipal scholars of Solimena; distin-
guished himself for his facility, espe-
cially as a fresco-painter at Rome and
Turin. He was invited to Madrid in
1753, and was made court-painter to
Ferdinand VI., for whom he executed
many works in oil and in fresco.
There are sixteen of his pictures, from
Bible and Church history, in the Gal-
lery of the Prado, at Madrid. ( Cean
Bermudez.)
CORREGGIO. [ALLEGE!.]
CORSO, Gio. ViNCENZo, b. about
1490, d. about 1545. Neapohtan
School. Studied under Gio. Ant.
Amato, the elder, and worked after-
wards with Perino del Vaga in Rome :
some of his paintings are in San Do-
menico Maggiore, in San Lorenzo, and
other churches at Naples. {Dominici.)
CORTE, Cesaee, b. at Genoa, 1550,
d. 1613. Genoese School. The son
of Valerio Corte, who forsook portrait-
painting for alchemy. Baldinucci
pronounces Cesare Corte one of the
best portrait-painters of his time, yet
Lanzi says that he did not equal his
father. He painted also historical
subjects ; and is said to have visited
France and England, where Soprani
states he painted the portrait of Queen
Elizabeth: his principal works are at
Genoa. He died in the prisons of the
Inquisition, for having adopted the
views of Luther.
Works. Genoa, Sta. Maria del Car-
£
50
CORTE— COSTA.
mine, St. Simon and St. Francis ; in
San Pietro di Banchi, the Titular
Saint at the feet of the Virgin. (So-
prani.)
COSIMO, PiERO DI, b. at Florence,
about 14C0, d. about 1521. Tuscan
School. The scholar of Cosimo Eoselli:
he painted chiefly at Florence, and is
introduced by Vasari as doing for the
arts in Florence what Giorgione and
Correggio had done in Lombardy ; and
as the pupil of Cosimo Roselli he
must have been a much younger man
than Vasari makes him. He became
an imitator of the delicate tone of
Leonardo da Vinci after the return of
that painter from Milan, but in other
respects his style belongs to the dry
manner of the fifteenth century. He
was distinguished for his landscapes.
He was fond of strange devices ; and
his life was like his works, abounding
in caprices and eccentricities, more
especially after the death of Cosimo
RoselU, about 1506.
Works. Florence, Uffizj, the Story
of Perseus and Andromeda, in four
pictures : the Liberation of Andromeda
is said to have been coloured only by
Piero from a design by Leonardo da
Vinci. Berlin Museum, Venus and
Cupid ; a Holy Family. Louvre, Coro-
nation of the Virgin.
COSSALE, Geazio, of Brescia,
painted 1594-1612, Venetian School.
He painted on a large scale, in the
style of Palm a Giovane. The churches
of Brescia still contain many of his
works. In Santa Maria delle Grazie,
and Santa Maria de' Miracoli, are the
Adoration of the Magi, and the pre-
sentation in the Temple ; and in Santi
Faustino e Giovita, the Apparition of
those Saints in Defence of Brescia.
The Brescia guide has the date of
1660 against one of the pictures of
Cossale, probably an error. He is
reported to have been shot by his own
son. (Brognoli.) ^
COSTA, Feancesco, b. at Genoa,
1672, d. 1740. Genoese School. A
pupil of Gregorio Ferrari, and a per-
spective and ornamental painter of great
ability : he executed many works in
company with Giovan Battista Revello.
Works. Pegli, Palazzo Grilli.
(Batti.)
COSTA, LoEENZo, b. at Ferrara,
1460, d. March 5th, at Mantua, 1535.
Ferrarese School. Having acquired
the rudiments of his art at Ferrara, he
visited Florence. Vasari states that
Costa formed his manner from the
pictures of Era Filippo Lippi and
Benozzo Gozzoli ; he studied with the
latter. He afterwards resided at Bo-
logna, where he seems to have im-
proved himself by the example of the
works and instructions of Francia,
whose assistant he became. His
pictures have much of Leonardo da
Vinci and the Lombard School, but are
inferior to those of Francia. There
appear to have been many painters of
this family : Ippolito d. 1561, and
Girolamo d. 1595, brothers of Lorenzo :
Lorenzo, the younger, d. 1583 ; there
were several others of inconsiderable
name.
Works. Bologna, San Giacomo
Maggiore, Bentiovgli Chapel, the
Madonna Enthroned, and the nu-
merous Family of the Donor kneeling
around her (1488). Academy, San
Petronio, Christ with Angels. Berlin
Gallery, the Presentation in the
Temple ; the Dead Christ. Louvre,
Isabella D'Este, crowned by Love, and
surrounded by the members of her
Court ; an allegory ; a mythological
subject. (Baruffahli, Giialandi.)
COSTA, ToMMASO, b. at Sassuolo,
about 1634, d. at Reggio, 1690. Lom-
bard School. A pupil and imitator of
Jean Boulanger atModena : he painted
architectiu-al perspective, landscapes,
and figures. He worked chiefly at
Reggio and Modena. The Cupola of
COSTA— CRESPI.
51
San Vincenzo, at Modena, is his
principal work. (LanzL)
COSTANZI, PiAciDO, b. at Rome,
1688, d. 1759. Roman School. An
historical painter of reputation, the
pupil of Benedetto Luti ; he also
inserted small figures in the land-
scapes of Orizzonte with great taste.
He painted in fresco the Tribune in
Santa Maria, in Campo Marzio ; and a
Raising of Tabitha, worked in mosaic
for St. Peter's ; the picture is in Santa
■Maria degli Angeli, at Rome. (Pas-
coli.)
COTIGNOLA, Feancesco da, lived
in Parma, in 1518. Bolognese School.
A pupil of Niccolo Rondinello. Vasari
commends him for his pleasing colour-
ing. He was assisted by his brother
Bernardino.
Works. Parma, at the Osservanti, a
Madonna and Saints. Faenza, Baptism
of Christ. Classe, Raising of Lazarus.
(Lanzi.)
COTIGNOLA, GiROLAMO Maechesi
DA, b. about 1480, d. 1550, Bolognese
School. A pupil of Francesco Francia,
and, says Vasari, an excellent portrait-
painter : he painted also historical
subjects in the ordinary taste of the
fifteenth century, though he is said to
have studied the works of Raphael in
Rome.
Works. Bologna, Academy, the
Sposalizio, with many figures. Berlin
Gallery, St. Bernard explaining the
rules of his order ; the Marriage of the
Virgin.
COZZA, Francesco, h. at Istilo in
Calabria, 1605, d. 1682. Roman
School. He was the friend and pupil
of Domenichino, and completed some of
the works which that painter left
unfinished at his death. In the church
of Santa Francesca Romana, at Rome,
is his picture of the Madonna d^
Riscatto, pronounced by Lanzi his
master-piece.
CREDI, LoEENZo Di, 6. at Florence,
1453, living 1536. Tuscan School.
He studied under Andrea Verrocchio
with Leonardo da Vinci and Pietro
Perugino. Credi followed more the
style of Leonardo than that of his
master: his original subjects consist
chiefly of tranquil Madonnas and Holy
Families, executed in a simple graceful
taste. The execution is exquisite and
the colouring beautiful. The Adoration
of the Shepherds, in the Academy at
Florence, though in the style of the
good quattrocento masters, is an excel-
lent work for any time or school. It is
one of the best works in that excel-
lent collection, whether in expression,
in colouring, or in the execution of the
principal or accessory parts : it was for-
merly in the monastery of Santa Chiara.
A'"errocchio made Lorenzo his principal
heir, and expressed a wish that he
might be commissioned to complete
the unfinished monument of Bartolo-
meo CoUeoni, at Venice.
Works. Florence, the Uffizj, the
Madonna adoring the Infant Christ,
and several other sacred subjects.
Academy, the Nativity; the Adoration
of the Shepherds. Pistoja Cathe-
dral, Madonna and Saints. Berlin
Gallery, the Adoration of the Magi;
and three other sacred subjects.
Louvre, the Madonna and Child, with
Saints Julian and Nicolas, noticed
by Vasari as Lorenzo's best work.
{Vasari, Gaye.)
CREMONINI, Gig. Battista, b. at
Cento, about 1550, d. at Bologna, 1610.
Bolognese School. He painted re-
ligious subjects in fresco for churches,
and architectural prospects and orna-
ments for houses with equal skill, and
on an equally extensive scale ; he also
represented wild and other animals,
and with great ability.
Works. Bologna, San Francesco, the
Annunciation ; and the death of Sf.
Frances. {Malvasia.)
CRESPI, Cav. Giuseppe Maeia,
E 2
62
CEESPI— CKISCUOLO.
called Lo Spagnuolo, h. at Bologna,
March 16th, 1665, d. July 17th, 1747.
Bolognese School. Studied under
Canuti, and afterwards with Carlo
Cignani. He copied for some time
with assiduity the works of the great
masters : he was an artist of .capricious
fancy, and even in sacred subjects
found room occasionally for caricature ;
his execution was so slight that his
colouring has become in many cases
obliterated by time ; his works are
executed with extreme freedom and
bravura, but are also excessively man-
nered. He also etched many plates.
Works. Bologna, Santa Maria Mad-
dalena, the Annunciation. San Sal-
vatore, St. John Preaching. Dresden
Grallery, Ecce Homo, and several
other pictures. Louvre, the School-
mistress, and another picture. There
were several other painters of this name.
{Crespi.)
CRESPI, Daniele, h, at Busto
Arsizio, near Milan, 1590, d. 1630.
Milanese School. The son and scholar
of Gio. Battista Crespi, and likewise
one of the most celebrated of the
Milanese painters. He and all his
family died of the plague. There are
a Crucifixion, and a series of clever
portraits by him, in Santa Maria della
Passione, at Milan ; and in the Certosa
the History of St. Bruno, of which the
temporary resuscitation of Dr. Eay-
mond is very popular. Busto Arsizio,
the Rotonda.
CRESPI, Gio. Battista, called II
Cerano from his birth-place, 6. 1557,
d. at Milan, 1633. Milanese School.
He is the most distinguished of the
followers of the Procaccini ; he studied
also at Rome and at Venice. Though
not free from the mannerism of his
school, which sometimes in his forms,
sometimes in his shadows was ex-
cessive, he invariably displayed great
power and facility. He was likewise a
celebrated sculptor and architect; and
he painted birds and quadrupeds with
extraordinary skill. Crespi executed
extensive works for the Cardinal
Federigo Borromeo, at Milan and else-
where, of which not the least remark-
able is the colossal statue of San Carlo
Borromeo in the Lago Maggiore.
Works. Milan, San Lazzaro, II
Rosario: the Brera, several pictures.
Berlin Gallery, Christ on the Mount
of Olives. (Orlandi.)
CRETI, Cav. Donato, b. at Cre-
mona, 1671, d. at Bologna, 1749. Bo-
lognese School. He studied under
Lorenzo Pasinelli, and imitated the
delicate execution of Simone Canta-
rini, but his colouring is sometimes
harsh and crude. He painted in
chiaroscuro, and was celebrated for
his pen-and-ink drawings. He etched
a few plates.
Works. Bologna, San Luca, the
Crowning of the Virgin: Palazzo Fava,
the Feast of Alexander : San Domenico,
San Vincenzio Ferreri. {Crespi.)
CRISCUOLO, Gio. FiLippo, b. at
Gaeta, about 1509, d. about 1584.
Neapolitan School. A pupil of Andrea
da Salerno, he studied also under
Perino del Vaga, in Rome, and copied
the works of Raphael with great
diligence, but adhered to the old style.
His pictures are in many of the
churches of Naples. His brother
Giovanni Angelico, a notary, likewise
distinguished himself as a painter : he
wrote an account of the Neapolitan
artists, which was used by Dominici.
There are also some pictures in the
churches of Naples by Mariangela, the
daughter of Gio. Fihppo.
Works. Naples, Santa Maria del
Rosario, the Adoration of the Magi ;
Santa Maria delle Grazie, the Virgin
and Child in the clouds ; San Lorenzo,
Christ bearing his Cross ; Museo Bor-
bonico (Studj), Vergine del Rosario,
with Saints. Gaeta, the Nunziata.
Aversa. {Dominici.) -.
CRIVELLI— DAMINI.
53
CRIVELLI, Cav. Carlo, painted
1470-1482. Venetian School. A pupil
of Jacobello del Fiore, and a con-
temporary of Bartolomeo Vivarini.
He belongs to the better quattrocento
masters, but excelled in small pictures,
in which he introduced landscapes,
fruit, flowers, and other accessories,
with the accurate finish of the Dutch
painters : he was a good colourist. He
painted in" tempera; and some of his
pictures have been mistaken for those
of Pietro Perugino.
Works. Milan, the Brera, Madonna
and Child, with Angels ; his own por-
trait, and other pictures ; Madonna di
Matelica. Ascoli. Rome, Vatican,
Dead Christ. Berlin Gallery, two
sacred subjects.
CROCE, Baldassaee, h. at Bologna,
1553, d. 1628. Bolognese School. He
painted chiefly in Rome, both in fresco
and in oils, and died there president of
the Academy of St. Luke.
Works. Rome, Chiesa del Gesu ;
the Chapel of San Francesco ; at San
Giovanni in Laterano; San Giacomo
degli Spagnuoli; and other Roman
churches. (BagUone.)
CURRADO, 'Cav. Francesco, b. at
Florence, 1570, d. 1661. Tuscan
School. Studied in the school of
Battista Naldini. He painted many
small sacred subjects for the churches
at Florence ; and held a numerous
school there to a very advanced age.
Works. Florence, San Giovannino,
San Francesco Saverio. Gallery of
the Uffizj, the Martyrdom of Santa
Tecla ; the Beatification of the
Magdalen. {E. Galleria di Firenze.)
DADDI, Bernardo, of Arezzo, living
in Florence, 1355, d. 1380. Tuscan
School. A pupil of Spinello Aretiao.
Some of his works, still at Florence,
remain on the Porta San Giorgio, the
Madonna and Child, &c. (Vasari.)
DALLAMANO, Giuseppe, b. at Mo-
dena, 1679, d. there, 1758. Lombard
School. He painted architecture and
ornament, chiefly at Turin ; he excelled
as a colourist. {Baniffaldi.)
DALMASIO, Lippo di, called Lippo
dalle Madonne, painted from 1376 to
1410. Bolognese School. A pupil of
Vitale da Bologna, chiefly distinguished
for his pictures of Madonnas, whence
his name. His reputation was still
great among the painters of Bologna
in Malvasia's time, who records the
high opinion of Guido and others of the
superior sanctity of expression which
Lippo embodied in his pictures of the
Virgin. He was remarkable for his
piety, and such was the popularity of
his Madonnas, that Malvasia says, a
man was not considered rich, or com-
pletely established, who did not possess
one of these pictures. They are now
extremely rare, Bologna possessing few
known works by Lippo, as in San Do-
menico, an altar-piece: in San Paolo,
a small Madonna : at the Servi and in
the Palazzo Ercolani, a Madonna.
DAMIANl, Felice, called Felice da
Gubbio, painted from 1584 to 1606.
Roman School. He is supposed to
have studied in the Venetian School,
although his works partake more of the
Roman taste.
Works. Gubbio, in the church of Sant'
Agostino, the Baptism of that Saint:
San Severino, Madonna de' Lumi:
Recanati, Martyrdom of St. Paul.
{Lanzi.)
DAMINI, Pietro, &. atCastelfranco,
1592,6^.1631. Venetian School. A pu-
pil of Gio. Battista Novelli. He dis-
played gi'eat ability early in life; but
he several times changed his man-
ner, at one time naturalist, at another
idealist, and another an imitator of
Titian. He and his brother Giorgio
both died of the plague.
Works. Padua, San Clemente, Christ
giving the Keys to Peter : in the church
54
DAMINI— DISCEPOLI.
of II Santo di Padova, the Crucifixion.
{Ridolfi.)
DANDINI, PiETRO, b. 1646, d. 1712.
Tuscan School. He was the son and
pupil of Vincenzio, and was also a fol-
lower of the manner of Cortona; but
he studied also the works of the great
masters of the Venetian School, of which
he gave evidence in his best or most
carefully-painted works. He possessed
great facility of execution, undertook
more than he could accomplish, and as
he painted much for gain, his pictures
are frequently very slightly and neg-
ligently executed. Pietro's son, Otta-
viano, executed some good frescoes in
the church of the Magdalen, at Pescia.
Works. Florence, Santa Maria Mad-
dalena, the Cupola. Kome, Sta. Maria
Maggiore, San Francesco. (Lanzi.)
DANDINI, YiNCENZio, b. at Flo-
rence, 1607, d. 1675. Tuscan School.
The brother and pupil of Cesare Dan-
dini. He studied at Eome, under
Pietro da Cortona, and followed the
manner of that master.
Works. Florence, Chiesa di Ognis-
santi, a pictiu-e of the Conception : Pog-
gio Imperiale, Aurora with the Hours.
DANEDI, GiosEFFO, also called
Montalto, b. at Treviglio, 1618, d. 1689,
the brother of Gio. Stefano. A pupil
of Morazzone, studied afterwards in the
school of Guido. He resided for some
time in Turin, and painted for the
churches at Milan ; in San Sebastiano,
is a Murder of the Innocents by
him. {Orlandi.)
DANEDI, Gio. Stefano, called
Montalto, b. at Treviglio, 1608, d. 1689.
Milanese School. A pupil of Moraz-
zone; he painted in many of the
churches of Milan: Santa Maria della
Grazie: the Carmine, &c.
DELIBEEATORE, Niccolo. [A-
LUNNO.]
DELLO (DI Niccolo) Fiorentino,
living 1455. Tuscan School. The com-
panion of Paolo Uccello and Donatello ;
he was sculptor and painter, some of
his works in terra cotta are still pre-
served. Dello excelled in small figures,
and was principally an ornamental
painter; he painted small pictures for
the panels of pieces of furniture, for
cabinets, presses, coffers, &c. He exe-
cuted also some of the frescoes from
the Book of Genesis, in the cloisters of
Santa Maria Novella; and two small
pictures attributed to him are in the Flo-
rentine Gallery, the Adoration of the
Magi, and the Death of Peter. He died
in Spain, in the service of the Court, at
which he was held in great esteem.
( Vasari. )
DENTONE, or Girolamo Cueti,
b. at Bologna, 1576, d. 1632. Bolog-
nese School. He was a pupil first of
Lionello Spada, then of Baglione, at
Rome, and devoted himself to the study
of architecture. He was a very distin-
guished painter of architectural per-
spective; his cornices and colonnades
were executed with such effect as to
deceive the eye; and he became the
most remarkable scene-painter of his
age. He executed many works in
Eome, Modena, Parma, and Genoa:
he was assisted by Michelangelo Co-
lonna; and Guercino and several other
eminent painters introduced figures
into his pictures. {Malvasia.)
DIELAI, or Gio. Francesco Sur-
CHi, d. about 1590. Ferrarese School.
He was a pupil of the Dossi. He was
well skilled in the figure, and was a
good ornamental and landscape-paint-
er; little of his ornamental work re-
mains.
Works. Ferrara, two pictures of the
Nativity, at San Giovannino, and at the
Benedictines ; the portrait of Ippolito
Eiminaldi. {Lanzi.)
DISCEPOLI, Gio. Battista, called
Lo Zoppo di Lugano, b. 1590, d. 1660.
Milanese School. A pupil of Camillo
Procaccini. He painted in several of
the churches at Milan. In San Carlo,
DISCEPOLI— DONZELLO.
55
is liis representation of Purgatory; and
in the Brera, the Adoration of the Wise
Men. (Orlandi.)
DOLCI, Caelo, b. at Florence, May
25, 1616, d. Jan. 17, 1686. Tuscan
School. He studied in the school of
Matteo RoselH, and was a pupil of
Jacopo Vignali. His large pictures
are rare, as he, in general, confined
himself to the representation of Ma-
donnas and Saints, treating these
subjects with a peculiar gentleness
and grace, and extreme delicacy of
execution, combined with correct draw-
ing, and at the same time a purely
natural treatment of the model; but
the uniform high finish and texture
gives a coldness and artificial character
to some of his pictures, and his style is
altogether too effeminate for male cha-
racters; some of his Magdalens are
his finest works. His compositions are,
at most, dramatised portraits. His
most important historical picture is
St. Andrew praying at the Cross, in the
Pitti Palace. Their exquisite finish
has rendered them generally extremely
popular in collections. His daughter
Agnese painted in a similar style, and
copied her father's works.
Works. Florence, Pitti Palace, the
Madonna and Child; St. Andrew pray-
ing at the Cross (a similar picture
belongs to the Earl of Ashburnham).
Dresden Gallery, Christ breaking Bread ;
Herodias; St. Cecilia. Berlin Museum,
St. John the Evangelist. Windsor, the
Daughter of Herodias, with the Head
of John the Baptist on a charger: others
at Munich: St. Petersburg, &c. (Bal-
dinuccL )
DOMENICHINO. [Zampieri.]
DOMINICI, Bebnakdo de', b. at
Naples, 1684. Neapolitan School. Stu-
died at Naples with Matteo Preti, and
under the German Beich, and painttd
landscapes, marine- pieces, and Bam-
bocciate with care and minuteness, com-
pletely in the Flemish taste; but he is
better known as the historian of the
Neapolitan painters, &c., Vite del Pit-
tori, ScuUori, ed Architetti Napolitani.
Nap. 1742-3, reprinted in 1840, in
4 vols. Bvo.
DONI, Adone, b. at Assisi, about
1500, living 1580. Umbrian School.
A pupil of Pietro Perugino probably ;
imitated originally the style of that
master, but subsequently became a fol-
lower of the later schools, especially of
Michelangelo. In San Pietro, at Pe-
rugia, is an Adoration of the Kings, in
his early manner : he was a very accu-
rate portrait-painter.
Works. Assisi, San Francesco, some
Sibyls. Perugia, San Francesco, the
Last Judgment. Berlin Museum, a
Holy Family. {Rumohr.)
DONNINI, GiROLAMO, b. at Cor-
reggio, 1681, d. at Bologna, 1743. Bo-
lognese School. He studied under
Stringa and Giuseppe dal Sole, and
finally under Carlo Cignani, at Forli.
He executed large works for the
churches at Bologna, Correggio, and
at Turin ; but excelled chiefly in small
cabinet-pieces. (Tiraboschi.)
DONZELLO, Pietro del, b. at
Naples, about 1405, d. about 1470.
Neapolitan School. A pupil of Anto-
nio Solario, called Lo Zingaro. Pietro
and Ippolito del Donzello are among
the earliest distinguished painters of
Naples. They executed extensive works
in fresco, in Poggioreale. The younger
brother, Ippolito, visited Florence with
Benedetto da Maiano, and does not ap-
pear to have returned to Naples : Pietro
then carried out many works alone.
Some of the works in Santa Maria
Nuova were, according to Dominici,
painted in oil ; if according to the new
method of the Van Eycks, they were
amongst the earliest so executed in
Italy.
Works. In the Museum at Naples,
are a Crucifixion ; and a Madonna, with
Angels: San Domenico, Chapels of
56
DONZELLO— EMPOLI.
San Sebastiano and the Titular: and in
Santa Maria Nuova, two pictures of
Female Saints.
DOSSI, Dosso, b. at Dosso, near
Ferrara, about 1490, d. about 1560.
Ferrarese School. Dosso Dossi was
the pupil of Lorenzo Costa. He then
visited Venice, and likewise Eome, after
the death of Kaphael, in both of which
places he lived some years. He and
his brother, Giambattista, both worked
for the Duke Alfonso, and are com-
memorated by Ariosto, whose portrait
Dosso painted, and for whom he made
some designs for the " Orlando Fu-
rioso." The pictures of Dosso, with
many essential merits, are hard and
dry, notwithstanding the rich positive
colouring characteristic of Garofalo
and the Ferrarese School. Giambat-
tista painted the landscapes, and other
accessories, to his brother's pictures ; he
painted also some ornamental friezes.
Works. Dresden Gallery, seven pic-
tures — the Four Fathers of the church,
St. Gregory, St. Ambrose, St. Augus-
tine, and St. Jerome, meditating on the
Miraculous Conception; the' Dream;
Justice ; Peace ; Judith and Holopher-
nes ; Diana and Endymion ; and one of
the Hours, with the Horses of Apollo.
Berlin Gallery, three sacred subjects.
Florence, Pitti Palace, a Bacchanal.
Eome, Borghese Gallery, Circe. Fer-
rara, Ducal Palace, mythological sub-
jects. Milan, Brera, Sant' Agostino, with
two Angels (1536). Louvre, Holy Fa-
mily. {Baniffaldi, FrizzL)
DUCCIO Di BuoNiNSEGNA, painted
1282-1339. Sienese School. This
painter is to the school of Siena what
Cimabue is to that of Florence. His
altar-piece for the cathedral was the
most remarkable picture of Siena; it
cost 3000 florins, owing chiefly to the
quantity of gold used, for Duccio's por-
tion was but sixteen soldi, or pence per
day. Eumohr has shown that Duccio
had no part in the designs on the pave-
ment of the cathedral, which were not
commenced until at least a hundred
years after his death. He belongs to
the Byzantine School in design, thoi:^h
an artist of great ability for his time ;
and his small groups have much dra-
matic force, and many of his heads a
fine expression.
Works. Siena, the Duomo, large,
and at that time, unrivalled altar-piece
(1308-11), now divided into two, and
fixed to the walls of the choir, repre-
senting the Madonna and Child, and
scenes from the Life of our Saviour.
In the sacristy of the Duomo is the
Predella, a series of small pictures :
Academy, an Adoration of the Shep-
herds. Eome, Sta. Maria Maggiore,
the mosaics of the Tribune. England,
a Triptyc, with the Crucifixion, St.
John and the Virgin, &c. ; attributed to
Duccio, is in the possession of H.E.H.
Prince Albert. {Rumohr.)
DUGHET. [PoussiN, Ga^pae.]
EMPOLI, Jacopo Chimenti da, i.
at Empoli, about 1554, d. at Florence,
Sept. 30, 1640. Tuscan School. A
pupil of Tommaso da San Friano, and
a diligent copyist of the works of An-
drea del- Sarto. He was one of the
best masters of the reformed Florentine
School which succeeded the anatomical
mannerists. Empoli painted almost
exclusively in oil ; a fall from a scafibld
in the beginning of his career having
disgusted him with fresco. He painted
many simple Madonnas, and a variety
of greater works, for all of which he
was well paid ; but owing to an incor-
rigible improvidence, he died destitute.
He was an eccentric character, fond of
good living, and required presents of
dainties to induce him to complete
works for which he had already received
payment in whole or part; hence, says
Baldinucci, Ligozzi called him L'Em-
pilo, instead of L'Empoli.
EMPOLI— FAENZA.
57
Works. Florence, Academy, the Call-
ing of Matthew: Sant' Eligio, Gold-
smith. Uffizj, Sant' Ivo; the Drunken-
ness of Noah; the Sacrifice of Abra-
ham. Louvre, Madonna and Child.
FABKIANO, Allegretto, or Geit-
To DA, called Allegretto Nucci, or di
Nuzio, lived about 1350-1385. Um-
brian School. " Without attaining any
high development of the art, this pain-
ter is remarkable for sweetness of ex-
pression, and a great softness of colour-
ing." — Kuglei'.
Works. Macerata, Cathedral, an
altar-piece, a triptyc (1368). Fabriano,
Sant' Antonio Abate, Life of St. Antony.
Berhn Museum, Madonna and Saints ;
and tlie Crucifixion.
FABRIANO, Gentile (di Nicco-
LO), DA, b. about 1370, d. at Rome, about
1450. Umbrian School. A pupil of
Gritto da Fabriano. This celebrated
painter, " Egregius Magister Magistro-
rum," acquired a great reputation in
many Italian cities, as Florence, Siena,
Orvieto, Venice, Rome, &c. He was
presented by the Senate of Venice with
a patrician toga, and granted a daily
pension of a ducat for life, for a fresco
of the Victory of the Venetians over
Barbarossa, in 1177, painted in the
Grand Council Hall; and destroyed in
1574. Gentile's style resembles that
of Fra Giovanni da Fiesole; but he
shows a freer treatment of the ordi-
nary events of life, more detail of cos-
tume, &c., and not so engrossing a
devotional feehng. His pictures are
well coloured and well executed, grace-
ful and animated, and as Michelangelo
said, " are like his name," Gentile.
They abound in ornament and in gild-
ing. Jacopo Bellini studied under Gen-
tile, at Florence; and his elder sqp,
born in 1421, was named after his cele-
brated master, at that time probably in
Venice.
Gentile was as superior in the theory
of his art as its practice ; he left writings
on the origin and progress of painting,
the mixing of colours, &c., now lost.
Works. Florence, the Academy, the
Adoration of the Magi (1423): San
Niccolo, remains of a celebrated altar-
piece. Fabriano (Casa Bufera), a Co-
ronation of the Virgin ; and St. Francis
receiving the Stigmata. Milan, Brera,
Coronation of the Virgin (the so-called
Quadro della Romita, from the church
so named), and four pictures of saints.
Berlin Museum, Madonna and Child,
with Saints. Louvre, the Presentation
in the Temple. {Vasari, Micci.)
FACCINI, Bartolomeo, b. about
1520, d. 1557. Ferrarese School. A
portrait and historical painter, but more
distinguished for his architectural and
ornamental works, in the taste of Giro-
lamo da Carpi, whose works he con-
tinued in the Ducal Palace. He was
killed by a fall from a scaffolding, and
the decorations were completed by his
brother Girolamo. (Barvffaldi.)
FACCINI, PiETEo, b. at Bologna,
about 1562, d. 1602. He studied in the
school of the Carracci, but the jealousy
of Annibal Carracci is said to have en-
gendered strife between them, and Fac-
cini established a school of his own.
A picture in San Giovanni in Monte, of
the Martyrdom of San Lorenzo, by
Faccini, was painted with such force of
carnations, that Annibal Carracci ex-
claimed, " My God! he has not ground
up colours, but human flesh." He en-
graved a few plates.
Works. Bologna, the Academy, the
Virgin and Child, with Saints: San
Benedetto, the Crucifixion. Dresden,
the Marriage of St. Catherine. {Mal-
vasia.)
FAENZA, Jacopone da, or Jacopo
Bertucci, painted in 1513-32. Roman
School. He copied and imitated the
works of Raphael with great success,
and executed some good works at Fa-
58
FAENZA— FELTRO.
enza. Giambattista da Faenza is sup-
posed to have been his son : he d. 1604.
{Crespi, Lanzi.)
FALCONE, Angelo, or Aniello, h.
at Naples, in 1600, d. 1665. Neapolitan
School. A pupil of Spagnoletto. He
was a great painter of battle-pieces, and
was called at Naples the Oracolo delle
Battaglie; he founded a life-school
there. He and his scholars took part in
the insurrection of Masaniello against
the Spaniards, Salvator Rosa was one
of the number ; they formed themselves
into a company under the name of
<' Compagnia della Morte;" but after
the death of Masaniello Salvator and
Falcone fled to Rome, where the latter
continued his battle-painting, and made
the acquaintance of Bourguignon, called
Borgognone, in Italy, who exchanged
pieces mth Falcone. From Rome he
went to Paris, whence Colbert procured
him permission to return to Naples.
One of his battle-pieces is in the Louvre.
lie painted Masaniello's portrait. He
engraved a few plates. {DominicL)
FARINATO, Paolo, b. at Verona,
1522, d. 1606. Venetian School. A
pupil of Niccolo Giolfino, he studied
also the works of Titian and of Gior-
gione at Venice, and apparently those
of Giulio Romano at Mantua. His
Miracle of the Loaves and Fishes,
painted in his old age, 1604, a com-
position consisting of many figures, in
part portraits of his own family, and in
part ideal heads, is considered his mas-
ter-piece ; it is conspicuous for its fine
groups of women and children, and is
bold and vigorous in drawing, and Ve-
netian in colour. Farinato was also
sculptor and architect ; and he engraved
a few plates. He died on the same day
with his wife. His son Orazio was a
painter.
Works. Verona, Sta. Maria in Or-
gano, the Angel Michael expelling
Lucifer ; the Murder of the Innocents :
the Cappucini, the Deposition from the
Cross : San Giorgio, the Miracle of the
Loaves and Fishes: San Giovanni in
Fonte, the Baptism of Christ. Berlin,
Museum, Presentation in the Temple.
{Ridolji.)
FASOLO, Gio. Antonio, b. at Vi-
cenza, 1528, d. 1572. Venetian School.
Studied under Battista Zelotti, andafter-
wards under Paolo Veronese ; he imi-
tated the latter master with considerable
success. Some of his principal works
are from ancient Roman History. He
was killed by a fall from a scaffolding.
Works. Vicenza, San Rocco, the
Pool of Bethesda ; the Church of the
Servi, the Adoration of the Magi.
{Eidolji.)
FATTORE, Tl. [Penni.]
FEI, Alessandro, called Del Bar-
biere, b. in Florence, 1543. Tuscan
School. Studied under Ridolfo del
Ghirlandajo, and Tommaso di San
Friano. He executed some large his-
torical works in fresco, into which he in-
troduced architecture and arabesques;
and he painted also small cabinet
pictures. In Sta. Croce, at Florence,
is the Flagellation of Christ, by Fei.
FELTRO, MoRTO da, d. at Zara,
about 1519. He studied in Rome, and,
says Vasari, revived the art of painting
grotesques or arabesques, in imitation
of the ancient decorations of that class,
in the grottoes, and other ruins about
Rome. He may have revived the more
grotesque style of the cinqnecento ara-
besques, such as it was practised by
Giulio Romano, and others of that time ;
but the purer arabesque was common
both with the sculptors and painters of
the north of Italy towards the close of
the fifteenth century. The Lombardi
of Venice, Baccio Pintelli, and Bra-
mante,were great masters of arabesque,
a style fully developed about 1480,
wholly independent of the labours of
Moito, but he may have carried the
taste from the north to the south, and
given a great impulse to the style. He
FELTEO— FEEBI.
is supposed by Lanzi to have been the
same as Pietro Luzzo da Feltro, called
Zaratta. In the Berlin Museum is an
allegorical picture by him, of Peace
and War. Andrea di Cosimo Feltrino,
also a distinguished decorative painter,
was the pupil and assistant of Morto.
[Vasari.)
FEERAMOLA, Fioeavante, b. at
Brescia, d. 1528. Venetian School. He
painted the portrait of Gaston de Foix,
in 1512. Pictures in the Carmine :
Santa Maria delle Grazie: and other
buildings in Brescia. (Panni.)
FEERARI, Gaudenzio, b. in Valdu-
gia, 1484, d. at Milan, 1549. Lombard
School. He was a pupil of Bernardino
Luini, at Milan, and studied also under
Eaphael, in Eome. Lomazzo, his coun-
tryman, enumerates Gaudenzio among
the seven greatest painters of modern
times. His oil pictures recall forcibly
the general character of the Roman
School, especially in form ; but his ex-
ecution, notAvithstanding its elaborate
finish, is extremely hard, his colouring
crudely positive and inharmonious, and
his accessories introduced and treated
without taste. He exhibits the execu-
tion of the quattrocento painters without
their sentiment, and the occasional
elaboration of some of his accessories
would seem to imply that he set a
value on mere imitation, which is rarely
met with at so early a period; it is a
naturalism without the true apprecia-
tion of the local and incidental appear-
ances of nature. He was extremely
fond of shot-colours. He justly ranks
among the great painters of his coun-
try, though far from justifying the ab-
surd eulogy of Lomazzo. He was also
a sculptor. His greatest work is the
Cupola of Santa Maria, in Saronno, in
imitation of the cupolas of Correggio;
but his master -piece is considered the
Crucifixion, at Varallo.
Works. Turin, the Eoyal Gallery, a
Group lamenting over the dead Christ.
Varallo, the Convent of the Minorites,
Subjects from the Life of Christ: Cha-
pel of the Sacro Monte, the Crucifixion :
Santa Maria di Loreto, the Adoration.
Milan, Brera, Martyrdom of St. Cathe-
rine ; and some frescoes representing the
History of Joachim and Anna: Sant'
Ambrogio, taking down from the Cross :
Santa Maria delle Grazie, the Scourging
of Christ ; the Ecce Homo ; and the
Crucifixion. Vercelli, the Conversion
of St. Paul: and in the transept of
San Cristoforo, frescoes from the Life
of Christ; and of the Virgin. Saronno
(near Milan), Cupola, with a glory of
Angels. Como, Cathedral, the Sposa-
lizio; and Flight into Egypt. Berlin
Gallery, a sacred subject; and the por-
trait of a Youth. Louvre, St. Paul
meditating. {Lanzi, Bordiga.)
FEREARI, Gregoeio de', b. at
Porto Maurizio, 1644, d. 1726. Ge-
noese School. A pupil of Domenico
Fiasella, called Sarzana. He studied
and copied the works of Correggio, at
Parma ; he was a good colourist, more
especially in oil. He painted many
frescoes at Turin, and at Genoa, in the
Palazzo Balbi, and other palaces, &c.
His son, Lorenzo Abate (1680-1744),
painted in a similar style, and acquired
equal celebrity. {Ratti.)
FEEEETTI, Gio. Domenico, called
D'Imola, b. at Florence, 1692, d. about
1750. Tuscan School. A pupil of
Gio. Giosefib del Sole ; he was one of
the best fresco-painters of his time.
The churches of Florence, Pisa, and
Bologna contain many works by him :
a cupola at Pistoja is considered his
master-piece. {Lanzi.)
FEEEI, CiEO, b. 1634, d. at Eome,
1689. Eoman School. The most dis-
tinguished scholar of Pietro da Cor-
tona, and principal assistant ; he imi-
tated the manner of Cortona very
closely, and completed some of his works
at Eome, and the frescoes in the Pitti
Palace, at Florence. Ferri succeeded
60
FEKEI— FIE SOLE.
Cortona, and became the leader of
the Machinists as opposed to the
school of Sacchi, headed by Carlo
Maratta.
Works. Florence, Uffizj, Alexander
reading Homer. Eome, cupola of
Sant' Agnese; Sant' Ambrogio della
Massima, the principal altar-piece, re-
presenting St. Ambrose. Bergamo,
Santa Maria Maggiore. Dresden
Gallery, Dido and ^neas. {Lanzi.)
FERRUCCI, NicoDEMO, h. at Fie-
sole, d. 1650. An able pupil of Pas-
signano, whom he imitated, and assisted
in his frescoes at Rome. Tuscan
School. (Baldinucci.)
FETI, DoMENico, called II Mantu-
ano, b. at Rome, 1589, d. at Venice,
1624. Roman School. A pupil of
Cigoli : he studied also at Mantua,
where he was court-painter, the works
of Giulio Romano. His best works are
in oil, they are richly coloured, well
executed, of small dimensions, and
represent sacred subjects : many are
engraved.
Works. Mantua Academy, the
Feeding of the Five Thoiisand.
Florence, Palazzo Corsini, Christ
praying in the Garden ; Ecce Homo ;
and the Entombment. Dresden Gal-
lery, twelve pictures, including seven
parables. Louvre, Melancholy ; and
three other subjects. {Baglione.)
FIALETTT, Odoardo, b. at Bologna,
1573, d. at Yenice, 1638. Venetian
School. Studied under Gio. Battista
Cremonini, at Bologna, and at Venice
under Tintoretto, with whom he was a
favourite ; and though not approaching
the power of that extraordinary painter,
Fialetti was an able and skilful drafts-
man. He painted for many of the
churches at Venice, where he settled in
preference to Bologna in order to avoid
the competition of the Carracci. He
engraved many plates, and was the
author of some works on costume and
on the arts. His master-piece is the
Crucifixion at Santa Croce. {Mal-
vasia, Zanetti.)
FIASELLA, DoMENico, called from
his birthplace Sarzana, b. 1589, d. Oct.
18, 1669. Genoese School. A pupil
of Gio. Battista Paggi : he studied the
works of- Raphael, Andrea del Sarto,
Guido, the Carracci, and Michelangelo
da Caravaggio. He endeavoured to
combine the very different styles of
these masters, and painted in them seve-
rally. He was employed at Rome con-
jointly with Domenico Passignano and
the Oav. D'Arpino. Fiasella was also a
portrait-painter.
Works. Sarzana, Murder of the
Innocents. (Soprani.)
FICHERELLI, Felice, b. at San
Gemignano, 1605, d. 1060. Tuscan
School. A pupil of Jacopo da Empoli.
He painted original historical subjects ;
but was more distinguished for the
copies he made of the works of Pietro
Perugino and Andrea del Sarto. His
extremely quiet habits procured him
the nickname of Felice Riposo. (Bal-
dinucci.)
FIESOLE, Era Giovanni da, called
Beato Angelico, b. at Mugello, 1387, d.
at Rome, 1155. Tuscan School. One
of the most celebrated of the early
Florentine painters. His name was
Guido, and he belonged to the Predi-
cants of Fiesole, he joined the order in
1407. He first distinguished himself
as an illuminator. He has expressed
with the greatest intensity, the religious
idealism of his time, yet rarely trans-
gressing the limits of the beautiful in
his representations ; thus in the Last
Judgment, his refined taste has en-
abled him to escape in a great measure
those disgusting exhibitions, characte-
ristic of the gross superstitions of the
age, and of the representation of such
subjects, from Orcagna to his time.
Era Angelico's pencil was powerless
when it attempted to portray the more
violent passions of our nature. But
riESOLE— riGOLINO.
61
his works, though deficient in that
plastic development which we find in
the frescoes of Masaccio, are, with
reference to their subjects, perfect in
sentiment, and in expression admir-
able. They are exclusively religious
or ecclesiastical, and breathe the purest
piety and humility, ever leading the
thoughts heavenward, in their exqui-
site conceptions. A man of the most
fervent natural piety, and devoted
enthusiasm for his art, he never com-
menced painting without prayer, and
he never retouched or altered his pic-
tures, believing his pencil in the first
instance to have been guided by inspi-
ration. High powers of art in other
respects, also in character and in con-
position, are prominently displayed in
such works as St. Laurence distribut-
ing alms, in the chapel of Nicholas V., or
in Judas receiving the pieces of Silver,
one of the series now in the Florentine
Academy ; the latter containing heads
and draperies of even Kaphaelesque
grandeur. So acute was his sensibility,
says Vasari, that he shed tears when
he represented the crucifixion. The
genuiness of his sentiment and ex-
pression was so seK-evident, that his
works became, in a great degree, the
type of character for religious art, both
to his own and subsequent generations.
His execution is sometimes extremely
elaborate, and often beautiful, especially
in his small easel panels painted in
distemper : he was also an excellent
fresco-painter. There is, however, a
want of thorough knowledge, and some-
thing of the ascetic in his forms ; the
physical being completely subordinate
to the sentimental, probably designedly
subdued, as, in accordance with reli-
gious views at that time, mundane,
and incompatible with an earnest
spiritualism. Thus but for the intense
and exalted sentiment of liis works,
which almost separates them from the
real life of this world, they would be
poor in style, and extremely limited in
character, the unavoidable fate of those
of his imitators who altogether wanted
'his higher qualities.
Works. Florence Academy, the
Last Judgment, from the monastery
degli Angeli; the Descent from the
Cross ; and many scenes from the hfe
of Christ, from the convent of the
Nunziata ; and several others : U£&zj,
Coronation of the Virgin : Cloisters of
St. Mark, the Crucifixion; and other
frescoes. Perugia, San Domenico,
various works. Fiesole, San Domenico,
in the choir; and Refectory, &c.,
several works. Rome, Vatican, chapel
of Pope Nicholas V. ; St. Laurence
giving Alms ; the Preaching of St.
Stephen ; and other frescoes : Vatican
Gallery, two small pictures from the
Life of St. Nicholas of Bari ; from San
Domenico in Perugia : Corsini Gallery,
Last Judgment. Orvieto, Cathedral,
Chapel of the Madonna di San Brizio ;
Christ as the Judge of the World.
Louvre, the Coronation of the Virgin.
Berhn, Museum, the Last Judgment ;
and three other works. Frankfort,
Stadel Institute, a small Madonna and
Angels (tempera). (Vasari, Giangia-
comi, Marchese, Life and Works by tlve
Arundel Society.)
FIGINO, Ambeogio, flourished
about 1590. Milanese School. A
pupil of Gio. Paolo Lomazzo. He
painted historical subjects and portraits ;
but he was more distinguisbed in the
latter branch : he was also a successful
imitator of the drawings of Michel-
angelo.
Works. Milan, Sant' Eustorgio, a
picture of Sant' Ambrogio : Sant' An-
tonio, the Conception. Brera, Marshal
Foppa; the Virgin and Child, with
Saints, &c. {Orlandi, Lanzi.)
FIGOLINO, Marceixo, h. at Vi-
cenza, about 1430. Venetian School.
He excelled in chiaroscuro and per-
spective, and painted with great 4e-
62
FIGOLINO— FOPPA.
licacy and consistent brilliancy of
colour.
Works. Ticenza, San Bartolomeo,
the Adoration of the Kings : San Fran-
cesco, the Madonna and Child, with
Saints : San Tommaso, a similar
altar-piece. (Mosca.)
FILTPPI, Bastiano, called Bastia-
nino, b. at Ferrara, 1532, d. 1602.
Ferrarese School. The son and
scholar of Camillo Filippi ; he after-
wards studied under Michelangelo in
Eome, and became a confirmed imi-
tator of the style of that great master.
He executed extensive works for the
churches of Ferrara: he painted also
ornament, in which he was assisted by
his brother Cesare.
Works. Ferrara, Cathedral, the
Last Judgment (fresco) : the Certosa,
a picture of San Christofano: San
Benedetto, a Dead Christ supported by
Angels. {Baniffaldi.)
FIOKE, COLANTONIO DEL, h. 1354, d.
1444. Neapolitan School. The pupil
of Francesco Simone, and one of the
most important painters at Naples in his
time. He was one of the first to forsake
tradition for nature — few, however, of
his works remain. Domicini, quoting
an old writer, states, that Colantonio
painted in oil as early as 1375, which
is doubtless an error — although mere
oil-painting was in use before the Van
Eycks. The best of Colantonio's
remaining works is the St. Jerome,
formerly in the church of San Lorenzo,
now in the Gallery of Naples ; painted
1436, in tempera. He was the painter
who gave his daughter to Lo Zingaro.
In Sant' Antonio Abate is a picture of
the Titular, by Colantonio ; and another,
a fresco, in Sant' Angelo a Nilo.
FIOKE, Jacdbello del, painted
from 1401 to 1436. Venetian School.
The son and pupil of Francesco del
Fiore. One of the earlier painters
who attempted complete life-size
figures, and who already displays some-
thing of the rich softness of colouring
which became afterwards so decided a
characteristic of the school : he was
especially fond of gilding and orna-
ment, and elaborate architectural back-
grounds.
Works. Ceneda, Cathedral, Corona-
tion of the Virgin. Venice, Manfrini
Gallery, a Madonna (1436). Berlin
Museum, the Archangel Michael trans-
fixing the head of the Dragon with his
lance. (Zanetti, LanzL)
FONTANA, Peospeeo, b. at Bologna,
1512, d. at Eome, 1597. Bolognese
School. A pupil of Innocenzio da
Imola, and the master of the Carracci.
He was one of ^le principal portrait-
painters of his time, and one of the
best masters who lived during the
decline of the art at Bologna. But
according to Lanzi his incorrect draw-
ing, mode of execution, and the man-
nerism of his figures, contributed not
a little to hasten the decline of that
school ; as a fresco-painter he was a
mere machinist. Prospero's daughter
Lavinia, called also Zappi, the name of
her husband, inherited her father's
skill in portrait-painting. She was a
great favourite with the Eoman ladies,
from the time of Gregoiy VIII. to
Paid v.; the last sat to her. She
painted other works as well as portraits,
all executed with care and delicacy;
some of her portraits have been attri-
buted to Guido. She died in Eome,
1614, aged 62. As an instance of the
expedition of Prospero Fontana, he
painted in fresco an entire Hall in the
Vitelh Palace, at Citta di Castello, in a
few weeks. His master-piece is con-
sidered the Adoration of the Magi, in
Santa Maria delle Grazie, Bologna.
{Malvasia.)
FOPPA, ViNCENZio, b. at Brescia, d.
1492. Lombard School. He was the
founder of the Milanese School, and
was the best painter of his time in
Lombardy, and is compared by Cale-
rOPPA— FKANCESCA.
63
pino, in his Lexicon, with Giovanni
Bellini and Leonardo da Vinci. He
paid more than usual attention to per-
spective, and was skilled in foreshorten-
ing.
Works. Milan, Brera, Martyrdom
of St. Sebastian (fresco). Brescia,
San Pietro, in Oliveto, the Trinity;
and St. Ursula ; S3. Nazaro e Celso,
their Martyrdom. Palazzo Comunale,
Christ bearing the Cross ; the Martyr-
dom of Santi Faustino e Giovita.
(LanzL)
FOKABOSCO, or FERABOSCO,
GiEOLAMO, b. at Padua, living in 1660.
Venetian School. He painted more
for private collections than for churches,
and was an excellent portrait-painter.
Zanetti speaks in the highest terms of
his execution, which was at the same
time delicate, elaborate, and forcible ;
he aimed at illusion in his portraits.
Works. Venice, at the church of the
Theatines, San Francesco : San Magno,
Padua : Cathedral, Sant' Antonio.
Dresden Gallery, a young Woman
attempting to fly the hand of Death.
Vienna, Lichtenstein Gallery, David.
FOELT, Melozzo da, b. at Forli,
1438, d. Nov. 8, 3494. Bolognese
School. He is supposed to have been
the fellow pupil of Mantegna, with
Squarcione at Padua, and to have
studied also under Piero della Fran-
cesca, as he was great in perspective.
Melozzo was also the first to attempt
the Sotto in su painting on ceilings, in
which Correggio afterwards so greatly
distinguished himself. In an Ascension
of Christ, in the church of the Apostles
at Rome, painted in 1472, he has
completely anticipated the foreshorten-
ings of Correggio in his cupola at
Parma. The chapel in which these
frescoes were has been rebuilt, but
the frescoes were removed in 1711,
some portions to the Quirinal, and*
some to the sacristy of the Vatican.
Melozzo's style is similar to that of
Mantegna aiid other great masters of
the quattrocento. He was a good
portrait-painter.
Works. Rome, Quirinal Palace (on
the staircase), the Ascension of Christ:
Sacristy of St Peter's, single figures of
angels : Vatican Gallery, Pope Sixtus
IV. installing Platina, in 1475, as
Librarian, or Prefect, of the Vatican
Library: transferred from the wall
of the old Library to canvas, by Do-
menico Succi, for Leo XII. {Vasari,
Lanzi.)
FRACANZANO, Francesco, d. 1657.
Neapolitan School. He was the
scholar of Spagnoletto, and the bro-
ther-in-law and master of Salvator
Rosa. He was a good colourist; but
Avas unfortunate. He had joined the
rebellion of Masaniello against the
Spaniards in 1647, and through the
intercession of powerful friends had
been pardoned by the Government ;
but after the plague of 1656, he again
joined the disafiected and attempted to
excite another rebelhon against the
Spaniards, for which he was imprisoned
and executed. In consideration of his
profession, instead of being hanged he
was poisoned. His master-piece is the
Death of St. Joseph, in the church of
the Pelegrini ; it is one of the principal
pictures in Naples. {Dominici.)
FRANCE SCA, JiEEo della, called
also Piero Borghese, from his birth-
place Borgo San Sepolcro ; Francesca
was his mother's name : b. about 1408,
d. about 1496. Umbrian School. He
considerably advanced the knowledge
of perspective in Italy, which he was
the first to fully develope in practice.
Vasari commends him for the life-like
expression of his heads, for ability in
foreshortening, and for the knowledge
he possessed of anatomy. Luca Pac-
ciolo calls him El Monarca de la Pic-
tura. Piero wrote some treatises on
geometry and perspective, which it
appears are still preserved at Borgo
64
FRANCESCA— FRANCIA.
San Sepolcro, and in the Vatican
Library. Towai-ds the close of his
life he became bhnd.
Works. Citta San Sepolcro, Sant'
Agostino ; two saints, in fresco : Palace
of the Conservatore, the Eesun-ection.
Florence, Uffizj, Federigo Montefeltro
and his wife. Arezzo, San Francesco,
the ceiling of the Bacci Chapel, with
the legendary history of the Cross;
much injured. Milan^ over the door of
San Sepolcro, a Dead Christ ; and other
figures. Urbino, sacristy of the cathe-
dral, the Scourging of Christ. ( Vasari,
I>ragomamii^ Rumohr.)
FRANGESCHINI, Baldassaee,
called II Volterrano, h. 1611, d. 1689.
Tuscan School. A pupil of Matteo
Eoselli; he studied also under Gio-
vanni di San Giovanni, and became one
of the best fresco-painters of his
time : he painted also cabinet pictures
in oil. His style, though not great, is
vigorous and ornamental ; and more
correct than usual with the Machinists
of the seventeenth century.
Works. Florence, Sta. Croce, Cap-
pella Niccolini : the cupola, Sta. Maria
Maggiore ; Vault of a chapel, re-
presenting Elias ; the Nunziata :
cupola, Pitti Palace, frescoes. Rome,
Palazzo del Bufalo, frescoes. {Buldi-
nucci.)
FRANCESCHINJ, Cav. Maecan-
TONio, b. at Bologna, 1648, d. 1729.
Bolognese School. He studied first
under Gio. Battista Galli Bibiena, and
afterwards under Carlo Cignani, and be-
came his most prominent pupil and able
assistant; and he held the same rank
as the head of the modem school of
Bologna as Cortona acquired in Flo-
rence and in Rome. Franceschini
possessed great facility of execution,
and painted many extensive works in
fresco, at Bologna, Genoa, and Vienna,
in the taste of the Macchiuisti of his
time. ; character, and expression being
systematically sacrificed to a mere orna-
mental scenic efiect. His best work,
the ceiling of the Council Hall at
Genoa, was destroyed by fire. He was
an excellent colourist.
Works. Bologna, Palazzo Ranuzzi,
a ceiling : church of Corpus Domini,
the Death of St. Joseph ; Padri della
Carila, St. John at Patmos. The
Celestini, Madonna and Saints : Aca-
demy, the Annunication ; Sant' Antonio
of Padua. Vienna, Lichtenstein Gal-
lery. Dresden Gallery, the Magdalen
(in oil). (Zanetti, Lanzi.)
FRANCHI, Antonio, b. at Lucca,
1634, d. 1709. Tuscan School. A
pupil of Baldassare Franceschini, and
he became a popular painter in his
time at Florence : he wrote a treatise
on the theory of painting. La Teorica
della PlUura, published in 1739. Fran-
chi found, what many [great painters
want, a biographer. G. B. Bartolozzi
published his life at Florence in 1754,
in 4to. In the Caporgnano Church, St.
Peter receiving the Keys, is considered>
his master-piece.
FRANCIA, Francesco Raibolini,
commonly called Francia (either from
the name of his master, a goldsmith,
or as a mere nickname for Francesco),
b. at Bologna, about 1450, d. Jan. 5,
1518. Umbrian School. This very
distinguished painter was originally a
goldsmith, and a die and niello en-
graver. He applied himself to paint-
ing comparatively late, when nearly
forty years of age, and studied the
works of Mantegna, Perugino, and the
Bellini. He frequently signed his pic-
tures Aurifex, Jeweller; and on his
jewellery he inscribed himself Pictor,
Painter. A strong similarity of style
exists between Francia and Perugino,
especially in Francia's early works ;
they display the same deep and fer-
vent feeling and exalted sentiment.
With Francia, however, the sentiment
is exhibited through a less conven-
tional, but also a less ideal type of
FEANCIA— FKANCIABIGIO.
65
head, and a more powerful objective
truth of representation. He also ma-
naged his accessories with great ability :
his landscape backgrounds are unusu-
ally excellent. Francia is the greatest
painter of the earlier School of Bologna,
and probably in execution the most
perfect of all the quattrocento masters.
His works are individual in their style
of form, but in admirable taste, indicat-
ing considerable power of generalisa-
tion; and in colour, exactly in that
degree in which he is less positive, he
is superior to the Venetians. Francia
is the best exponent of that style
termed Antico-moderno by Lanzi, in
contradistinction to the fully-developed
style of the cinquecento as exempHfied
in the works of Kaphael, Titian, Cor-
reggio, and other great masters of the
sixteenth century. Francia was accord-
ingly necessarily a fine portrait-painter.
The excellent head of a meditative
youth in the Louvre, long ascribed to
Kaphael, is now more appropriately at-
tributed to Francia. His altar-pieces,
equally highly finished, are of larger
dimensions than those usually painted
by Bellini and Perugino, and perhaps
in every respect show a more advanced
state of art. Francia's son Giacomo
was also an able painter : he imita,ted
his father's style, and the works of the
son have been not unfrequently con-
founded with those of the father, from
Malvasia downwards. Giacomo died
in 1557. Francia's second son GiuHo
was likewise a painter, but he is only
known as his brother's assistant. Bo-
logna still possesses several works by
Giacomo. Francia surpassed even
Squarcione in the number of his
scholars ; they exceeded 200. Vasari
relates that Francia died in conse-
quence of finding himself so greatly
surpassed by the young Kaphael, who
had consigned to Francia his pictuie
of St. Cecilia, destined for one of the
churches of Bologna. The dates agree
sufficiently, but the inference approaches
the absurd : Kaphael and Francia
were friends; Francia knew the great
powers of Kaphael well; and it cer-
tainly requires no extraordinary cir-
cumstance to account for the death of
a man close upon his seventieth year.
Works. Bologna, Gallery of the
Academy, the Madonna enthroned with
Saints (1490) ; the Annunciation ; the
Nativity, &c. : San Giacomo Maggiore
(altar-piece of the Bentivoglio chapel),
Madonna enthroned, with four Saints
and Angels. In the lunettes of the
chapel, frescoes : St Cecilia, scene from
the Life of that Saint. Florence, Uffizj,
portrait of Evangelistade' Scappi. Mu-
nich, Koyal Gallery, the Madonna and
Child ; and the infant Christ lying in a
Garden of Koses, his Mother adorning
him : Leuchtenberg Gallery, Madonna
and Child, St. Barbara, and St. Do-
menic. BerUn Gallery, a Pieta; and
four other sacred subjects. London,
National Gallery, the Virgin with the
infant Christ, and St. Anne, enthroned,
surrounded by Saints ; and the Virgin
and two Angels weeping over the Dead
body of Christ ; a Pieta, lunette of the
preceding. {Vasari^ Malvasia, Calvi.)
FKANCIABIGIO, Maegantonio, b.
at Florence, 1483, d. 1524. Tuscan
School. He was the scholar of Alber-
tinelli, and the friend and companion
of Andrea del Sarto ; he completed his
frescoes in the Scalzo. Vasari praises
him for his knowledge of anatomy and
perspective, and also for softness and
harmony of colouring, and expresses
the extreme opinion that he surpassed
all his contemporaries as a fresco-
painter. He painted in competition
with Andrea, in the court of the
Annunziata, and represented, in
fresco, the Marriage of the Virgin ;
but the monks having uncovered this
work before its completion, the in-
censed painter struck the fresco seve-
ral blows with a hammer, injuring the
FEANCIABIGIO— GABKIELO.
Virgin's head and destroying some por-
tions, and the injuries still remain, as
a monument of his own folly, — no re-
ward, it seems, that the monks offered
could induce him to restore his work :
his brother artists dared not. Francia-
bigio was a good portrait-painter.
Works. Florence, in the court of
the Scalzo, two pictures from the Life
of the Baptist : Sma. Annunziata,
the court, the Marriage of the Virgin :
Poggio a Caiano, frescoes. Dresden
Gallery, David and Bathsheba (1523).
Berlin Gallery, portrait of a young
man (1522). {Vasari.)
FRANCO, Battista, called II Semo-
lei, b. at Udine, 1498, <i. at Venice, 1561.
Tuscan School. He studied at Eome,
and is among the good imitators of
Michelangelo; with whose style he
combined some of the excellences of
Venetian colouring. He is rarely met
with in picture galleries, and in his
larger works he is somewhat mannered :
he executed a few pictures from the
designs of Michelangelo. He was a
pupil of Marc Antonio, in the art of
engraving, in which he is well known,
but he engraved almost exclusively his
own designs. Franco was the master
of Baroccio.
Works. Venice, San Francesco della
Vigna, the Baptism of Christ; and the
Raising of Lazarus (fresco). Ducal
Palace, in the Library ; and gro-
tesques in the Scala D'Oro. Berlin Mu-
seum, portrait of Sansovino. ( Vasari,
Zanetti.)
FRANCO, BoLOGNESE. [Da Bo-
logna.]
FRANCUCCI. [Da Imola.j
FURINI, Feancesco, b. at Florence,
about 1600, d. 1649. Tuscan School.
The son of Filippo Furini, and a pupil
of Passignano and Matteo Roselli.
He was also a diligent student of the
works of Guido, and was most suc-
cessful in portraits and cabinet pictures,
in imitation of that master, and some-
what after the taste of Albano, in which
he represented nymphs, satyrs, the
Graces, &c. He painted also historical
and religious subjects. The Three
Graces for the Strozzi family : Hylas
and the Nymphs for the Galli : the
Marriage of the Virgin for a Dr. Lo-
renzi, as a companion piece to a Mag-
dalen by Carlo Dolci : and many other
pictures sacred and profane, chiefly
Nymphs and Magdalens, mostly half-
length figures, of the natural size, are
enumerated by Baldinucci ; and the
majority are still in the possession of
private families in Florence. When
about forty years of age Furini became
priest, and was made curate of Sant'
Ansano in Mugello, but he still con-
tinued to paint. He has been called
both the Guido and the Albano of
Florence.
GABBIANI, Antonio, Domenico, h.
at Florence, 1652, d. 1726. Tuscan
School. An able pupil of Vincenzio
Dandini, and of Ciro Ferri, at Rome;
but his colouring is somewhat languid,
notwithstanding his sojourn at Venice,
and his merit unequal, though he was
one of the principal painters of his
time, in fresco and in oil. He best
represented children, or Amorini. He
also painted portraits, and was skilful
in landscape and animal painting. He
died through a fall from a scaffolding,
in his seventy-fourth year. His pupil,
Ignatius Hugford, published a life of
Gabbiani at Florence, in 1702.
Works. Florentine Gallery, several
subjects: Pitti Palace, frescoes; church
of the Padri dell' Oratorio, San Filippo.
Costello, the cupola. Poggio a Cajano,
frescoes. (Lanzi.)
GABRIELO, Onofrio, called also
Onofrio da Messina, b. at Messina,
1616, d. there, 1706. He studied, first,
under Antonio Ricci, called Barbalonga,
then, owing to political circumstances,
GABRIELO— GADDI.
67
was compelled to leave his native coun-
try, and he prosecuted his studies at
Rome, under Pietro da Cortona, and at
Venice with Maroli. He also resided
at Padua, where, in collections, are still
preserved several of his works. There
are also several in San Francesco di
Paola, and in San Paolo delle Monache
at Messina. He was clever in the
treatment of accessories; but all he
earned by painting, he wasted in re-
searches in alchemy. (Hackert.)
GADDI, Agnolo, b. about 1325,
living 1390. Tuscan School. The son
and pupil of Taddeo Gaddi, whose style
and that of Giotto he imitated; he ex-
celled in colour and. general execution,
but he was inferior to both in expres-
sion, and to his father in design. He
established a Commercial House at Ve-
nice, in which he placed his sons, and
added greatly to the wealth inherited
from his father. He was the master
of Cennino Cennini, the author of one
of the earliest treatises on painting
(1437).
Works. Prato, Cathedral, Chapel of
the Holy Girdle, thirteen frescoes from
the Life of the Virgin (about 1350).
Florence, Sta. Croce (the choir), the
history of the Holy Cross. Berlin Mu-
seum, Virgin and Child, with Saints ; St.
Laurence and St. Catherine. (Vasari.)
GADDI, Gaddo, b. at Florence, 1239,
d. 1312. Tuscan School. A painter
and mosaic worker, but no picture by
him is preserved. He was the assistant
of Tafi, and the friend and companion
of Cimabue, and acquired a great re-
putation by his mosaics, some of which
are still in a good state of preservation,
both at Florence and at Rome. Gaddi
was invited to Rome by Clement V., in
1308, and, besides many original works,
completed the mosaics left unfinished
by Jacopo da Turrita. His design was
after the conventional Byzantine type,
as exemplified in one of his mosaics, in
the Uffizj, which is formed entirely of
egg-shells; it represents a half-length
of the Saviour, with a book in his hand,
and the Greek form of the monagram,
IC. xc.
Works. Florence, the dome of the
Baptistery of San Giovanni (under
Andrea Tafi), some subjects: chief
portal of the cathedral, Santa Maria
del Fiore (the interior lunette), Coro-
nation of the Virgin. Rome, Santa
Maria Maggiore, mosaics on the fagade.
Pisa, cathedral, the Assumption of the
Virgin. {Vasari.)
GADDI, Taddeo, b. at Florence,
1300, living in 1366. Tuscan School.
He was the son of Gaddo Gaddi, and
the godson and pupil of Giotto, with
whom he lived twenty-four years, and
he became the most eminent of that
painter's numerous scholars. Taddeo
enlarged upon the style of Giotto, but
still adhered to the formal symmetrical
disposition of his figures. In expres-
sion he was at least equal to Giotto. In
form he was much fuller; he was cer-
tainly remarkable for the simplicity and
dignity of his compositions, for natural
truth, and a positive grace of motive in
some instances. He was the best drafts-
man of his age or century, and Vasari
already expressed the opinion that
there is greater vivacity and freshness
in the colouring of Taddeo than in that
of Giotto. He was a great architect as
well as a painter; he built the Ponte
Vecchio (1342), and the old Ponte della
Trinita, which was destroyed by the
flood in 1557 ; and he constructed also
the Campanile of Florence, after a design
by Giotto. He amassed great wealth,
and was the founder of the Florentine
family of the Gaddi.
Works. Florence, Santa Croce, Last
Supper, Giugni (formerly Barroncelli)
Chapel, subjects from the Life of the
Virgin: Academy, the Coronation
of the Virgin: Santa Maria Novella,
Capella degli Spagnuoli. Pisa, Campo
Santo, Virgin and Child (formerly in
F 2
68
GADDI— GANDOLFI.
San Francesco), afragment. Berlin Mu-
seum, four sacred subjects. Louvre,
scenes from the Life of Christ and the
Baptist. National Gallery, two pictures
of Saints. {Vasari, Rumohr, Gaye.)
GAGLIAKDI, Cav. Bernaedo, h. at
Citta di Castello, 1609, d. 1660. Koman
School. A pupil of Avanzino Nucci,
and a student of the works of the Car-
racci and of Guido. His master-piece,
says Lanzi, is the pictin*e of San Pelle-
grino, in San Marcello, at Kome.
GALANINO, the name by which Bal^
DASSARE Aloisi is commonly known,
6. at Bologna, 1578, d. at Kome, 1638.
Bolognese School. He was a pupil
and follower of the Carracci, and be-
came so able a portrait-painter, that he
has been styled the Italian Vandyck ; he
painted also some excellent historical
pieces ; and also etched a few plates.
Works. Bologna, church of La Ca-
rita, the Visitation: Academy, Virgin
and Child, with Saints and Angels.
Rome, Gesu e Maria, the Coronation
of the Virgin. (Baglione.)
GALASSI, Galasso, painted at Fer-
rara, 1450, d. 1488. The earliest of the
Ferrarese painters ; he lived some time
at Bologna, but died at Ferrara. A few
works in these cities are attributed to
him, but little is known of him per-
sonally ; in style he is anterior to, or
less developed than, Giotto, though a
much later master.
Works. G allery of Ferrara, the Eter-
nal Father. (Vasari, Baruffaldi.)
GALIZIA, Fede, h. at Milan about
1578, living in 1616, daughter and pupil
of Annunzio Galizia, of Trent. Mila-
nese School. She painted history, por-
trait, and landscapes, and was originally
a miniature-painter.
Works. Milan, for the church of
Santa Maria Maddalena, the large
altar-piece, Christ appears to Mary as
a Gardener (1616), now in the Brera :
Ambrosiana, portrait of Paolo Moriggio.
GALLI. [Bibiena.]
GAMBARA, Lattanzio, b. at Bres-
cia, 1541, d. 1574. Venetian School.
A pupil of Antonio Campi and Giro-
lamo Romanino, whose daughter he
married. He was an able fresco-painter,
with great skill in fore-shortening and
in execution. Many of the churches
and other buildings of Brescia possess
works by Gambara, though he was
killed in early life by a fall from a
scaffold : his oil pictures are rare. All
his works are distinguished for their
fine colour and correct anatomical
drawing.
Works. Brescia, Sant' Eufemia, clois-
ters, twenty-four frescoes. Parma,
cathedral, frescoes from the Life of
Christ. Mantua, Santa Mariadelle
Grazie. (Bidolfi, Brognoli.)
GAMBARINI, Gioseffo, b. at Bo-
logna, 1680, d. 1725. Bolognese School.
Studied under Lorenzo Pasinelli and
Cesare Gennari. He painted genre pic-
tures, or subjects from common life in
the Dutch taste, with great skill and
success; in his more serious pictures
he was very inferior.
GANDINI, Giorgio, called also Del
Grano, b. at Parma, d. 1538. Lom-
bard School. He was apparently a
favourite pupil of Correggio, who is
said to have retouched his works. The
great altar-piece of San Michele, at
Parma, now in the gallery of the Aca-
demy, is attributed to Gandini, and
resembles much the style of Correggio.
Gandini was held in such estimation
by his townspeople, that he was com-
missioned to complete the unfinished
frescoes of Correggio in the cupola of
the cathedral, but his own death in-
tervened before the work was com-
menced. The works undertaken by
Gandini were most extensive. (-40^,
Pungileoni.)
GANDOLFI, Gaetano, b. at San
Matteo della Decima, 1734, d. at Bo-
logna, 1802. Bolognese School. The
brother and pupil of Ubaldo Gandolfi ;
GANDOLFI— GAEOFALO.
69
he was also a student of the works of
the Carracpi, and devoted some time to
the Venetians, at "Venice. He painted
several pictures for the churches at
Bologna, and other cities in Italy, and
was considered one of the principal
painters of his time. (LanzL)
GARBIEKI, Lorenzo, called II
Nepote dei Carracci, b. 1580, d. 1654.
Bolognese School. He studied in the
school of Lodovico Carracci, and re-
presented the most austere and dismal
subjects, without the sombre force of
Lodovico and Caravaggio.
Works. Bologna, chapel of San Carlo,
a' Bamabiti, the Plague of Milan. Fano,
at the Filippines, St. Paul restoring the
Dead Youth to Life. Mantua, San
Maurizio, the Martyrdom of Sta. Feli-
cita and her seven Sons. (Malvasia.)
GARBO, Raffaellino del, b. at Flo-
rence, 1466, d. 1524. Tuscan School.
The son of Bartolomeo del Garbo,
and the scholar of Filippino Lippi,
whom he assisted in the Minerva, at
Rome. He was a careful and graceful
painter in the earlier portion of his
career ; but afterwards a numerous fa-
mily reduced him to poverty, and a
reckless indifference to his art
Works. Florence, Academy, the Re-
surrection of Christ (formerly at Monte
Oliveto), considered the painter's mas-
ter-piece. Cestello, refectory of the
convent, the Miracle of the Loaves, &c.
fresco. Rome, Sta. Maria sopra Mi-
nerva, ceiling of the chapel of St. Tho-
mas Aquinas. Munich, Gallery, the
Virgin, with San Bernardo and other
Saints. Berlin Museum, a Madonna
and Child, with Saints, and three other
subjects. Louvre, the Coronation of
the Virgin. (Vasari.)
GARGIUOLI, DoMENico, called
Micco Spadaro, b. 1612, d. 1679. Nea-
pohtan School. The scholar of Aniellb
Falcone, the master of Salvator Rosa.
Gargiuoli was a good landscape-painter,
and represented also historical subjects
in small and in large, as in the Cer-
tosa and other churches at Naples.
He painted a picture of the insurrec-
tion of Masaniello; and a representa-
tion of the Plague of 1656. He was
also an architect. (Dominici.)
GAROFALO, Benvenuto Tisio,
called Gaeofalo, b. in the Ferrarese,
1481, d. at Ferrara, 1559. Ferrarese
School. He studied under several
masters, first under Domenico Den-
netti, at Ferrara; then with Niccolo
Sorriani, at Cremona; and under Lo-
renzo Casta, at Mantua. He was en-
gaged by Raphael, in 1508, to assist in
the Vatican frescoes, and he remained
so occupied for some years, when he
returned to and settled in Ferrara,
where he became the Capo Scuola. He
acquired much of the Roman School,
and has been called the Raphael in
miniature ; his colouring is, however,
hot, his outline hard, and his execu-
tion dry; his composition formal and
symmetrical rather than dramatic ; but
his pictures, especially the smaller, are
executed with great care, and the figures
are in a full and large style in form,
yet his works are crude in effect, and
have much of the quattrocentismo, or
that want of harmony and tone which
characterises the fifteenth century pain-
ters generally. He painted much with
the two Dossi for Alfonso I., of Ferrara,
at Belriguardo and elsewhere. The
surname of Garofalo arose from the
circumstance of his marking his pic-
tures with a gilliflower (clove-pink), as
a monogram. He was blind the last
few years of his life.
Works. Ferrara, Gallery, the Tri-
umph of the New Testament over the
Old ; and other works : San Francesco,
the Slaughter of the Innocents, fres-
coes (1519-24) ; and a large altar-piece,
representing Christ Betrayed : Sant'
Andrea, an altar-piece: Palazzo del
Magistrate, frescoes. Venice, Academy,
Madonna in the Clouds. Rome, the
70
GABOFALO— GELLfeE.
Borghese Gallery, the Entombment:
Doria Gallery, an Adoration of the
Child; and a Salutation of the Virgin.
Naples, Studj, an Entombment. Ber-
lin, Gallery, six sacred subjects. Lon-
don, National Gallery, Holy Family,
Elizabeth, the young St. John, and
other Saints ; with a Vision of God the
Father, and a Choir of Angels above.
{Vasai-i.)
GAEZI, LuDOVico, b. at Pistoja,
1638 (or 40), rf.l721. Roman Schooh
A favourite scholar of Andrea Sacchi,
and a rival in that school of Carlo
Maratta, at Rome, who with Garzi
maintained the credit of the Acade-
micians against the more showy and
expeditious Machinists, Giro Ferri and
Romanelli, of the school of Pietro da
Cortona. Garzi painted also land-
scapes and architecture.
Works. Rome, Sta. Maria del Po-
polo, the cupola of the Capella Cibo :
San Giovanni in Laterano, the Prophet
Joel. Naples, Sta. Caterina. Pescia,
the cathedral. {Pascoli.)
GATTI, Beenaedo, called II Soi-
AEO, from the occupation of his father,
6. 1522, d. 1575. Lombard School. An
able scholar of Correggio, and one of
the best of his imitators ; according to
some critics, he combined aU the chief
qualities of the greatest cinqnecento
masters ; but it is the want of origina-
lity, or some peculiar excellence, which
has hindered his name from emerging
from the second rank. He completed
the tribune of Santa Maria di Com-
pagna, at Piacenza, left unfinished
by Pordenone, and Vasari has re-
marked that the whole appeared to be
by the same hand. Soiaro is claimed
by Cremona, by Vercelli, and by Pavia.
Works. Cremona, the cathedral, the
Assumption of the Virgin: refectory
of the Padri Lateranensi, Miracle of
the Loaves and Fishes, ] 552 : San
Sigismondo, Flight into Egypt: San
Pietxo, the Nativity. Parma, cupola
della Steccata : La Maddalena, a PietS.
Naples, Studj Gallery, Christ Scourged;
and the Crucifixion between the Two
Thieves. (Lanzi.)
GATTI, Gervasio, painted from
1578 to 1631. Lombard School. The
scholar and nephew of Bernardino ; he
also studied the works of Correggio, at
Parma. He was much employed in
painting portraits, in which he was a
great master.
Works. Cremona, Sant' Agatha, the
Martyrdom of St. Sebastian : San Pietro,
Death of St. Cecilia. (Lanzi.)
GAULLI, Gio. Battista, called Ba-
ciccio, b. at Genoa, 1639, d. 1709.
Roman School. He studied at Rome,
in the school of Bernini, who directed
Gaulli's attention to painting, and he
executed many extensive works for the
churches there, of which the ceiling of
the Gesu is the most celebrated. He
was also a good portrait-painter. He
belongs to the school of the Macchi-
nisti. (Pascoli.)
GELLEE, Claude, called Claude
LoEEAiN, Le Loreain, and De Lor-
EAiNE, b. 1600, d. Nov. 23, 1G82. This
great landscape-painter, though a na-
tive of France (he was bom at Chateau
de Chamagne, near Charmes,in theVos-
ges), may be enumerated among the
painters of Italy. He paid but one
visit to his native country during his
long life, in 1625-7; when he was
employed in some architectural paint-
ing at Nancy. His parents were very
poor, and Claude was placed with a
baker and pastry-cook. The cooks of
Lorraine were at that time celebrated ;
and Claude travelled in company with
some of them to Rome, where he en-
gaged himself as domestic servant with
Agostino Tassi, the landscape-painter,
who had been a scholar of Paul Bril.
This is Claude's own story, as handed
down to us by his friend Sandrart,
who published it in Claude's lifetime
(1675). Tassi'a occupation led to the
GELLfeE.
71
development of his French servant's
capacity in a new sphere of art; from a
cook he became a painter, and Sand-
rart first taught him to sketch from
nature. Claude adopted an original
style. His subjects were chosen from
the banks of the Tiber, and the neigh-
bouring hills and woodlands of Rome,
or from the wild expanse of the Cam-
pagna; but foliage, architecture, and
water were his favourite subjects. His
landscapes are, however, not strictly
copied from nature; they are rather
composed from various picturesque
materials put together according to his
own fancy. The architecture which
he introduces is extremely fanciful, it
has a classical character, but it is the
Itahan renaissance, not Roman art, that
was his model. Sometimes we see
ruins, sometimes perfect buildings, of
at least great pretensions and some
splendour. His rendering of water
is somewhat hard, and his rivers are
like the Tiber, opaque; his atmo-
spheres, however, are brilliant and
etherial; his chief excellence is,
perhaps, his aerial perspective and
general management of light. His
colouring shows no great excellence;
his greens are sometimes cold, blue,
and excessive in quantity, resembling
more the West of England than Cen-
tral Italy. In his later works, the blue
tone disappears, and gives place to a
more genial warmth of colour, and a
cheerful sunny light. The Doria and
Sciarra Palaces at Rome contain some
of his most finished works. Notwith-
standing Claude's great age and suc-
cess, Baldinucci informs us that his
property at his death did not exceed
in value 10,000 scudi. Frequent co-
pies and imitations were made of his
pictures, and are said even during his
lifetime to have been sold as originiils.
To obviate this imposition, he collected
in a book the sketches of his pictures,
which he carefully preserved, or draw-
ings executed from them, and he named
this collection the Book of Truth {Li-
bro di Verita). It is now in the pos-
session of the Duke of Devonshire, it
consists of 200 drawings, and on the
backs of some of them are written the
dates of the completion of the pictures,
and the names of the purchasers. The
collection was engraved for Boydell, by
Earlom, under the title of " iifeer Veri-
tatis," 1777. Robert Dumesnil, in the
Peintre Graveur Fran^ais, describes 42
etchings by Claude : he rarely put the
same signature to his works, but he
generally used the Italian form of his
name, Claudio. His best pictures be-
long to about the period 1645. The
figures in them were painted chiefly
by F. Lauri, Borguignon, or by A. Both.
England is richer than any other coun-
try in the examples of this painter, who
has long been a special favourite with
English collectors. The National and
private galleries in England contain
some of Claude's finest works.
Works. Rome, the Doria and Sciarra
Palaces, the Mill ; the Sacrifice at Del-
phi ; and other master-pieces. Naples,
Studj Gallery, the Sea of Diana. Vi-
enna, Esterliazy Gallery. Munich Gal-
lery. Dresden Gallery. Petersburg, the
Hermitage ; the Seasons. Berlin Gal-
lery. Louvre, the Roman Forum, and
fifteen others. London, National Gal-
lery, the Embarkation of St. Ursula ; the
Visit of the Queen of Sheba to Solomon ;
Cephalus and Procris ; Isaac and Rebec-
ca ; and six others (nine of this collection
are engraved in the ^^ Liber Veritatis") :
Bridgewater Collection, Morning and
Evening; and two others: Grosvenor
Gallery, Morning and Evening; the
Sermon on the Mount; the Golden
Calf; the Rise and the Decline of the
Roman Empire ; and two others. Holk-
ham, several specimens. Longford
Castle, Morning and Evening ; the Rise
and Decline of the Roman Empire:
Dulwich College, Embarkation of St.
72
GELLfeE— GHEZZI.
Paula at Ostia; and seven others.
(Sandrart, Baldinucd, National Gallery
Catalogue.)
GENNAET, Benedetto, the
Younger, h. at Cento, 1633, d. 1715.
Bolognese School. The son of Er-
cole Gennari, the nephew and pupil
of Guercino, whom he copied and imi-
tated. He painted history and por-
traits, and resided some time at Paris
and in England, where he was Court
painter to Charles the Second and James
the Second. There were several other
Bolognese painters of this name, and
of the school of Guercino : Cesare, the
brother of Benedetto (1641-88), copied
many of the pictures of Guercino.
Works. Bologna, San Domenico, a
picture of Santa Kosa: Forli, at the
Fihppines, San Zaccharia. (Crespi.)
GENOVESEjLlPeete. [/SeeSiEOZ-
Zi.]
GENTILESCHI, or Lomi, Oeazio,
b. at Pisa, 1563, d. in England, 1646.
Tuscan School. He was called De'
Gentileschi, after an uncle. He was
the pupil of his brother Aurelio liOmi,
at Pisa, and afterwards studied at Eome,
where he was employed by Agostino
Tassi to insert the figures in his land-
scapes. He also painted for the
churches, and there is a picture of St.
Cecilia by him in the Palazzo Borghese.
He was much employed by Charles I.
of England, in the palace at Green-
wich. Some of his works are still pre-
served in Marlborough House, on the
ceUing of the Hall, in oil, on canvas.
Gentileschi had much of the Bolognese
in style; he was strong in his sha-
dows, and positive in colour. Aete-
mesia, Orazio's daughter, b. 1590, d.
1642, also painted for the King of Eng-
land, but did not remain long in this
country. There is a Judith with the
head of Holofernes by her, in the gal-
lery at Florence ; and there are two speci-
mens at Hampton Court, including her
own portrait. She excelled her father
in portraits. She was married to P.
Schiastesi, and lived chiefly at Naples,
where she died. {Lanzi, Morrona.)
GESSI, Feancesgo, Bolognese
School ; 6. 1588, d. 1649. A very able
pupil of Guido Keni, whose second
manner he followed, but he was latterly
very slovenly in execution, cold, slight,
and careless in drawing. One of his
best works is St. Francis, in the Nunzi-
ata at Bologna. Ordinary Gessis and
bad Giiidos are said to be not unfre-
quently confounded. (Lanzi.)
GHERAEDI, Ceistofano, called
DOCENO DAL BOEGO, &, 1500, d. 1552.
Florentine School. He was a native of
Borgo. S. Sepolcro, and a scholar of
Raflfaello dal Colle. He was an excel-
lent fresco-painter, and assisted Vasari
in his numerous works. He also paint-
ed arabesques and other ornamental
work. One of his chief works is the Visit
of Mary to Elizabeth, in the Church of
San Domenico, at Citta di Castello,
besides many others at Rome, Venice,
Naples, Florence, &c., chiefly under the
direction of Vasari. Vasari, in his
" Lives," gives Doceno a great cha-
racter as a painter, and Cosmo I. had
placed on his tomb in San Francesco,
of his native place, Pingendi arte prce-
stantissimus.
GHEEARDINI Alessandeo, b. at
Florence, 1655, d. at Leghorn, 1723.
Tuscan School. Scholar of Alessandro
Eossi. There is a picture of the Cruci-
fixion, considered his master-piece, in
the Monastery of the Augustines, at
Candeli : at Florence, in the convent of
St. Mark, frescoes from the Life of St.
Anthony. {Lanzi.)
GHEZZI, GuisEPPE, Cav., b. near
Ascoli, 1634, d. at Eome, 1721. Eo-
man School. The son of Sebastiano
Ghezzi, and an imitator of Pietro da
Cortona, in whose style he executed
many frescoes in the Eoman churches.
He was the first perpetual secretary to
the Academy of St. Luke at Eome.
GHEZZI— GHIKLANDAJO.
73
His son, Pier Leone, was likewise a
distinguished painter in his time; he
was also engraver and architect, and
was much employed by Clement XI.
Pier Leone was also a caricaturist ; he
died 1755. (Pascoli.)
GHIKLANDAJO, Domenico Bigor-
Di DEL, b. at Florence, 1449, d. 1498.
Tuscan School. He was the son of
Tommaso Bigordi, a goldsmith, who is
said to have acquired the name of
Ghirlandajo from the garlands which
he made for the Florentine children.
Domenico has been pronounced by
Vasari, one of the greatest masters of
his age. He carried far to perfection
what Masaccio had successfully com-
menced. Instead of aiming at the
perpetuation of the sentimental only, he
felt fully the at least equal importance
of the physical, and this spirit he carried
into the most ordinary accessories of
life, giving his works a social interest
and intelligibility which at once made
him extremely popular, and secured
him a lasting fame with posterity. The
Life and Death of St. Francis, in the
Sma. Trinita, contains some of the
best specimens of Ghirlandajo's style;
the Death of the saint is the most
striking of these works. The arrange-
ment of the whole is simple and so-
lemn. The figures are dignified, and
the countenances are endowed with a
noble and earnest expression of sym-
pathy ; all with the truthfulness of ordi-
nary Ufe. In the more material matters
of art, in grouping, in colour, and in
the cast of the draperies, all is excel-
lent, and, for its time, remarkable. The
excellences of Fra Angelico and of
Masaccio are substantially combined in
the works of Domenico Ghirlandajo.
He was the master of Michelangelo.
David and Benedetto Ghirlandajo were
the brothers and assistants of Domenicdi
Works. Eome, Sistine Chapel, the
Calling of Peter and Andrew. Flo-
rence, Church of Ognissanti, a fresco
of St. Jerome; and a Last Supper in
the refectory; the Sma. Trinita, 1480;
in the Sassetti Chapel, scenes from the
Life of St. Francis, 1485 : Chiesa della
Calza, the Madonna and Child, sur-
rounded by Saints : Chiesa degl' Inno-
centi, the Adoration of the Magi (1488) :
Santa Maria Novella, in the Tornabuoni
Chapel, scenes from the Lives of the
Virgin and of John the Baptist, 1485-
90; among the former is the celebrated
Portrait of Ginevra dh Benci ; these
frescoes are engraved by Carlo Lasinio.
Uffizj Gallery, an Adoration of the
Magi, 1487 : in the Academy, the Na-
tivity, or Adoration of Shepherds, 1485 :
Berlin Gallery, a Madonna with four
Saints, and St. Jerome kneeling; the
Portrait of a Female of the Fornabuoni
family; the portrait of an old man; and
five other sacred subjects. Louvre, the
Visitation of the Virgin. (Vasari.)
GHIRLANDAJO, Ridolfo, b. at
Florence, 1482, d. about 1560. Tuscan
School. He was the son of Domenico
Ghirlandajo; from the school of his
father and his uncle David, he passed
into that of Fra Bartolomeo, and
became the friend of Raphael dur-
ing the residence of that painter at
Florence. When called to Rome by
Julius II. Raphael employed Ridolfo to
complete a picture which he had begun
for one of the churches at Siena ; and
he invited him afterwards to assist him
in the works of the Vatican at Rome,
but Ridolfo seems to have preferred his
independence and his native place.
Ridolfo Ghirlandajo belongs to the
quattrocentisti, and was one of the
best of these, and, indeed, in the earlier
part of his career, one of the best
painters of his time; but he had, un-
fortunately for his reputation, such
rivals as have rendered his name com-
paratively obscure to posterity. His
works were very numerous, and in
74
GHIRLANDAJO— GIOEDANO.
many of them he was assisted by his
favourite scholar, and subsequently
partner, Michele di Eidolfo.
Works. Florence, Uffizj, scenes from
the Life of San Zenobio : Pitti Palace,
the Portrait of a nun: Santo Spirito,
Christ bearing his Cross. Berlin Gal-
lery, the Virgin and Joseph adoring the
Infant Christ; the Ascention of the
Virgin. Louvre, the Coronation of the
Virgin. ( Vasari.)
GHISOLFI, Giovanni, 6. at Milan,
1623, d. 1683. Milanese School.
Studied under his uncle Volpini, and
imitated the style of Salvator Eosa,
in whose pictures he inserted some
figures, at Eome. He was skilful as
an architectural and a figure painter;
the ruins of Eome were favourite sub-
jects with him. He also executed some
extensive frescoes at the Certosa di
Pavia and elsewhere. (Orlandi.)
GIMIGNANI, GiAciNTO, b. 1611, at
Pistoja, d. 1680. Tuscan School. He
studied at Eome, first under Niccolas
Poussin, and afterwards, with Pietro da
Cortona, and became a ready fresco-
painter. He worked with Carlo Ma-
ratta, in the baptistery of San Giovanni,
in Laterano ; and there are several of
his works in the church of San Gio-
vanni, at Pistoja; some in the Pa-
lazzo Niccolini at Florence, and in
the Ducal Gallery is a Leandro, which
was attributed to Guercino. Gimig-
nani was also an able engraver. Gia-
cinto's son, Lodovico, b. at Eome, 1644,
d. 1697, excelled his father in some
respects. His works are chiefly in the
churches of Eome. (PascoU.)
GIMIGNANO, ViNCENZio da San,
painted 1510-29. Eoman School. He
was employed by Eaphael, in the Log-
gie of the Vatican. He was born at San
Gimignano about 1490, and his family
name was De' Tamagni. His first
works were executed in the church of
San Francesco in Montalcino, in part
still remaining; there are others at
San Gimignano. {Vasari.)
GINNASI, Caterina, b. at Castel-
bolognese, 1590, d. at Eome, Nov. 30,
1660. Eoman School. A Eoman lady,
the scholar of Lanfranco, after whose
designs she painted the several altar-
pieces of the church of Sta. Lucia, at
Eome, built by her uncle. Cardinal Gin-
nasi. (Passeri.)
GIOLFINO, NiccoLO, painted about
1530. Venetian School. He is called
Ursino by Vasari, and was the mas-
ter of Paolo Farinato. His works are
chiefly in the churches of Verona, and
his figures have much of the excellence
of his distinguished scholar, Farinato;
a good example is in the Berlin Gallery,
the Madonna enthroned, with Saints.
GIOEDANO, LucA, Cav., called
from his despatch in execution. Fa
Presto, b. at Naples, 1632, d. at Naples,
Jan. 12, 1705. NeapoUtan School. He
first' studied with Spagnoletto, and
afterwards at Eome became a follower
of Pietro da Cortona, and copied Paul
Veronese, at Venice. Giordano imitated
with ease the style of any artist, with-
out forming any particular one of his
own, though his prevailing style gene-
rally displays an amalgamation, as far
as possible, with two such opposite
styles — of the leading characteristics of
Cortona and Spagnoletto, the general
character of form and composition of
the former, with the colour and deep
masses of shade of the latter. Gior-
dano left an immense profusion of
works, executed with an apparently
extraordinary facility and mastery of
materials, whether oil or fresco ; a few
days sufiiced for the painting of a large
altar-piece; what to most men was
much study and labour, was a mere
pastime to Luca Giordano. He was
invited, in 1690, to Spain by Charles II.,
and there executed many works, of
which the principal is a ceiling in the
GIORDANO— GIOTTINO.
75
Escurial; he returned to Naples after
the King's death, in 1702, where he
died immensely wealthy, and with the
reputation of the greatest painter of
his age.
Works. In the church de' Padri
Girolamini, at Naples, the fresco of
Christ driving the Buyers from the
Temple : others in Santa Brigida : the
ceiling frescoes of San Martino : the
Judgment of Paris, in the Berlin Mu-
seum : the Taking Down from the
Cross, at Schleissheim : and some
others at Munich, Dresden, and St.
Petersburg, are among his most cha-
racteristic works. He also executed
some beautiful etchings. (Doviinici.)
GIORGIONE, the common desig-
nation, from his large stature, of Gi-
orgio Barbarellt, of Castelfranco, 6.
1477, d. 1511. Venetian School. This
distinguished painter was the fellow
pupil and rival of Titian, in the school
of Giovanni Bellini. The early works
of Gorgione are somewhat hard in the
outlines, after the manner of the quat-
trocento painters. But he soon eman-
cipated himself from the constraint to
which art was at that time subject, and
displayed a freedom and largeness of
design, and a modified breadth of
colour, combined with richness, and
an effective hght and shade hitherto
unknown, at least in Venice. He was
further distinguished for a general ob-
jective truth of representation ; Vasari
says he never painted without a model.
His pictures are evidently accurate in
costume, and the various stufis are
admirably painted.
Giorgione executed many works in
fresco, but these have all perished, and
as he painted many portraits, his more
important works in oil were never nu-
merous, and those that can be posi-
tively certified are very few. ,
Giorgione is said to have owed much
of his enlargement of style to the works
of Leonardo da Vinci: but he went
beyond him in breadth of effect, and
still more in colour. His early pic-
tures sometimes contain allegorical
allusions not always easy to be under-
stood. He excelled most of the Vene-
tians in his landscape backgrounds;
they have a great clearness and warmth
of colour, and a massive breadth of
foliage, then new, but which eventually
became characteristic of the Venetian
painters. The Manfrini Gallery con-
tains some fine portraits by Gior-
gione.
Works. Treviso, in the Monte di
Pieta, an Entombment, or Pieta,
fresco. Venice, the Academy, a Sea
Storm allayed by St. Mark, &c. ; a por-
trait : Scuola de' Sartori, Sant' Omo-
bono : Manfrini Gallery, the Astrologer
(an early work) ; a Lady with a Lute,
the daughter of Palma Vecchio. Bres-
cia, Lecchi Gallery, Orpheus and Eu-
rydice : Cathedral, a Nativity. Flo-
rence, Uffizj, a Warrior, with Esquire;
a Maltese Knight ; a Judgment of
Solomon ; the Infant Moses and Pha-
raoh ; an allegory : Pitti Palace, a Con-
cert; a Nymph pursued by a Satyr;
the Finding of Moses. Eome, Borg-
hese Gallery, Heads of Saul and Da-
vid. Milan, Brera, St. Sebastian; the
Ambrosiana. A'^ienna, Imperial Gal-
lery, David with the Head of Gohath.
Dresden Gallery, Jacob meeting Ra-
chel. Munich Gallery, Vanity; and the
portrait of Himself. Leuchtenberg
Gallery, the Adoration of the Shep-
herds ; a Madonna and Child ; Hero-
dias with the Head of John the Bap-
tist. Berhn Gallery, two Portraits.
Louvre, a Holy Family, with St. Se-
bastian and St. Catherine ; a Rural
Concert. England, National Gallery,
the Death of St. Peter Martyr ; and a
Warrior adoring the Virgin, attributed
to Giorgione. {Vasari, Ridolfi.)
GIOTTINO, ToMMAso di Stefano,
called GiOTTiNO, h. 1324, living 1368.
Tuscan School. This painter is said to
76
GIOTTINO— GIOTTO.
have acquired the name of Giottino,
from his successful imitation of Giotto ;
but it appears, from the old book of Flo-
rentine painters, that his name was not
Tommaso, hut Giotto ; he was the son
of Stefano, who had been a scholar of
Giotto. Vasari commends Giottino for
many excellences — for the grace of his
figures, the correctness of his design,
the beauty of his heads, and for the
harmony of his colouring.
Works. Florence, the Uffizj, the
Dead Christ ; the two Holy Women ;
and Nicodemus. Santa Croce, in the
Bardi Chapel, scenes from the Life of
San Silvestro, and, according to Vasari,
at Assisi, in San Francesco (in the
lower church), the Coronation of the
Virgin ; but this is attributed by Fea
to a Frate Martino (1347). There are
some remains of Giottino's work here
in the chapel of San Niccolo. (Va-
sari.)
GIOTTO, called also Giotto di
BoNDONE, b. at Vespignano, in 1276,
d. at Florence, Jan. 8, 1336 ; or rather,
according to modern reckoning, 1337.
Tuscan School. The position of Gi-
otto in the history of modern art is
most important, for though his master
Cimabue was an unquestionably great
painter for his time, he was unable to
cast off the fetters of Greek, or medie-
val, traditions and custom ; this re-
formation was completely effected by
Giotto, who wholly forsook the Bj'zan-
tine style. His drawing, however, is
hard, and he paid little attention to
perspective or chiaroscuro, and his
colouring is feeble ; but in composition
and expression he made such advance
as to mark by his works the era of a
new epoch of art. Giotto was also the
first real portrait-painter among the
Italians. His close observance of
Nature gave him the faculty of repre-
senting individualities, and he could
equally well delineate, also, with gran-
deur and dramatic power, when re-
quired by the subject. His landscape
backgrounds are natural. He was an
able ai'chitect, and in his pictures he
ornamented his buildings with charac-
teristic taste, colouring them red, azure,
and yellow, according to the polychro-
mic system, whether by colour or vari-
coloured marbles, prevailing at his
time. The practice of foreshortening
was derived from his example. Of his
actual portraits some very interesting
examples were discovered in 1840, in
the palace of the Podesta, at Florence,
including that of his friend Dante.
He improved the art of working mo-
saic; and, as an architect, the Campa-
nile adjoining the Duomo of Florence,
built after his designs, is an example
of his ability.
The story of Giotto is more like
romance than reality ; he was a shep-
herd boy, and one day while tending
his father's sheep, he was surprised, in
the act of drawing one of them with
chalk on the ground, by the great
painter Cimabue, who was so much
struck with the extraordinary ability
displayed by the boy, that he took him
home with him to Florence to make a
painter of him. Giotto's works are still
sufficiently numerous to admit of a
thorough appreciation of his powers,
though many have perished. Some, as
the Seven Sacraments in the church
of the Incoronata, at Naples, have
been wrongly attributed to Giotto, who
died sixteen years before that church
was built : and nearly eleven before the
Marriage, introduced in illustration of
the sacrament of matrimony, was cele-
brated. The Koyal Chapel at Naples,
painted by Giotto for King Robert, and
noticed by Petrarch, was in the CasteU
Nuovo. Also the Last Supper, in Santa
Croce, is now attributed to his scholar,
Taddeo Gaddi. Giotto has the credit
of having introduced pure fresco-
painting, but this is likewise doubt-
ful. It is a singular fatality in
GIOTTO— GOZZOLI.
77
criticism, that Giotto, Masaccio, and
Giorgione, painters who have all marked
eras, have received the greatest praise
for works which time has shown to
have heen erroneously attributed to
them. Epochs must necessarily he
established more by co-operation than
by individual efforts.
Works. Assisi, lower church of San
Francesco, allegorical representation of
the Three Vows of the Franciscans,
" Poverty, Chastity, and Obedience "
(and possibly Mars). Florence, the
Hall of the Podesta, the Common-
wealth, under the form of a Judge : in
the chapel of the same, the portraits
of Dante, Brunetto Latini, and Corso
Donati : Academy, twenty-two repre-
sentations, parallels from the Lives
of Christ, and of St. Francis : Santa
Croce, a Coronation of the Virgin
in the Baroncelli Chapel. Kome,
in the Vestibule of St. Peter's, the mo-
saic of the " Navicella." Padua, in
the Arena Chapel, forty-three frescoes
of scenes from the History of the Virgin
and of Christ ; allegorical figures of Vir-
tues and Vices ; and a large representa-
tion of the Last Judgment. Berlin Gal-
lery, a Madonna and Child ; the Descent
of the Holy Ghost ; and a Miracle per-
formed by St. Francis. Paris, Louvre,
St. Francis receiving the Stigmata.
(Vasari, Rumohr.)
GIUNTA. [PisANO.]
GIUSTI, Antonio, b. at Florence,
1624, d. 1705. Tuscan School. He
studied under Cesare Dandini and
Mario Balassi, and painted with ability
landscapes and animals, as well as
portraits and history. (Lanzi.)
GIOVENONE, GmoLAMO, of Ver-
celli, living 1514-16. Milanese School.
In the church of the Augustines, at
Milan, is a picture of the Eesurrection,
by Giovenone, who was the first master
of Gaudenzio Ferrari. (Lanzi.) *
GOZZOLI, Benozzo, b. at Florence
]424, living 1485. Tuscan School. He
was the son of Lese di Sandro, and the
scholar of Fra AngeUco da Fiesole;
his early works, those in the cathedral
at Orvieto, in the churches of San
Fortunate and San Francesco at Monte-
falco, display a great affinity with those
of his master, in their gentle simplicity
of expression and cheerful colouring ;
the first were painted with Fra Gio-
vanni: later, however, he displayed pe-
culiarities difiering widely from the
characteristics of that painter, as in
the Riccardi Chapel, and in the Campo
Santo of Pisa. His pecuhar taste was
as decidedly objective as that of Fra
Angelico was subjective. Benozzo de-
lighted in the beauty of the material
world, and he loved to represent Nature
under aU its picturesque aspects. He
displays the most varied resources in
his rich landscape backgrounds, which
he was about the first to introduce — in
the architectural accessories and deco-
rations, and in the introduction of all
kinds of birds, animals, &c., in the
scene, especially dogs. He introduced
also portraits, and was fond of crowds
of figures ; these, when taken singly,
are often graceful, and always natural;
but he did not quite attain to the mas-
culine character and substantial style
of the figures of his great model, Ma-
saccio. Benozzo's are the first works
having real pretensions to high quali-
ties of art which were executed in the
Campo Santo, yet, though admirable
and charming as some of these works
are — as the Drunkenness of Noah, the
Marriage of Eebecca, and Moses in
the Wilderness — our praise requires
some modification when we recollect
that Benozzo was still living in Ra-
phael's infancy ; he belongs to Vasari's
second period, and was, on the whole,
one of the greatest of the quattrocen-
tisU.
Works. Orvieto, in the chapel of
the Madonna di San Brizio (1447), the
Apostles and Martyrs, which form a
78
GOZZOLI— GUARIENTI.
part of the Glory in the Last Judg-
ment begun by Fiesole. Montefalco,
near Foligno, San Fortunato, and San
Francesco, some frescoes (1450-2).
Florence, Palazzo Riccardi (1459), the
decorations of a chapel, represent-
ing the Journey of the Three Kings.
San Gimignano di Valdelsa, in Sant
Agostino, Life of that Saint (1464-5).
Volterra, Cathedral, and San Girolamo.
Perugia, Gallery of the Academy, Ma-
donna and Child (1456). Pisa, Campo
Santo, twenty-four scenes from the Old
Testament, from the time of Noah to
the Visit of the Queen of Sheba to
Solomon (1469-85). Munich Gallery,
Adoration of the Kings. Berlin Gal-
lery, the Annunciation. Louvre, the
Glory of St. Thomas Aquinas. {Va-
sari, Gaye.)
GEAMMATICA, Antiveduto, b.
near Rome in 1571, d. 1626. Sienese
School. A pupil of Domenico Peru-
gino. Pictures by him are in Santa
Maria in Trastevere, and San Giacomo
degli Incurabili at Rome. He was a
distinguished portrait-painter. {Bag-
lione.)
GRANACCI, Francesco, b. at Flo-
rence 1469, d. 1544. Tuscan School.
A fellow student with Michelangelo
under Ghirlandajo, and the intimate
friend and imitator of that great artist,
in the new style first fully developed
by him in the " Cartoon of Pisa."
There are some good pictures by Gra-
nacci in the Pitti Gallery, and in that
of the Uffizj ; also a Madonna and
Saints, and a series of small pictures
in the Academy representing the Life
of Sant' Apollonia. In his Assump-
tion of the Virgin, formerly in San
Pietro Maggiore, now in the Rucellai
Palace, the style of Michelangelo is
closely followed ; in the same collection
is a Holy Family, one of his most
charming works. {Vasari, Gaye.)
GRANDI, Ercole, called Ercole da
Ferrara, b. 1491, d. 1531. Ferrarese
School. A scholar of Lorenzo Costa,
whose manner he followed. His chief
works were the frescoes in the church
San Pietro Martire in Bologna, now
demolished; some portion of the fres-
coes are preserved in the Tenara Pa-
lace. Two pictures by Grandi are in
the Dresden Gallery, Christ on the
Mount of Olives, and Christ bearing
His Cross ; and there is a Conversion
of St. Paul by him in the National
Gallery, London. {Barnffaldi.)
GRIMALDI, Gio. Francesco, called
II Bolognese, b. 1606, d. at Rome 1680.
Bolognese School. A scholar and a re-
lative of the Carracci, a good portrait-
painter, and correct designer of the
figure, though he preferred landscape
painting, and latterly devoted himself
chiefly to this branch. He was em-
ployed in the Vatican, and the Gallery
at Monte Cavallo by Innocent X. ; and
als^o in 1648-50 by Louis XIV. and the
Cardinal Mazarin in the Louvre. On
his return to Rome he was also much
patronised by Alexander VII. and Cle-
ment IX. There is a series of land-
scapes by Grimaldi in the Colonna
Gallery; although inferior to Annibal
Carracci in execution, they are works
of superior merit in this comparatively-
neglected department of the art in
Italy. Grimaldi also etched many
good plates ; he engraved some of Ti-
tian's landscapes. {Malvasia.)
GUARDI, Francesco, b. at Venice
1712, d. 1793. Venetian School.
Painted views of Venice in the style of
Canaletto, whose scholar he was ; but
though the imitator of his master, he
did not attain the architectural preci-
sion of Canaletto, and his execution is
loose. In the Louvre are seven pic-
tures by Guardi.
GUARIENTI, Pietro, d. about
1765. Bolognese School. A Veronese,
and a scholar of J. M. Crespi. He
was made Director of the Dresden
Gallery by Augustus III., and wrote
GUAEIENTI— GUIDO.
79
the additions to Orlandi's Jbecedario
Piitorlco, published at Venice, 1753.
GUARIENTO, painted 1360. The
oldest painter of Padua, where, in the
choir of the Ereraitani di Sant' Agostino,
he executed some frescoes, allegories in
chiaroscuro, of the planets. They
were badly restored in 1589. Brando-
lese praises the style of Guariento's
figures for those times. The Academy
also possesses some fragments of his
frescoes.
GUBBIO, Odeeigi da, d. about
1300. Umbrian School, and consi-
dered the founder of the School of
Bologna. He is mentioned by Dante
as excelling in the art of miniature,
and by Vasari as a friend of Giotto.
He was rather the contemporary of
Cimabue, and Dante (Purgatorio, c. xi.),
in alluding to miniature painting,
speaks of Oderigi as ' L'onor d'Agob-
bio, e l'onor di quell' arte.'
GUERCINO. [Baebieri.]
GUIDO EENI, (commonly called
GuiDO,) b. at Calvenzano near Bo-
logna, Nov. 4, 1575, d. Aug. 18, 1642.
Bolognese School. Studied first under
Denis Calvart, from whom, in 1595, he
passed to the school of the Carracci.
About 1602 Guido visited Rome, where
he remained about twenty years, when
he returned and settled in Bologna,
and established a great school there.
He painted in fresco and in oil.
Guido had various styles : his earliest
works were painted much in the for-
cible manner of Michelangelo da Cara-
vaggio, which he laid aside at Rome
for one more in accordance with the
prevailing taste of that school and of
his own masters the Carracci, eclectic,
ideal, and ornamental, as exemplified
in his great work, the Aurora of the
Rospigliosi Palace : in this second
manner, however, he preserved his
effective light and shade. Latterly hii
habits and consequent circumstances
led him into a negligent manner, and
though he preserved a peculiar idealj
of which the Niobe seems to have
been the type, he became extremely
slight in execution, cold and silvery in
colour, and instead of expression,
substituted an empty sentimentality.
Guido professed to have an ideal, and
said that the model was of no conse-
quence; some of his Magdalens were
painted from his colour grinder, the
idea was " in testa" as he expressed it.
Guido's pictures are chiefly scrip-
tural or mythological ; he painted few
portraits ; of the two former classes
there are between two and three hun-
dred in the various galleries of Europe.
Guido led an extravagant and dissi-
pated life, and though in the receipt
for many years of a princely income,
he died in debt. When he first re-
turned to Bologna his charges were
moderate, but eventually he com-
manded 25 guineas for a head, 50 for
a half-length, and 100 for a full-length
figure, enormous prices at that period.
Domenichino received only 10 guineas
for his great picture of the " Commu-
nion of St. Jerome" in the Vatican.
Works. Bologna, Gallery of the Aca-
demy, the Coronation of the Virgin (c.
1595) ; the " Madonna della Pieta;" the
Murder of the Innocents ; the Cruci-
fixion; the Madonna and Child, in
glory with San Petronio and other
Saints ; and five other pictures. Rome,
Vatican, Crucifixion of St. Peter (a re-
markable work of Guido's first man-
ner) ; Rospighosi Palace, in the Gar-
den House, Phoebus and the Hours
preceded by Aurora (in his second
manner, and commonly considered the
painter's master-piece) ; San Gregorio,
Martyrdom of St. Andrew. Naples,
San Martino, in the choir, the Nativity
(unfinished). Dresden Gallery, "Ecce
Homo." Munich Gallery, Assumption
of the Virgin. Berhn Gallery, St. Paul
and St. Anthony in the Wilderness;
the Trinity; Venus, Ac. In the Louvre
80
GUIDO— LAMA.
are twenty pictures by this painter, in
his various manners. In the National
Gallery there are eight characteristic
examples, of which the small Corona-
tion of the Virgin is a remarkable early
work. (Malvasia, Passeri, Villot.)
GUINACCIA, Deodato, b. at Na-
ples about 1510, living 1580. Neapoli-
tan School. A Messinese painter, the
principal scholar of Polidoro da Cara-
vaggio, whose picture of the Nativity, in
the Chiesa dell' alto Basso, he finished.
In the church of the Confratria de Pel-
legrini is a Trinity by Guinaccia (1577),
painted completely in the style of Poli-
doro; and in San Salvatore de' Greci
is the Transfiguration by him ; besides
some few other works, well drawn, and
remarkable for natural truth and force.
(Hackert.)
GUISONI, Peemo, painted 1540-68.
Lombard School. A native of Mantua,
and one of the best scholars of GiuHo
Eomano, from whose cartoons he
painted the Call of St. Peter and St.
Andrew, in the dome of the cathedral
at Mantua. In Sant' Andrea is an
original picture of the Crucifixion by
Guisoni.
IMOLA, Innocekzio da, the name
by which Innocenzio Francucci is com-
monly known, b. at Imola 1494, d. at
Bologna about 1550. Bolognese School.
He studied first under Francia, with
whom he was placed in his fifteenth
year, and later in Florence under Ma-
riotto Albertinelli, and he eventually be-
came a zealous admirer of the works
of Kaphael; he has borrowed entire
figures from the works of that painter
in his own compositions, and appears
to have constantly made him his model.
Innocenzio settled finally in Bologna,
where he is now best seen. His works
resemble those of Francia and the
earlier works of Eaphael, to whom
some are probably even now attributed.
Innocenzio was modest and retired,
and led a secluded life.
Works. Bologna Gallery, the Arch-
angel Michael destroying the Dragon,
the Virgin and Child in glory above, a
large altar picture, from San Michele
in Bosco (1517) ; a Holy Family : church
of the Sem, the Annunciation: San
Salvatore, the Crucifixion (1549) : San
Giacomo, the Marriage of St. Cathe-
rine. Faenza, the cathedral, a fine
altar-piece of the Madonna, (1526).
Eome, Borghese Palace, two Holy Fa-
milies. Berlin Museum, the Madonna
enthroned, in the clouds, with San Pe-
tronio and other Saints. Munich, the
Madonna in glory, with Saints. {Vasari,
Malvasia.)
IMPAKATO, Francesco, b. about
1520, d. about 1570. Neapolitan
School. Studied first under Gio.
Filippo Criscuoli, and afterwards at
Venice under Titian ; he was an able
colourist.
Works. Naples, San Severino, the
Annunciation: church of St. Peter
Martyr, a picture of St. Peter : Sta.
Maria Nuova, the Martyrdom of St.
Andrew. (Dominici.)
LAMA, Gio. Battista, b. about 1670,
d. about 1740. Neapolitan School. A
scholar of Luca Giordano and Paolo
de Matteis. He painted historical and
mythological subjects, in small, dis-
tinguished for efiective colour and light
and shade. His works are to be seen
chiefly in private collections at Naples.
{Dominici.)
LAMA, Gio. Bernardo, 5. about
1508, d. 1579. Neapolitan School.
He studied first under Gio. Antonio
D'Amato, and afterwards under Poli-
doro da Caravaggio. He adopted, how-
ever, more of the style of his friend
and contemporary Andrea di Salerno,
the Neapolitan Kaphael.
Works. Naples, Studj Gallery, De-
LAMA— LANFRANCO.
81
position from the Cross : San Giacomo
de' Spagnuoli, the Deposition from the
Cross : San Lorenzo, the Stoning of
Stephen. (Dominici.)
LAMBEIITI, BoNAVENTUEA, b. at
Carpi about 1651-52, d. at Eome, Dec.
19,1721. Roman School. Scholar of
Carlo Cignani, whose manner he imi-
tated, and he is numbered by Mengs
among the most successful of the fol-
lowers of that painter.
His principal work at Rome is San
Francesco di Paola,in Santo Spirito de'
Napolitani ; and there are many in the
Casa Gahrieli. (Larizi.)
LAMBERTINI, Michele di Mat-
TEO, painted 1443 -C9. Bolognese
School. The scholar of Lippo Dal-
masio. He was much praised by Albani,
and seems to have painted with great
softness and delicacy for the period in
which he lived, and must be accounted
among the best painters of his time.
In the gallery of Bologna is a Pieta by
Michele, painted in 1468. (Malvasia.)
LANA, LoDOvico, b. 1597, d. at
Modena, 1646. Lombard School. He
studied at Ferrara, imder Ippolito Scar-
selHni: but followed the manner of
Guercino, and settled in Modena. His
heads of old men have much dignity.
He established an academy at Modena.
In the church* of the Madonna del
Voto, in that city, are the Crucifixion,
and a picture of the Plague, at Modena,
by Lana. He also etched a few plates.
(Lanzi.)
LANDRIANI, Paolo Camillo, called
II Duchino, b. about 1560, d, at Milan,
about 161 8. Milanese School. The scho-
lar of Ottavio Semini. He is noticed by
Lomazzo as one of the cleverest young
men of his time. The churches at
Milan contain some of his altar-pieces :
In Sant' Ambrogio is the Nativity.
(Lanzi.)
LANFRANCO, Giovanni, Cav., b. at*
Parma, 1581, d. at Rome, November
29, 1647. Bolognese School. He was
the scholar of the Carracci, and an
imitator or emulator of the style deve-
loped in the cupolas of Correggio.
Foreshortening became a principal pur-
suit and a passion with Lanfranco, and
he belongs thoroughly to the school of
the Macchinisii. His first great lessons
were with Annibale Carracci, in the
Farnese Palace at Rome. Some years
afterwards he became himself one of
the principal fresco-painters of Rome,
especially during the pontificate of
Paul v., when lie executed vast frescoes
in Sant' Andrea Delia Valle, and other
Roman churches. Lanfranco was the
special rival of Domenichino at Rome
and at Naples. The cupola of Sant'
Andrea is one of the triumphs of Italian
fresco-painting. Another of Lanfran-
co's great Roman works is the tribune
of San Paolo a Catinari: he died on
the day tliat these frescoes were unco-
vered. His works are also extensive
and numerous out of Rome. He had
prodigious power as a fresco-painter,
but even his greatest works came more
strictly under the category of the orna-
mental than any other class : he aimed
at a pleasing, and, perhaps, imposing,
general effect, and succeeded; and to
render such colossal figures as those of
the cupola of Sant' Andrea, both pleas-
ing and effective from below, necessarily
demands profound judgment and skill,
both of execution and distribution, while
the ordinary quahties of the painter are
utterly without avail. Lanfranco has
executed some good oil pictures, but
they are not numerous : he also etched
a few plates.
Works, Rome, Sant' Andrea della
Valle, cupola, the Assumption of the
Virgin; San Paolo a Catinari, tribune.
Florence, UfBizj, tribune, St. Peter.
Naples, San Gennaro, the Capella di
Tesoro, cupola; Gesu cupola; SS.
Apostoli; Certosa di San Martino.
82
LANFEANCO— LAZZAEINI.
Berlin Museum, two sacred subjects.
Louvre, four sacred and one mytholo-
gical subject. {BellorL)
LANINI, Bernardino, of VercelH,
painted 1548, d. about 1578. Lombard
School. A scholar of Gaudenzio Fer-
rari, and at first an imitator of his
style, but with less force than his
model. He afterwards enlarged his
style, combining some of the character-
istic qualities of Leonardo da Vinci,
and the Venetians ; and he became
one of the principal of the Milanese
painters.
Works. Milan, San Nazaro Grande,
the Last Sapper; San Celso, St. Ca-
therine ; Sani' Amlirogio, chapel of St.
George : Brera, two Holy Families.
Vercelli, San Cristoforo, Scenes from
the Life of the Magdalen ; San Giuliano,
a Pieta (1547). Novara, the cathedral,
Sibyls, &c.; others at Legnano and
Saronno. (Lomazzo, Lanzi.)
LANZANI, Andrea, h. at Milan
about 1G45, d. at Vienna, 1712. Lom-
bard School. He studied under Luigi
Scaramuccia at Milan, and under Carlo
Maratta at Rome : but later the works
of Lanfranco were Ins principal models.
He painted in an effective, showy man-
ner. His works are chiefly at Milan :
he lived latterly at the Court of Vienna,
where he was knighted. {Pa$coU.)
LAPPOLT, Gio. Antonio, h. at
Arezzo, 1492, d. ] 552. Tuscan School.
The son of Matteo Lappoli, and
scholar of Domenico Pecori, at Arezzo,
and Jacopo da Pontormo, at Florence,
where he became the friend of Perino
del Vaga, and of II Eosso. He prac-
tised first in Arezzo, then in Eome,
whence he was driven by the sack of
1527, and finally settled at Arezzo,
where, and in the neighbourhood, he
executed works in fresco and in oil.
In Arezzo are still some of his works
in the churches, but more in private
collections. {Vasari.)
LAURATI. [LORENZETTI, PlETEC]
LAUEETI, ToMMAso, called Sicili-
ANO, h. at Palermo about 1520, d. at
Rome about 1000. The scholar of Se-
bastiano del Piombo, at Eome. He
painted chiefly at Bologna, where he
lived many years; but also at Eome,
whither he was invited by Gregory
XIIL, to paint the ceiling of the Sala
di Constantino in the Vatican. He was
the second President of the Academy
of St. Luke.
Works. Bologna, San Giacomo
Maggiore, the Eesurrection ; and the
Burial of Sant' Agostino. Eome, the
Capitol, a saloon in fresco, the History
of Brutus ; the ceiling of the Sala di
Constantino. (BafjUone.}
LAUEI, FiLiPPO, b. at Eome, 1623,
d. 1094. Eoman School. The brother
of Francesco Lauri, and a scholar of
Caroselli. He painted a few altar-
pieces, but succeeded best in Baccha-
nalian and mythological subjects, with
landscape backgrounds. Claude em-
ployed him to insert figures in his
pictures. In the Louvre are a " Sacri-
fice to the God Pan," and " St. Fran-
cis of Assisi in Extasy." (Pascoli.)
LAZZAEINI, Gregorio, b. at Ve-
nice, 1055, d. at Villabona, ]730. Ve-
netian School, tie was originally a
barber's apprentice, but became the
scholar of Francesco Eosa, and foi'sook
the Tenebrous scliool for one more in
accordance with the historic fame of
Venice, Zanetti asserts that his pic-
ture at Venice of San Lorenzo Gius-
tiniani at San Pietro in Castello, is the
finest production of the Venetian School
of the eighteenth century. Lanzi
terms Lazzarini, for form^ the Vene-
tian Eaphael. Many of his works were
still in tlie public buildings of Venice
in Zanetti's time. He painted the
Victories of the Doge Francesco Moro-
sini in the Sala dello Scrutinio, in the
Ducal Palace.
LECCE— LIBERALE DA VERONA.
83
LECCE, Matte (Perez) da, was in
reputation at Rome in the Pontificate
of Gregory XJ.II. (1572-85.) The ac-
counts of this painter are singulaily
discrepant. He was a native of Lecce,
in the kingdom of Naples, and pro-
bably of Spanish descent. He be-
longed to the anatomical school in
taste, and is distinguished for having
undertaken to paint the Fall of the
Angels on the opposite wall to the Last
Judgment by Miclielangelo, in the Sis-
tine Chapel. After the completion of
this work he passed to Malta, where
he painted much, and thence to Spain.
Here he lived some years, from about
1583 to 1587, and executed several im-
portant works at Madrid and at Seville,
some of which still remain at Seville.
From Spain, where Perez accumulated
considerable wealth, he proceeded to
"the Indies" (probably Spanish South
America). Here he lost his wealth,
and died in great poverty, according to
Baglione; but, according to Cean Ber-
mudez, he died in Rome in ICOO. In
the church of Sant' Eligio Degli Ore-
Jici, the great altar-piece is by this
painter.
LEGNANT, Stefano, called Leg-
NANiNO, to distinguish him from his
father, a portrait-painter, b. at Milan,
1660, d. 1715. Lombard School. The
son and scholar of Cristoforo Legnani.
He studied also under Carlo Cignani at
Bologna, and Carlo Maratta at Rome.
He worked in fresco as well as in oils, at
Milan, Turin, Genoa, and Novara. He
was one of the most distinguished Lom-
bard painters of his century. The
cupola of San Gaudenzio at Novara,
is considered his principal work: he
was also a portrait-painter ; his own by
himself is in the Brera.
LELLI, Gio. Antonio, 6. at Rome
1591, rf. Aug. 3, 1640. Roman School. »
A scholar of Cigoli. He painted chiefly
easel pictures in oil for private collec-
tions ; but the churches at Rome con-
tain also some of his works. In San
Matteo in Merulana is an Annuncia-
tion; and in the Convent della Mi-
nerva, the Visitation, in fresco, by
Lelli. {Baglione.)
LEONBRUNO, Lorenzo, b. at Man-
tua in 1489, living in 1537. The
follower of Andrea Mantegna, and the
scholar of Lorenzo Costa. He was the
principal native painter of Mantua,
and was a pensioner of the Duke Fede-
rigo Gonzaga, but appears to have
been wholly obscured by the establish-
ment of Giuho Romano at Mantua.
He was also architect and engineer.
His ascertained pictures are in oil,
extremely scarce, and were quite un-
known to Lanzi. At Mantua, in pri-
vate possession, are a St. Gerome ;
a Judgment of Midas; and a Pieta, of
good style, according to Codde, in his
recent work on the artists of Mantua,
who is the first writer to notice this
painter.
LEONI, or LIONI, Cav. Ottavio,
called II Padovanino from his origin,
b. in Rome, 1574, d. 1628. Roman
School. The scholar of his father Lodo-
vico. He was a distinguished portrait-
painter, one of the most celebrated of his
time, but also executed a few altar-pieces
for the churches of Rome. He was Pre-
sident of the Academy of St. Luke. He
is well known likewise as an engraver :
he etched many excellent portraits from
his own pictures or drawings. The
dates range from 1623 to 1628. His
strict application to these plates was,
according to Baglione, the immediate
cause of his death.
Works. Rome, Sant Eustachio, an
Annunciation: Santa Maria della Mi-
nerva, the Virgin and Child, with San
Giacinto adoring. {Baqlione, Bartsch.)
LIBERALE DA VERONA, b. about
1441, d. about 1526. Venetian School.
Studied under Vincenzio di Stefano,
and was an imitator also of the works
of Jacopo Bellini and of Andrea Man-
a 2
84
LIBEEALE DA VEKONA— LICINIO
tegna. His execution is Hard, but the
expression of his heads is occasionally
graceful, and his works are finished
with great care. Liberale was also in
the earlier part of his career a laborious
miniature-painter, or illuminator of
books and MSS.: the recorded pay-
ments for such work are considerable.
Works. Verona, the Duomo, an
Adoration of the rLings: the Vesco-
vado, in the chapel, the Adoi-ation of
the Kings ; and the Birth and the As-
sumption of the Virgin, Milan, the
Brera, San Sebastian. Chiusi, cathe-
dral. Illuminated Books, those executed
in 1467-9 for MontoUveto Maggiore.
Siena, in the library of the Duomo,
an Illuminated Missal (147U-4). Ber-
lin Gallery, on wood, with the inscrip-
tion Liberalis Veronensis me fecit
1489, the Virgin and Child enthroned,
with Saints. ( Vasari.)
LIBERI, Cav. Pietro, b. at Padua,
1605, d. Oct. 18, 1687. Paduan and
Venetian Schools. Scholar of Varotari,
called II Padovanino, and considered
by some the best draftsman of the
Venetian School. He studied the works
of the great masters at Rome, at Parma,
and at Venice, and formed for himself
a manner partaking of something of
every style. He had two manners, a
bold and careless, and a minute and
laborious ; the former, as he explained,
for the expert and intelhgent, the latter
for the ignorant. He was the first
President of the Academy of Painters
of Venice. Liberi painted many pic-
tures for the churches at Venice, but
he preferred gallery subjects of a Mghter
nature, consisting of mythological and
allegorical scenes, and especially naked
Venuses after the manner of Titian,
whence he was sometimes called Li-
bertine. Among his greater works are
accounted, the Battle of the Darda-
nelles, in the Ducal Palace: and the
Slaughter of the Innocents, in the
church of Ognissanti, at Venice : Noah
leaving the Ark, in the cathedral at
Vicenza: and the Deluge, in Santa
Maria Maggiore, at Bergamo. In the
Berlin Museum is Acteon metamor-
phosed by Diana into a Stag. {Zanettij
Lanzi.)
LIBRI, GiEOLAMO DAI, h. at Verona,
1472, d. July 2nd, 1555. Venetian
School. He was the son of Francesco,
an illuminator, hence called Dai Libri,
a surname which descended to Giro-
lamo, who was a great painter in the
ordinary sense of the word, as well as
a masterly illuminator of books or
manuscripts. Girolamo's greater works
are his Madonnas, in which, though
he lived far in the sixteenth century, it
has been observed we see none of
those peculiarities or mannerisms of
the schools which have more or less
characterised even the greatest art
epochs, in which mere technical or
physical qualities have too often pre-
vailed. Girolamp dai Libri worked
more in the spirit of the quattrocento
painters — Mantegna, Perugino, or Bel-
lini. He executed many illuminations
for church services of Verona, which
appear to be now dispersed : those es-
pecially praised by Vasari are lost.
Works. Verona, Sant' Anastasia, a
Madonna enthroned, with Saints : simi-
lar subjects in San Giorgio in Braida,
Santa Maria in Organo, and San Tom-
maso Cantuariense. Palazzo del Con-
siglio, Gallery, a Nativity ; a Madonna
enthnmed, with Saints ; and other
works. Berlin Museum, a Madonna
enthroned, with Saints and Angels.
( Vasari.)
LICINIO, Cav. Gio. Antonio, called,
from his birth-place in the Friuli, II
PoRDENONE, b. 1483, d. 1539. Venetian
School. He was the scholar of Pelle-
grino da San Daniele ; he is some-
times called Cuticelli, from his mother's
name, and also Di Regillo. Pordenone
is one of the most distinguished of the
Venetian fresco-painters ; he formed
LICINIO— LIPPI.
85
his style, perhaps, independent of Gior-
gione or Titian, though decidedly sti-
mulated by their example. He gave
greater force of hght and shade than
Giorgione, and was a rival of Titian.
His lieads possess great breadth and
dignity, though, as may be said of near-
ly all the later Venetians, they seldom
exhibit any impassioned expression.
Titian himself has not surpassed him
in the richness, softness, and breadth
with which he painted flesh. Like
those of other great Venetians, the
works of Pordenone have sometimes
been attributed to Titian, and like that
painter he was careless and superficial
in his latest works. He was a distin-
guished portrait-painter. Bernardino
Licinio, a relation of Pordenone, was
also a good portrait-painter.
Works. Pordenone, cathedral, a
Madonna, with St. Christopher, and his
own Portrait. Venice, Manfrini Palace,
a Portrait of himself with his Sons
(there is a similar subject at Hampton
Court) ; San Eocco ; San Martino ; San
Cristoforo, and other works : Aca-
demy, a group of Angels ; San Lorenzo
Guistiniani with Saints; Sta. Maria
deir Orto. Udine, San Pietro Martire ;
the Annunciation (damaged by restora-
tion, mentioned by Vasari as Porde-
none's master-piece). Treviso, cathe-
dral, frescoes (1520). Castel San Sal-
vatore, frescoes, from Lucca, Palazzo
Montecatini. Piacenza, Santa Maria
di Campagna, cupola. Home, Palazzo
Quirinale; Borghese Gallery. Florence,
Uffizj Gallery; and Pitti Palace.
Berlin Gallery, Christ washing the feet
of his Disciples, and the Woman taken in
Adultery. Two fine pictures, the Find-
ing of Moses and the Adoration of the
Kings, at Burleigh House, attributed
respectively to Titian and Bassano, are,
according to Dr. Waagen, works of.
Pordenone. ( Vasari, Zan etli. )
LIGOZZI, Jacopo, h. at Verona,
1543, d. at Florence, 1627. Tuscan |
School. An able scholar of Paul Vero-
nese, who established himself in Flo-
rence, and had a great infiuence on
the Tuscan School ; and while he added
vigour to the colouring of the Floren-
tines, he gradually adopted a severer
style of drawing. He painted in fresco
and in oils with equal skill; he was,
however, an ornamental painter, and
belongs to the School of the Macchlnisti,
those who painted quadi-i di Macchina
pictures, remarkable for their size and
more general efiect. Agostino Carracci
engraved some of his works.
Works. Florence, Ognissanti, fres-
coes in the cloisters ; Santa Maria
Novella, San Ptaimondo resuscitating
an infant. Imola, the Scalzi, the four
Crowned Saints, SS. quattro Coronati.
Pescia, Conventual Friars, the Martyr-
dom of Santa Dorotea. (LarizL)
LILIOjAnduea, called L'Anconitano,
b. at Ancona, 1555 ; d. at Ascoli, 1610.
Koman School. A scholar and fol-
lower of Federigo Barocci, and a close
imitator of his style. He painted
chiefly in fresco at Ancona, Fano, and
Piome, in the churches and in the
Vatican and Lateran Palaces. His
master-piece is the Martyrdom of St.
Laurence, in Santa Caterina, at Ancona.
In the nave of Sta. Maria Maggiore,
at Kome, he represented in fresco the
Saviour washing the feet of his Dis-
ciples ; and in the cathedral of Fano, a
picture of All Saints (tutf i Santi), is
spoken of as a great work by Lanzi.
LIPPI, FiLippiNO, b. at Florence,
1460 ; d. at Florence, April 13, 1505.
He occasionally signed himself Filip-
pinus de Florentia. Tuscan School.
He was the son of Fra Fihppo Lippi,
by Lucrezia Buti, and, in consequence
of the eaiiy death of his father, the
pupil of Sandro Botticelli. The scholar
far surpassed his master in freedom
and ease ; indeed, in some works Filip-
pino appears as one of the greatest
historical painters of his time, while in
9&
LIPPI.
others we see perpetuated the man-
nered forms and draperies of Sandro
Botticelli. Filippino completed the
frescoes of the Brancacci Chapel in the
Carmine at Florence, which were left
unfinished hy Maso da Panicale and
Masaccio. The works of Filippino
are — the Eestoring the Youth to Life,
part of which was painted by Masaccio ;
the Crucifixion of St. Peter ; St. Peter
and St. Paul before Nero or the Pro-
consul ; and St. Peter liberated from
prison. His figures are executed with
peculiar energy and ease ; the women
are beautiful; the profiles of his
Madonnas especially so ; the men dig-
nified, and the forms full of life ; the
emotions ai'e forcibly expressed, as
also the dramatic action, which is ren-
dered with strict natural tnith. He
understood better the rendering of
mere appearances — one of the most es-
sential, though not the highest, quali-
ties in pictorial art — than any of his con-
temporaries. Filippino's works are also
distinguished for their rich architecture
and other ornamental accessories, the
result of the study of Eoman anti-
quities. He is said to have been the
first Florentine painter who adopted
the ancient arabesques. Eaphael, in his
cartoon of Paul preaching at Athens,
adopted the figure of St. Paul in the
picture of that Saint visiting St, Peter
in Px'ison, in the Brancacci Chapel.
This figure till recently has been attri-
buted to Masaccio; it is now, by Kugler
and the editors of the new edition of
Vasari (1846-54, seq. 12mo.), in hsts
accompanying plans of the chapel,
given to Filippino, to whom Vasari
gave it in his first edition, but the pas-
sage was omitted in the second.
Eumohr, however, one of the earliest
of the accurate investigators of the his-
tory of Italian art, in his Ilalian Re-
searches (II. 246) gives the whole side
wall on the left to Masaccio, with the
exception of certain portions of the
Eesuscitation of the Youth, executed
later by Filippino ; and Dr. Gaye, in
his valuable Carteggio Inedito D'Artisti
(II. 471-2), taking into consideration
the distinction of style, assigns the
fresco of St. Paul visiting St. Peter,
positively to Masaccio, while he assigns
the opposite fresco of the Liberation of
St. Peter, to Filippino : in Kugler's
Handbook, and in the new edition of
Vasari referred to, no special notice
whatever is taken of this fresco in the
text. The most important fresco in
the chapel, however, Peter and Paul
before Nero, is now unanimously, with
the exception of Eosini in his History
of Paintings, assigned to Filippino, a
restitution due to Eumohr and Gaye;
for Vasari had himself, in his first
edition, given it to Filippino, and the
introduction of certain portraits in it,
independent of the distinction of style,
renders it impossible that either Maso-
lino^ or Masaccio can have executed
that work ; on the other hand, the
fresco of the Fall, which has been attri-
buted to Filippino, is now assigned to
Masolino da Panicale.
Works. Florence, the Badia, the
Virgin appealing to St. Bernard (] 480) :
Uffizj, Virgin and Infant Christ (1485) ;
Adoration of the Kings, mai-ked on the
back, Filippiis me pinxit de Lipis Flo-
rentinus, addi 29 di Marzo, 1426 :
Brancacci Chapel, in the Chiesa del
Carmine, about 1485, three frescoes
and a portion of a fourth (mentioned
above) from the Life of St. Peter:
Santa Maria Novella, Strozzi Chapel,
scenes from the Lives of the Apostles
John and Philip (1487-1502). Eome,
Santa Maria, Sopra Minerva, Capella
Carafia, the Glorification of the Madonna
and of St. Thomas Aquinas (c. 1493).
Bologna, San Domenico, the Marriage of
St. Catherine (1501). Munich Gallery,
Christ with the Stigmata appearing to
the Virgin. Berlin Gallery, the Cruci-
fied Saviour ; the Virgin and St. Fran-
LIPPI.
87
cis; a Portrait and three subjects with
the Virgin attributed to this painter.
LIPPI, Fka Filippo, h. at Florence,
1412 ; died at Spoleto, October 8,
1469, aged 57. Tuscan School. Fra
Filippo was the son of Tommaso Lippi,
who died when his son was only two
years old : his mother died soon after
he was bom ; and he was placed by an
aunt in the Carmelite Convent Del
Carmine, when only eight years old.
He showed such a taste for drawing
that the Prior allowed him to spend
much of his time in watching Masaccio,
then, about 1425, engaged in his fresco
of "the Consecration of the Carmine"
in the cloister of tlie convent, by the
side of which, in his seventeenth or
eighteenth year, Filippo painted a
fresco of " the Confiimation of the
Kules of the Carmelites." In 1430
Filippo left the convent and went to
Ancona; here he was captured by a
pirate, and sold as a slave in Africa.
In 1435 he recovered his liberty, and
recommenced his career at Naples, but
shortly returned to Florence, and
painted, for Cosmo de' Medici, an
" Adoration of the Madonna," which is
now in the gallery of the Uffizj. He
then commenced a succession of great
works for Florence, Fiesole, Arezzo, and
Prato. While engaged at Prato, where
are his most important works, he, in
1458, carried o£f from the Convent of
Santa Margherita' Lucrezia Buti, a
young Florentine lady who was being
educated at the convent, and he had a
son by her called Filippino Lippi, who
also became a great painter. Lucrezia
would not return to her relations, and
Vasari alludes to a vague report that
they poisoned Filippo, out of revenge
for the disgrace which he had brought
upon the family ; a fact, however, of
which there is not the slightest evi-
dence, and scarcely mere probabilitj^,
as Filippo died eleven years after the
abduction of Lucrezia Buti. Fra
Fihppo excelled, for his time, in an
extraordinary degree, in many of the
highest departments of painting; in its
technical development, in invention, in
drawing, in colouring, and in chiaros-
curo, he must be accounted among the
greatest of the Italian painters, from
Masaccio to Ptaphael inclusive. Many
of his works have perished, but many
are still preserved, of which the Coro-
nation of the Virgin, in the gallery of
the Academy at Florence is an admir-
able example.
As a man devoted to pleasure, he
could not, as he did not possess it,
imbue his works with that lofty piety
which distinguishes Fra Giovanni da
Fiesole ; his merits were more material,
and his highest qualities of a simple
social character. He was, however, a
great painter, and in tone was the pre-
cursor of FraBartolomeo and Leonardo
da Vinci. His figures are often grand,
and his draperies are massive and
majestic.
Works. Prato, choir of the Duomo,
the Lives of St. Stephen and of John
the Baptist : transept of the cathe-
dral, the Death of St. Bernard
(1451-63). Spoleto, choir of the cathe-
dral. Florence, Academy, a Coronation
of the Virgin, for which Filippo was
paid 1200 lire or francs in 1447, when
money was worth twenty times what it
is now ; it was formerly in the church
of Sant' Ambrogio, and is the finest pic-
ture by Filippo in Florence ; two others
are in this collection, representing the
Virgin and Child, with Saints: Pitti
Palace, Madonna and Child, with St.
Anne, &c. : Uffizj, St. Augustine writ-
ing. Berlin Gallery, the Virgin adoring
the Infant Christ, with the Father,
St. John, and St. Bernard, maiked
FEATEE PHILIPPUS F. Munich,
the Annunciation. Louvre, the Na-
tivity; and the Virgin and Child adored
by two Saints. The frescoes of Fi-
hppo in the Carmine, were all destroyed
LIPPI— LOMI.
by the fire of 1771. {Vasari, Riimohr,
Gaye.)
LIPPI, LoEENZO, &. at Florence,
1606, d. 1664. Tuscan School. lie
was the scholar of Matteo Eoselli, and
a follower of Barocci and of Santi di
Tito. He was also the friend of Sal-
vator Eosa, and likewise a poet ; he
published a burlesque poem entitled,
Malmantile Racquistalo. In the Flo-
rentine Gallery is a picture of the
Crucifixion, by Lippi. Baldinucci no-
tices, among many other works, a
" Triumph of David," which consti-
tuted a family portrait of the seven-
teen children of Angelo Galli.
LODI, Caltsto (Piazza) da, painted
1524-56. Venetian School. He was
the son of Martino Piazza, and the
scholar of Titian, in whose large style
he painted. His earlier works are in
the style of Giorgione: his later have
the powerful efiect of Titian; and he
is particularly distinguished as a co-
lourist in fresco; in the opinion of
Lomazzo, not to be surpassed in tliat
respect. His i)rincipal frescoes are at
Lodi ; where are also works by Alber-
tino and Martino Piazza, called Da
Lodi: the former lived at the coiurt of
Francesco Sforza, at Milan, and is
praised by Lomazzo for his skill in
perspective.
Works. Brescia, Santa Maria di
Calchera, the " Visitation," signed,
CalixLus Laiidensis fecit, ]525: in tlie
sacristy of San Clemente, a Nativity
(1524) ; Lecchi Gallery, Madonna and
Saints, reputed to be one of the finest
pictures in Brescia. Lodi, church dell'
Incoronata, scenes from the Lives of
Christ, of the Virgin, and of John tl)e
Baptist. Milan, Santa Maria di San
Celso ; San Maurizio (1556), &c. : the
Brera, Virgin and Child with the
Baptist, and St. Jerome; St. Stephen
and other Saints ; a portrait. Co-
dogno. Assumption of the Virgin
(1533).
LOMAZZO, Giovanni Paolo, b. at
Milan, April 20, 1538, d. about 1600.
Milanese School. Lomazzo studied
under G. B. della Cei-va, the scholar
of Gaudenzio Ferrari ; he followed no
X>articular master, but very early showed
his tlieoretical taste, and was one of
the first to establish the principle of
eclecticism ; but as his works arose
rather out of his know/edge than his
feeling, they want the soul that makes
works of art attractive, and his reputa-
tion is accordingly, almost exclusively
that of a writer on art. He excelled in
fresco ; but becoming blind in his thirty-
third year, his works were never nume-
rous. It was after this event, probably,
that he composed his books and poems.
He is well known for his Treatise on
the Arts — Trattato dell' J tie della
Pittura, ScuUura, ed Architellura, Mi-
lan, 1584-5. 4to. ; and the Idea del
Tempio della Pittura, 15'J0, 4to., an
illustration of parts of the first-men-
tioned work. The Trattato was re-
printed at Home, in 1844, 3 vols. 8vo. ;
an edition of the Idea was published
in Bologna, in 1785.
Works. Milan, Santa Maria de' Servi,
Christ on the Mount of Olives; San
Marco, tlie Virgin and Child : in the
Brera, a I'ieta ; and his own (?) Portrait.
LOMI, AuEETJO, h. at I'isa, 1556,
d. 1022. Tuscan School. He studied
under Bronzino and Lodovico Cardi da
Cigoli. According to Lanzi, Lomi was
the head of the Pisan School of his
time. He painted also at Florence, at
Korae, and at Genoa, many important
works in the style of Cigoli.
Works. Pisa, church of the Campo
Santo, St. Jerome, 1505: cathedral,
frescoes : San Frediano, San Stefano,
&c. Genoa, San Francesco di Castel-
letto, Sant' Antonio of Padua : Santa
Maria di Carignagno, the Eesurrection
of Christ ; and the Last Judgment :
Santa Maria in Passione, the Deposi-
tion from the Cross. {Soprani.)
LOMI— LOKENZETTI.
LOMI. [ Gentile scHi.]
LONGHI, LucA, h. at Eavenna,
1507, d. Aug. 12, 1580. Bolognese
School. He belongs to the quattro-
cento painters in style, though of so
comparatively late a period, having
lived chiefly in and about Eavenna.
Lanzi compares him with Innocenzo
da Imola, admitting his inferiority to*
that painter. Tlie churches at Ea-
venna, Ferrara, and Mantua, contain
several of his works. He was also a
good portrait-painter ; Vasari notices
Longhi as a graceful painter, espe-
cially in this department, and states
that had he had larger experience, he
would have been one of the best pain-
ters of his time. Francesco Longhi
was his son.
Works. Eavenna, San Vitale, Ma-
donna and Saints : refectory of the
Camaldolese, tlie Marriage at Cana:
San Benedetto, tlie Circumcision.
LOEENZETTJ, or di Lorenzo,
Ambrogio, h. about 1265, or more pro-
bably much later, about 1300; he is
first noticed in the Sienese records, in
1323 ; d. about 1348. Sienese School.
Painted somewliat in the style of Duc-
cio, but with more freedom from the
Byzantine taste than is displayed by
that painter. In the time of Loren-
zetti, the taste for allegory was exces-
sive, and his most remarkable works,
in the public palace at Siena, and in the
Sala de' Nove, are of this class, exe-
cuted in 1337-40, and inscribed, Am-
brosius Laurentii hie pinxit iitrinque.
Giotto, Siraone di Martino, and Taddeo
Gaddi executed similar works ; but
those by Lorenzetti are the most re-
markable of this period. They are
moral, civil, and political ; embodying
the philosophy of Aristotle : the whole
with a view of inculcating good govern-
ment; the subjects of the three great
schemes of the Sala being Justice,
Concord, and Peace, showing their
consequences, and the consequences
of their absence — the effects of good
and bad Governments. The other im-
portant works of this painter, so highly
spoken of by Lorenzo Ghiberti, have
entirely perished. There are further,
at Siena, in the Academy, the Annun-
ciation : at Florence, in the Academy,
the Presentation in the Temple, 1342 :
and at Berlin, in the Gallery, five pic-
tures attributed to Ambrogio.
LOEENZETTI, Pieteo, called also
PiETEo DI LoEENZo, and through a
mistake of Vasari's, Laueati, painted
1305, d. about 1350. Sienese School.
He was the elder brother of Ambrogio
Lorenzetti, and worked conjointly with
him, and followed in the steps of Duccio
di Buoninsegna. Pietro's figures are
greatly praised by Vasari, grand and
expressive, lich and graceful in costume
and ornament. His single groups, in
his representations of the Fathers in
the Desert (engraved by Lasinio), are
executed in the most varied manner as
regards the occupations or characters
of the several hermits, and with, per-
haps, as much grace and feeling in
detail as the style of the time admitted:
in the composition he adheres to the
old Byzantine conventional type; the
perspective is altogether false, the
groups independent and wholly uncon-
nected, though crowded together. The
whole is utterly without taste as a com-
position, and many allowances for the
conventionalities of the time must be
made, in order to enable these frescoes
to be looked at with ordinary patience
and a due appreciation of their general
merits ; compared with the other earlier
works of the Campo Santo, they are
important. Some paintings, executed
by Pietro in the cathedral of Arezzo,
were in part, and in the opinion of
Vasari, the best up to their time in
Italy, but, with the fate of nearly all the
works of Pietro, they have perished.
Works. Pisa, Campo Santo, the
Fathers and Hermits in the Wilder-
90
LOKENZETTI— LUCATELLI.
ness. Siena, Duomo, altar-piece in
side chamber of the sacristy. Florence,
Uffizj, Madonna and Child, with Angels,
signed Petrus Laitrentii de Senis me
pinxit, Anno Domini, M.CCC.XL. ;
Berlin, Glallery, four sacred subjects iin
one frame, and two other pictures,
attributed to Pietro. (Vusari, Riimohr.)
LORENZO, Don, a Camaldolese
Monk, of the monastery Degli x\ngeli,
of Florence, painted 1410. He was of
the school of Taddeo Gaddi, and was
also a distinguislied illuminator. In
style and sentiment he resembled Fra
Giovanni Angelico, with even more
decision and more variety of form.
Works. Florence, Santa Maria
Nuova, church of the Hospital, a
Diurno Domenicale: forty -four minia-
tures, of admirable execution: liffizj.
Adoration of the Kings (formerly attri-
buted to Fra Angelico) : Academy, the
Annunciation : convent of the An-
nunziata, a Nativity, in a predella to a
picture by Fra Angelico : near Castaldo,
church of Ceretto, tlie Coronation of
the Virgin, originally in the Chiesa degli
Angeh, 14.13. {Vasnri.)
LORENZO, FioEENZo ni, of Perugia,
painted 1472-87. Umbrian School.
The scholar, probably, of Benozzo Goz-
zoli : he is distinguished for his bright
colouring, and well-defined modelling
of the parts. His pictures are ex-
tremely scarce ; in the sacristy of the
church of San Francesco, at Perugia,
is the Madonna and Child, in glory ;
likewise a St. Peter and St. Paul,
belonging originally to the same pic-
ture, signed Florentius Laurentii, P.
Pinxit, 1487; in the Berlin Gallery is
also a Madonna and Child, attributed
to Fiorenzo. He was still living, ac-
cording to Mariotti, in 1521. {Bvmohr.)
LOTTO, Lorenzo, b. at Venice,
about 1480, d. at Loreto, about 1558,
painted between 1505 and 1554, chiefly
at Bergamo, Venetian School. He
was a scholar of Gio. Bellini, an emu-
lator of Giorgione, and in chiaroscuro
an imitator of the works of Leonardo
da Vinci, but his earlier works are in
the style of Bellini, He is supposed
by some to have been the scholar of
Leonardo, of the name of Lorenzo, but
this is not authenticated.
Works. Naples, Studj Gallery, the
Virgin and Child: Bergamo, San Bar-
tolomeo. Madonna and Saints: others
in Sail Bernardino; Santo Spirito; in
the cathedral; and in Trescorre, on
the road to Brescia, frescoes. Ancona,
Sta. Maria della Piazza. Florence,
Pitti Palace, the Three Ages of Man.
Venice, Sti Giovanni e Paolo, Sant'
Antonio, with Angels and other figures.
Berlin Gallery, the Portrait of the
painter, marked L. Lotus Pictor;
and two sacred subjects (1521 and
1531). Louvre, the Woman taken in
Adultery. ( Vasari, Tassi.)
LUC A, Santo, lived at Florence,
about 1200, A.D. He is supposed to
have been nicknamed Santo, or the
Saint, for his piety; and to him has
been ascribed ihe picture of the Virgin,
in Sta. Maria, in Cosmedin, at Piome;
and a Christ, in the Lateran Palace,
attributed by the vulgar report to St.
Luke the Evangelist. St. Luke is the
patron of painters, from the tradition
that he himself was a painter. Johan-
nes Damascenus notices the tradition
that St, Luke had painted a portrait of
the Virgin: tlds story, therefore, did
not originate with this old painter
Luca Santo, of Florence: there was,
it appears, a Greek hermit of the
name of Lucas, who used to paint
images of the Virgin, and hence the
confusion of St. Luke the Evangelist
with St, Luke the hermit. There is a
Madonna, in the Byzantine style, attri-
buted to this Evangelist, in the church
of Ara Celi, at Rome ; it may belong to
the Greek anchorite. {Lr/nzi.)
LUCx\TELLI, Andeea, b. at Rome,
about 1660, d. 1741. Roman School.
LUCATELLI— LUINI.
91
The son and pupil, probably, of Pietro
Lucatelli, a scholar of Giro Ferri. He
was a landscape, (feme, and architectural,
painter : his landscapes resemble those
of Van Bloemen, called Orrizzonte ; he
painted in conjunction with Paolo
Anesi, at Eome. He was the principal
Italian landscape-painter of his time,
and excelled in his pictures of ruins.
Examples in the Doria Gallery, at
Kome; and in the Dresden Gallery;
and, according to Lanzi, in the Archi-
episcopal Gallery, at Milan.
LUINI, or LOVINI, Beenaedino,
h. at Luino, on the Lago Maggiore,
about 1460, living in 1530. Lombard
School. The most eminent of all the
followers of Leonardo da Vinci, whether
he was ever his actual scholar is not
known; Lanzi supposes tliat he was.
He had, however, appropriated so much
of the manner of Leonardo, that seve-
ral works attributed to that painter are
now considered the prodaciions of
Luini's later years — as the " JJispute,"
in the National Galleiy, and "Vanily
and Modesty," in the Sciarra Palace, at
Kome. Timt want of freedom which
characterises Lnini's oil pictures is
supplied in a most remaikable manner
in his frescoes ; in which branch of
painting lie appears to have been one
of the most masterly among the great-
est of that class of Italian painters.
His method appears to have been very
expeditious; his shadows are simply
the pure colour laid on tliickly, and liis
lights the same colom's driven thinly
with a little white. An exquisite
grace and beauty, however, make up
for the want of freedom in his oil
pictures. He excelled in painting wo-
men, and in representing the more
delicate qualities of human character;
even in his rapidly-executed frescoes,
his women are beautiful. In these he
closely resembles Leonardo, as he cfoes
in his oil pictures generally, though he
wants his exquisite tone, and grandeur
of style. In his frescoes his style
borders more on that of Mantegna
in his earlier works, and on that of
Kaphael in his later. His colouring is
generally rich, and his light and shade
very forcible. Owing to tlie silence of
Vasari with regard to Luini, his name
has been long comparatively obscure;
Lanzi has vindicated him his proper
place. Luini was also a great deco-
rator; the Certosa di Pavia stiU con-
tains some magnificent work by him,
of this description. In his celebrated
frescoes of the History of the Virgin,
at Saronno, life is represented in its
most cheerful aspect, and yet with dig-
nity. The Adoration of the Kings is
especially rich in invention, and noble
in style. In the Brera, also, in some
of his easel pictures, in oil, are single
figttres, of a small size, of exquisite
beauty. Bernardino's son, Aurelio
Luini, who died 1593, was also an able
painter of the Lombaid School. He
assisted his father in his frescoes at
Saronno. Evangelista, another son,
was a good ornamental painter.
Works. Milan, Ambrosian Library,
St. John playing Avith tlte Lamb ; and
the Magdalen. Brera, the Madonna
Enthroned, with Saints (1521); the
Drunkenness of Noah ; and the Virgin
and Saints: also many frescoes, which
ha,ve been removed from their original
walls, and transferred to canvas or
panel. Casa Silva, frescoes from Ovid's
Metamorphoses: Casa Brocca, Last
Supper : Palazzo Litta, Marriage of St.
Catherine: the Monastero Maggiore,
or San Maiurizio, the altar wall in the
inner church and chapel, capital fres-
coes from the Life of Christ ; over the
door of the refectory, in a lunette, a
Madonna; in the refectory, a Last
Supper: Sant' Arabrogio, Ecce Homo :
San Giorgio, in Palazzo : Sta. Maria
del Carmine, &c. Saronno, church of
the Madonna and of the Virgin, the
History of Christ ; the Marriage of the
92
LUINI— MAGANZA.
Virgin; the Adoration of the Magi;
the Presentation in the Temple; and
Christ disputing in the Temple. Lu-
gano, Franciscan Convent, degli Angeli,
frescoes, extensive and late works,
damaged. Corao, cathedral, altar-
piece ; the Adoration of the Shepherds
and of the Kings. Naples, Studj, John
the Baptist. Florence, Uffizj, Holy
Family. Vienna, Imperial Gallery,
Herodias: Esterhazy Gallery, the Ma-
donna, St. Catherine and St. Barbara.
Berhn, Gallery, EcceHomo; and three
other sacred subjects. Louvre, Hero-
dias; and two sacred subjects. {Lo-
mazzo, Lanzi.)
LUINI, ToMMASso, called II Caea-
VAGGiNO, d. at Eome, aged 35, during
the pontificate of Urban VIIL, 1623-44.
Koman School. Pie was one of the
last of the followers of Caravaggio.
{^Baglione.)
LUTI, Cav. Benedetto, h. at Flo-
rence, in 1666, d. at Eome, 1724. Tus-
can School. The scholar of Anton
Domenico Gabbiani, and a follower of
the style of Pietro da Cortona, and
Giro Ferri at Eome, where he settled
in 1690. Luti painted in fresco and in
oils, and devoted also much of his time
to pastel drawings. He is considered
the last great painter of the Tuscan
School. He engraved, also, a few
plates.
Works. Pisa, cathedral. Vest of
San Eanieri, his master-piece. Eome,
church of the Apostles, St. Anthony of
Padua; San Giovanni in Laterano,
the Prophet Isaiah. {Pascoli.)
MACCHIETTI, Gieolamo, called
GmoLAMO DEL Crocifissajo, b. about
1535, living in 1564. Tuscan School.
A pupil of Michele di Eidolfo Ghirlan-
dajo, and the assistant of Vasari in
his works in the Ducal Palace at Flo-
rence. He painted at Eome, in Spain,
at Naples, Pisa, and at Benevento.
Borghini speaks very highly of the
beauty and modesty of tlie Madonna
in the picture in the Stufa Chapel in
San Lorenzo, Florence, of the Ado-
ration of the Magi; in Santa Maria
Novella is the Martyrdom of St. Law-
rence, his master-piece; in the Uffizj,
Medea restoring Aeson to Youth.
MACEINO D'Alba, or Gio. Gia-
COMO Fava, which appears to have
been' his real name. Painted 1496-
1508. Lombard School. Distinguished
for the characteristic Lombard chiaro-
scuro, and good colour. A tempera
picture of the Madonna and Child,
with two wings, containing the histo-
ries of Joachim and Anna, in the
Stadel Institut at Frankfort, is marked
Macrinus faciebat; it has much of
tlie cinqnecento character in style. At
Pavia, in the Certosa, in the chapel of
Sant' Ugone, is the Eesurrection, &c. ;
other works at Alba, in the church of
the Franciscans. {Lanzi.)
MAFFEI, Francesco, b. at Vicenza,
d. in Padua, 1660. Venetian School.
Scholar of Santo Peranda, and an
imitator of Paul Veronese. His style
is grand, easy, and superficial : some of
his best works are now obliterated,
simply through tlieir originally slight
and careless execution. In San Mi-
chele, at Vicenza, is a picture of Sant'
Anna. In Padua, San Pietro Martire,
the Annunziation ; at the Filippines,
several works : the Paradise in San
Francesco is defaced. (Brandolese.)
MAGANZA, Alessandro, b. at Vi-
cenza, 1556, d. about 1640. Venetian
School. The son and pupil of Gio.
Battista Maganza, He was also a scho-
lar of Gio. Antonio Fasolo, and studied
the works of Paolo Veronese and Ze-
lotti at Vicenza, where are still many
excellent works by Alessandro. In San
Domenico, the Adoration of the Magi;
in San Pietro, the Martyrdom of Gius-
tina ; in the cathedral, the History of
the Passion. Alessandro was also a
MAGANZA— MANETTI
93
poet. He lived to see many of his
family die of the plague, in 1G30. Of
his three sons, who were painters,
and his assistants, Gio. Battista, the
younger, was the most distinguished.
He died, 1017, aged only 40. {Ridolfi.)
MAGANZA, Giovanni Battista,
called Magagno, h. at Vicenza, 1509,
d. 1589. Venetian School. A scholar
of Titian, who was distinguished as a
portrait-painter, and wrote some poetry
under the name of Magagno. Maganza
was the first of a distinguished family
of painters of this name, which ap-
pears to he 'an Italian corruption of
Mainz, whence the family had its ori-
gin. Eidolfihas inserted Gio. Battista's
portrait in his Maraviylie.
MAGNANI, Ceistoforo, d. ahout
1580. Lomhard School. A native of
Pizzighetone, near Cremona, and one
of the best scholars of Bernardino
Campi. He was most skilful as a por-
trait-painter. Pie died young. {Lanzi.)
MAGNASCO, Alessandro, called
LissANDRiNO, b. at Genoa, 1G81, d.
1747. Genoese School. He was the
son of Stefano Magnasco ; and studied
at Milan, under Filippo Ahbiati. He
represented popular meetings, schools,
workshops, and other genre subjects,
with considerable humour, and with a
free and easy touch. He painted also
landscapes and religious subjects : his
figures are large for their class, but
scarcely exceed a span in height. In
the Pitti Palace, at Florence, are some
pictures by Magnasco. (Ratti.)
MAINARDI, Andrea, called II
Chiaveghino, painted 1590-1623.
Lombard School. He was a native of
Cremona, and the scholar of Giulio
and Bernardino Campi. He executed
many altar-pieces in Cremona, partly
in conjunction with his nephew, Marc-
antonio Mainardi.
Works in Cremona, in San Francdfeco,
Sant' Agostino, San Fazio, and other
churches. (Fanni.)
MAINARDI, Bastiano, of San Gi-
mignano, painted about 1470-1500.
Tuscan School. The scholar, brother-
in-law, and assistant of Domenico del
Ghirlandajo. He was an able fresco-
painter, though not equal to Ghirlan-
dajo in reality, or in the power of giv-
ing rotundity to his forms, and also in-
ferior to him in the manipulation of
the colours. Mainardi, says Rumohr,
alluding to the frescoes of the Beata
Fina in San Gimignano, was far supe-
rior in the graceful expression of sen-
timent in the countenances.
Works. San Gimignano, chapel of
the Beata Fina, c. 1482 (Ghirlandajo
worked here, also). Florence, Sta.
Croce, Giugni Chapel, the Assumption
of the Virgin, and St. Thomas receiv-
ing the Girdle. Berlin Gallery, the
Virgin and Child, and a portrait of a
young man. (Vasari.)
MALINCONICO, Andrea, painted
1650. NeapoUtan School. An able
scholar of Massimo Stanzioni. His
works are exclusively in oil, and of un-
equal merit. The best are in the
church de' Miracoli at Naples, repre-
senting the four Evangelists, and the
Doctors of the Church. (Dominici.)
MALOMBRA, Pietro, b. at Venice,
1556, d. 1618. Venetian School. Ori-
ginally an amateur, he became a scho-
lar of Salviati, and an imitator of Palma
Giovane, but gave a greater finish to
his works. His religious pieces are also
numerous. He was also skilful in paint-
ing architectural views of Venice, with
groups of figures, and in scene-paint-
ing. Works, in the Ducal Palace, and
in San Bai-tolomeo ; San Giorgio
Maggiore ; San Francesco di Paolo ;
and other Venetian churches. {Bi-
dolfi.)
MANETTI, Euthjo, b. at Siena,
1571, d. 1637. Sienese School. Pupil
of Francesco Vanni, and a follower of
Michelangelo Caravaggio. His works
have generally a peculiarly sombre co-
94
MANETTI— MANTE GNA.
louring; but in some he exhibits the
force and brilliancy of Guercino ; his
forms and his architecture ai'e good.
He painted for several of the churches
at Siena ; and for the Certosa, of Flo-
rence. In the cathedral of Pisa is
Elias under the Juniper Tree : in San
Pietro di Castelvecchio, at Siena, is a
" Kiposo," reckoned by Lanzi among
the best of Manetti's works ; there are
some in the Florentine galleries.
MANFPiEDI, Baetolomeo, b. at
Ustiano, near Mantua, about 1580, d.
at Rome, 1617. Pioman School. Pu-
pil of Cristofano Eoncalli ; but became
a follower of Michelangelo da Cara-
vaggio, though more refined in his
composition, according to Lanzi. He
painted commonly half figures, and
usually represented banditti, soldiers,
groups of gamesters, concerts, &c.
His works are rare, as they have been,
and are, attributed to Caravaggio, or
to Moise Valentin; he has been called
a second Caravaggio. In the Louvre
are Four Men cai'ousing; a Fortune-
teller; and Judith with the Head of
Holoph ernes. (^Baglione.)
MANSUETI, Giovanni, painted in
1500. Venetian School. A pupil of
Vittore Carpaccio, and his imitator,
though he adhered obstinately to the
ancient type. In composition he re-
sembles his master with much genuine
simplicity, but with a less lively treat-
ment, and less power; in colour he
was more intense or positive. He was
one of the best of the Venetian quat-
trocento painters.
Works. Venice, Academy, subjects
relating to the Miracles of the Holy
Cross. Berlin Gallery, Christ with
his Eight Hand upraised to bless;
maiked, Joannes de Mansuetis pinxit.
{Zanetti.)
MANTEGNA, Oav. Andeea, 6. near
Padua, 1431, d. at Mantua, Sept. 13,
1506. Paduan and Venetian Schools.
The School of Padua, although founded
by Francesco Squarcione, owes its full
development to his pupil Mantegna,
whose taste was thoroughly imbued
with the spirit of the antique, and
through Squai-cione's example and col-
lections, so great was his admiration
for ancient statues and hassi-relievi,
that he at once manifested his pre-
ference of the antique to Nature ; and
hence the peculiarity of his after-style.
The youth of Mantegna was some-
thing like that of Giotto ; he was, says
Vasai'i, a shepherd-boy; and having
early displayed his ability for draw-
ing, was placed with the then cele-
brated Francesco Squarcione, who be-
came so attached to him, that he
eventually adopted him, with the in-
tention of making him his heir. He
appears to have been remaikably pre-
cocious; he was entered of the Society
of Painters of Padua when only ten
years old ; and when eighteen painted
an altar-piece in Santa Sofia, of Padua.
Mantegna married Nicolosia, a sister
of the Bellini, by which connection he
lost the friendship of Squarcione. He
entered the service of Lodovico Gon-
zaga, at Mantua, in 1468, for a monthly
pay of 75 lire, or francs, a sum then
worth, perhaps, twenty times its pre-
sent value. His outline was always
hard, although his style was by no
means wanting in freedom in his
maturer works ; and bis earlier man-
ner was severe, simple, and masculine,
frequently exhibiiing in his figures a
chaiacter of austere beauty, not seldom
unmixed with a soitowluI expression.
This peculiarity of style arose exclu-
sively from his close attention to the
antique, which appai'ently superseded
with him the study of Nature. His
colouring was, however, strong ; in this
respect alone does he show any afiinity
with the Venetian School; in his ac-
cessories — architecture and landscape
— he displays unusual knowledge and
power. Mantegna was one of the
MANTE GN A— MAEATTA.
95
earliest engravers, his power of draw-
ing being peculiarly available for this
art. He engraved many of his own
original designs, as the Triumph of
Cfesar, in three pieces, distinct from
the cartoons at Hampton Court ; these,
according to Vasari, are liis best; the
Entombment, marked Hmnani gene-
ris BedemjJtori, is considered his best,
by others. They amount in all to
about sixty pieces ; and some of them
have a strong resemblance to the style
of Marcantonio. Ariosto has cele-
brated the name of Mantgena with
those of Leonardo da Vinci and Gio-
vanni Bellini. His varieties of style
are well illustrated in the following
works.
His earliest fresco at Padua, in the
Eremitani Church, is of the ligid
sculpturesque style : the Madonna della
Vittoria, in the Louvre, is an example
of his softened and improved manner;
the Dancing Muses, also in the Louvre,
illustrates the classical proportions,
noble expression, the dignity of style,
and the forcible colouring, which at
times distinguished him. The Car-
toons, at Hampton Court, are also of
his grander and more animated man-
ner; and the Pieta, in the Brera, at
Milan, is a good example of the know-
ledge of the principles of perspective,
and his skill in foreshortening. Man-
tegna was painter, sculptor, poet, and
architect. He was aided in some of
his works by his second son, Fran-
cesco, and by his favomite pupil, known
as Carlo del Mantegna.
Works. Mantua, in the Castello di
Corte, a chamber in fresco (1474-84),
called Stanza di Mantegna, now Archi-
vio de' Nodari. Padua, churcli degli
Eremitani (1450) ; and in Sant' Anto-
nio (1452), frescoes. Verona, church
of San Zeno, altar-piece, a Madonna
enthroned, with Angels and Sainte.
Eome, Vatican, the Pieta. Milan,
Brera, San Luca (1453-4) ; a Pieta;
and various Saints : Casa Trivulzi, the
Madonna in Glory {tempera, 1497).
Naples, Studj, Sant' Euphemia with the
Lion. Florence, Uffizj, an altar-piece
of the Adoration of the Kings; Virgin
and Child ; and other works. Louvre,
la Madonna della Vittoria (1495) ; the
Dancing Muses ; Christ between the
Thieves ; and Virtue triumphing over
Vice. Dresden Gallery, Annunziation
{lempera, 1450). Berlin Gallery, Ju-
dith (1488); a Pieta; and six other
subjects. England, Hampton Court,
Cartoons of the Triumph of Caesar
(1402). London, the Triumph of Cor-
nelius Scipio (1505-6), in Mr. Vivian's
Collection. ( Vasari, Brandolese, Gaye,
Selvaiico.)
MANZU OLI, ToMMASo, called Maso
DI San FpvTano, b. in that quarter of
Florence, about 1536, d. 1575. Tuscan
School. He studied under Pierfran-
cesco di Jacopo, and Carlo Portelli,
and is compared by Vasari with Bat-
tista Naldini and Alessandro AUori.
His pictures of the Nativity, in the
church of the Santi Apostoli ; and the
Visitation, formerly in San Pietro Mag-
giore, now, says Lanzi, in the Koman
Collection of the Vatican, were con-
sidered among the best productions of
the Tuscan School of that period. Va-
sari praises them for their invention,
drawing, style, grace, and harmony of
colouring. There is no such picture
as the Visitation exhibited in the Vati-
can at present.
MAEATTA, Cav. CARLo,called Caelo
DELLE Madonne, b. at Camurano, near
Ancona, 1625, d. at Eome, Dec. 15th,
1713. Eoman School. He studied
under Andrea Sacchi many years, and
adopted the style of that painter, then
the head of the opponents of the fol-
lowers of Pietro da Cortona. Maratta
devoted himself also to copying the
works of Eaphael. In 1702 he cleaned
and restored with great care the cele-
brated frescoes by Eaphael in the Vati-
MAKATTA— MAECHIS.
can Stanze, and in the Farnesina at
Eome. The Intonaco of the former,
which was loose in many places, he re-
attached to the walls by nails. Ma-
ratta's style was essentially academic,
generally correct, but affected and
feeble ; he had no originality of inven-
tion, his countenances have a vapid
air, and his figures attitudinise ; yet
his works are not without a species of
histrionic dignity, but liis draperies are
heavy, and his colouring frequently
chalky and cold. On the whole, his
works bear much more resemblance to
those of Gruido than those of Raphael.
He painted many altar-pieces, and
some cabinet pictures : Madonnas were
especially favourite subjects with him,
hence his name of " Carlo delle Ma-
donne." He enjoyed an unrivalled
reputation in his day, and has been
called the last of the Romans. His
name is frequently written Maratti;
one picture in the Louvre has Maratta
and another Maratti. He etched a few
plates.
Works. Rome, San Giovanni in
Laterano, the Battisterio, Constantino
destroying Idols : San Carlo, the altar-
piece: Santa Maria degli Angeli, the
Baptism of Christ (in mosaic in St.
Peter's) ; Chiesa Nuova, Santi Carlo e
Ignazio ; church of II Gesu, St. Fran-
cis Xavier; palace at Monte Cavallo,
the Adoration of the Shepherds,
(fresco). Genoa, the Martyrdom of
San Biagio. Ancona, copy of the
Battle of Constantine, in the Vatican.
Forli, at the Filippines, San Francesco
de Sales. Berlin Gallery, the Ascen-
sion of the Virgin ; and St. Anthony of
Padua, adoring the Child, who is in
the Clouds. Dresden Gallery, Virgin
and Child, with St. John. Louvre,
the Nativity, and Adoration of the
Shepherds ; his own Portrait ; and four
other subjects. St. Petersburg, the
Hermitage, several characteristic works.
(Bellori.)
MARCHESI, GrosEPPE, called II
Sansone, b. at Bologna, 1699, d. 1771.
Bolognese School. The scholar j&rst
of Baldassare Franceschini, and after-
wards of Aureliano Milani. He ex-
celled in foreshortening, especially in
the sotto in su, after the manner of
Franceschini. His master-piece is the
Martyrdom of Santa Prisca, in the
cathedral at Rimini. He executed,
also, many works for the churches at
Bologna. (LanzL)
MARCHESINI, Alessandro, 5. at
Verona, 16C4, d. 1738. Bolognese
School. The pupil of Carlo Cignani.
He painted some historical subjects
for the churches of Verona and Venice,
where he subsequently sometime re-
sided ; but he represented chiefly fables
and ordinary subjects, with small
figures, for private collections, accord-
ing to Zanetti, in a true and graceful
manner.
MARCHETTI, Marco, called Mar-
co DA Faenza, d. 1588. Roman School.
Gregor}' XIII. employed him in orna-
menting the Loggie of the Vatican with
Arabesques, in which he was very skil-
ful, indeed, according to Vasari, unri-
valled in liis time : the same writer
praises him as a fresco-painter. He
painted in the Vatican, for the same
Pope, the Murder of the Innocents,
and other similar stories. In the
Trinita de' Monti are subjects from the
Life of San Francesco di Paola, by
Marchetti. He was also employed on
extensive decorative works in the Pa-
lazzo Vecchio at Florence. {Vasari,
Baglione, Lanzi.)
MARCHIS, Alessio de, painted
1710-34. Neapolitan School. He re-
presented landscapes, sea-ports, and
fires or conflagrations, as the Burning
of Troy. He decorated the palace of
Clement XL at Urbino, with architec-
tural and marine pieces, and executed
many works in the Ruspoli and Al-
bani palaces at Rome : there are also
MAKCHIS— MAEIA.
97
several of his works at Perugia.
{Lanzi.)
MAKCILLA, GuGLiELMo, da, b.
1475, d. 1537. His name is, correctly,
Mai'cillat. He was a native of St.
Michiel, department of the Meuse, in
France. Marcillat distinguished him-
self by several works at Arezzo, espe-
cially his beautiful painting on glass,
an art then not so well understood in
Italy as in France. He first visited
Eome about 1508, and was engaged at
Arezzo in 1519, where he painted three
windows for the cathedral, for each of
which he was paid 180 ducats. Mar-
cillat was the first good glass-painter
that had appeared in Italy; his win-
dows are enamel paintings : there are
two in the church of Santa Maria del
Popolo, Kome, containing twelve com-
positions from the Lives of Christ and
the Virgin, executed about 1509. Gug-
lielmo painted, also, in fresco at Arez-
zo. In style he was an imitator of
Michelangelo, but in colour his frescoes
were very inferior to his glass paintings.
{Vasari., Gaye.)
MARCONI, Rocco, of Trevigi ;
painted in 1505. Venetian School.
He was originally of the school of
the Bellini, and he seems to have
afterwards adopted the enlarged style
of Giorgione. Zanetti gives a high
character to the works of Marconi, and
states that, were it not for his occasion-
ally hard outline, he might have been
compared with any of the cinquecento
masters : he praises the expression of
his heads, his general drawing of the
figure, his draperies, and his brilHant
colour. In some instances he was
accused of adhering too closely to or-
dinary nature. He signed himself
Rochus Marchonus. The Dead Christ
between the two Marys, now in the
Academy, is one of Marconi's principal
works, showing all his powers to advan-
tage.
Works. Santi Giovanni e Paolo,
Christ between the two Apostles, Peter
and Andrew. Manfrini Gallery, the
Woman taken in Adultery. Academy,
Christ between two Apostles ; the Dead
Christ, or Deposition from the Cross ;
the Woman taken in Adultery ; and
another picture of the Saviour.
MARGARITONE, h. at Arezzo,
1236, d. 1313. Tuscan School. Mar-
garitone was an older painter than
Cimabue, though he survived him some
years. He was instructed by Greek
artists, and lived to see the art tho-
roughly revolutionised by Giotto. He
in general represented images of the
Virgin and Crucifixes, after the Greek
type, and with its symbolism : his
works, accordingly, have much more
stifihess, and rigidity than those by
Cimabue ; the best are those with
small figures. They are in tempera,
with the gold ground, and sometimes
on canvas glued on wood ; as the pic-
ture of the Virgin and Child, with
Angels, &c., and St. Margaret, St.
John the Evangelist, and other saints ;
formerly in the church of the Nuns of
Santa Margherita, at Florence, and
recently in a private collection there,
that of the Signori Lombardi and Ugo
Baldi. It is signed MargaHt. de
Arltio, me fecit. Margaritone is
said to have painted St. Francis from
the life, and there are still preserved
several pictures of that saint by him.
In the church of San Francesco at
Ganghereto (a small town above the
Terra Nuova, in Valdarno), a rude
Greek figure, representing St. Francis,
is still preserved, though it has been
retouched : there is another similar to
it in the Galleiy of the Academy of
Siena, signed with Margaintone's name.
He was also a sculptor and an archi-
tect. {Vasari.)
MARIA, Cav. Eecole de, called,
also, Ercolino di Guido, d. about
1610. Bolognese School. He was a
pupil of Guido, and copied the pictures
98
MAKIA— MASACCIO.
of that master so aMy that even Guido
was so far deceived as to finish a copy
by Ercolino of an unfinished work
which had been substituted for the
original, without being aware of the
change. He was distinguished only as
a copyist, but he died young. His
copies after Guido passed for originals,
even in Bologna, already, in Malvasia's
time. He painted some time in Eome,
and was created Cavaliere by Urban
VIII.
MARIA, Francesco di, h. at Naples,
1623, d. 1690. Neapolitan School. A
pupil of Domenichino. He excelled
in portraits, and painted also good
historical pictures, of which some have
occasionally been mistaken for, or
passed as, the works of Domenichino.
i^Dominici.)
MARIANI, Giovanni Maria, of
Ascoli, painted 1650. Genoese School.
A pupil of Domenico Fiasella. He
painted at Rome and at Genoa, in con-
junction with Valerio Castelli, in fresco
and in oils, for whom he executed the
architecture, and other ornamental
parts, in the oratory of San Jacopo, in
Genoa. Mariani represented the Bap-
tism of that saint, where he is in com-
petition with, and has surpassed, the
principal Genoese painters. At Flo-
rence, in the GaUery of the Uffizj, is a
picture of the Rape of the Sabine
Women; a similar and larger picture
is in the Palazzo Brignole at Genoa.
Mariani was a member of the Roman
Academy. (Lanzi.)
MARINARI, Onorio, 6. at Florence,
1625-7, d. 1715. Tuscan School. The
cousin and pupil of Carlo Dolci. Al-
though some of his earlier pictures
have been mistaken for the works of
Carlo Dolci, his maturer manner is
somewhat different: he shows more
freedom of execution, and a larger
style. Some of his pictures are in
England. In Florence his best works
are iu the churches of Santa Maria
Maggiore, and San Simone. Of his
earlier works the Badia, and Santa
Maria Maddalena dei Pazzi, contain
the best. {Realc Galleria di Firenze.)
MARTIS, or MARTINI, Ottaviano,
of Gubbio, painted from 1400 to 1444.
Umbrian School. In Santa Maria
Nuova, at Gubbio, is a fresco of the
Virgin and Child, with Saints, painted
in 1403, by this artist, remarkable for
the colour, dehcacy of the execution,
and the refined expression, notwith-
standing its dry and meagre design
and composition. It is inscribed,
Octavius Mart'is Eugiihinus pinxit, Anno
M.CCCC.III. {MarioUi, Gaye.)
MASACCIO, or TOMMASO, di San
Giovanni, h. 1402, d. 1443. Tuscan
School. Tommaso Guidi, commonly
called Masaccio, from his slovenliness,
was, it is said, the scholar of his con-
temporary, Masolino da Panicale.
Brunelleschi also gave him some in-
struction in perspective ; and, during a
visit at Rome, about 1530-4, he devoted
himself to the study of the antique.
Masaccio gave a most important im-
pulse to the development of painting ;
attaining about the same degree of
excellence in his forms as was reached
by the sculptors Donatello and Ghi-
berti, who, however, though older men,
survived Masaccio many years. We
find in his works a more careful study
of individuality of form than in those
of any earlier master, well exemplified
in his great frescoes in the Brancacci
chapel of the Carmine, at Florence.
His drawing of the nude is both mas-
terly in style, and in the detail of the
modelling; his figures have great na-
tural ease as well as truth ; in his heads
the individuality of expression and
originality of treatment are even more
prominent, and his draperies hang in
natural and simple folds ; the whole
displaying a genuine dramatic power of
representation. The frescoes of the
Brancacci Chapel constituted the era
MASACCIO— MASTELLETTA.
99
of a new epoch of art, they are the work
of three men — Masolino da Panicale,
Masaccio, and Fihppino Lippi. The
last completed the works interrupted
by the death of Masaccio, after an
interval of upwards of forty years ; an
interval itself almost sufficient to ex-
plain the more perfect development
displayed in the frescoes of Filippino.
The great service of Masaccio was not
the perfecting of the art, so much as
freeing it from the trammels of pre-
vious conventionalisms; he altogether
forsook traditionary style, led the artist
directly to life, and, as an original
observer, vindicated the objective, from
its hitherto complete dependence on
the subjective, view of nature ; in so far
Masaccio was the first to open the paths
to naturalism in modern historic art.
The results of recent criticism have, how-
ever, considerably diminished the glory
of Masaccio, in definitively awarding
the various frescoes of this celebrated
chapel, which was the great school of
the Florentine painters of the fifteenth
century, to their respective masters;
and that which was commonly considered
the most perfect work of the series — St.
Peter and St. Paul before Nero — is now
distinctly proved to have been the work
of Filippino ; even the celebrated figure
of St. Paul, in the fresco of that Saint
visiting St. Peter in prison, which was
adopted by Kaphael, in his cartoon of
Paul Preaching at Athens, is also now
attributed to Filippino. This is, how-
ever, still doubtful, notwithstanding
Vasari attributes the fresco to Fihppino
in his first edition : Gaye still attributes
this work to Masaccio. [See the re-
marks in the notice of Filippino.]
Should, however, the comparison of
handling, ultimately give this work
also to Filippino, there is still sufficient
remaining to Masaccio, independent of
the great example afibrded by his works
to Filippino, to entitle liim to the high-
est praise, and, as regards style, we
may, perhaps, still say with Sir Joshua
Reynolds (Disc, xii), "He appears to
be the first who discovered the path
that leads to every excellence to which
the art afterwards arrived, and may,
therefore, be justly considered as one
of the great fathers of modem art."
Works. Eome, San Clemente, cha-
pel of Santa Caterina, Scenes from the
Life of St. Catherine. Florence, fres-
coes of the Brancacci Chapel of the
Carmelite Church — the Expulsion from
Paradise ; St. Paul visiting St. Peter in
Prison; the Tribute Money; Peter
Baptizing; the Apostles restoring the
Youth to Life ; Ananias ; and the De-
formed cured by the shadow of Peter:
Uffizj, the Head of an Old Man: the
Academy, a Madonna and Child sitting
in the lap of Sant' Anna {tempera).
{Vasari, Gaye.)
MASCAGNI, DoNATO, called Frate
Aesenio, from the year 1606, when he
entered the order of the Servi, b. 1579,
d. 1636. Tuscan School. An able
scholar of Jacopo Ligozzi. Some of
his works are in the churches at Flo-
rence, in the Nunziata, and the Convent
dei Servi. In the library of the Mo-
nastery of Vallambrosa is a large
picture by Mascagni, of the Countess
Matilda presenting the Ferrarese State
to the Pope. {Baldimicci.)
MASSAEI, Lucio, b. 1569, d. 1633.
Bolognese School. Pupil of Bartolo-
meo Passarotti, and he copied and
imitated the works of Annibale Car-
racci, in the Farnese. Some of his
pictures also resemble in style and
gracefulness those of Albani, with
whom he lived in Rome.
Works. Bologna, San Benedetto,
Marriage of St. Catherine : San Michele
in Bosco, three subjects in the cloisters :
church of the Theatines, San Gaetano :
Certosa, Christ bearing his Cross.
{Malvasia.)
MASTELLETTA, II, or Giovanni
Andkea Donducci, 6. at Bologna, 1575,
H 2
100
MASTELLETTA— MAZZA.
d. 1655. Bolognese School. His sur-
name of Mastelletta was derived from
the occupation of his fatlier, who was
a pail-maker. He studied in the school
of the Carracci, and imitated the works
of Parmegiano, adopting at the same
time the principles of the Tenebrosi in
colour. His drawing was feeble and
incorrect, the difficulty he found in
representing the nude seems to have
led him to adopt landscape-painting,
and small cabinet pieces. He has
painted landscapes which have been
mistaken for those of Annibale Car-
racci. He latterly, after a visit to
Rome, devoted himself considerably to
landscapes with small figures : he
attended the studio of Agostino Tassi,
then distinguished as a landscape-
painter at Rome. Annibale Carracci
recommended him to adhere exclu-
sively to small cabinet pieces, but he
resumed his large figure subjects after
his return to Bologna.
Works. Bologna, church of the
Madonna delle grazie, the Death and
Assumption of the Virgin : the Mendi-
canti, the Flight into Egypt: church
of the Celestines, St. Irene drawing
the Arrow from the breast of St. Se-
bastian. Budrio, Santa Maria del
Borgo, Flight into Egypt: Academy,
Christ in the Desert, attended by An-
gels. Rome, Spada Gallery, Miracle
of the Manna. (Malvasia.)
MASUCCI, Agostino, b. at Rome,
1691, d. 1758. Roman School. Dis-
tinguished scholar of Cai-lo Marratta,
and an imitator of his style. Masucci's
pictures of Holy Families resemble
those of Maratta both in treatment
and in expression; he also painted
many altar-pieces, in which he intro-
duced portraits, a branch of painting
in which he excelled : he was, however,
weak in colour.
Works. Rome, Santa Maria Mag-
giore, a Holy Family : Santa Maria del
Popolo, San Niccola da Tolentino:
church del Nome Santissimo di Maria,
St. Anna: Casino, in the garden of the
Quirinal, frescoes. Urbino, San Bo-
naventura, with many portraits.
(Lanzi.)
MATTE IS, Paolo de, b. at Cilento,
1662, <i. 1728. Neapolitan School. The
best pupil of Luca Giordano ; he stu-
died also under Morandi. He rivalled
the celerity without attaining the merit
of Giordano. He resided for three
years in France, when he was invited
to Rome by Benedict XIII.; but his
principal works are at Naples, where he
imitated Lanfranco in some of his
frescoes. He was the author of a work
on the principles of drawing : II Libra
d'Insegnamento del Disegiio, &c., folio,
with plates, by F. Aquila.
Works. Genoa, San Girolamo, the
Conception ; and St. Gerome appearing
to San Saverio. Rome, San Giovanni
in Laterano, &c. {Bominici.)
MATTURINO, d. at Rome, about
1528. Tuscan School. He was a
native of Florence, and studied under
Raphael, at Rome, where he was em-
ployed by him in ornamenting the
stanze of the Vatican, with friezes, &e.,
in conjunction with Polidoro da Cara-
vaggio. He decorated also the exterior
of some of the Roman palaces and
churches. Matturino excelled in the
representation of bas-reliefs in chiaro-
scuro, after the taste of the ancients,
and frequently from ancient story : the
frieze of the Niobe was among the
most celebrated; it was engraved by
Fischer, in 1594, in eight plates, and
since by H. Saenredam, and by G. B.
Galestruzzi. ( Vasari. )
MAZZA, Damiano, flourished about
1550. Paduan and Venetian Schools.
An able scholar of Titian. The
clmrches at Venice contain some of
his works, as the Coronation of the
Virgin, in the Chiesa del] a Spedaletto.
In the Casa Sonica, at Padua, he re-
presented the fable of Ganymede borne
MAZZA— MAZZUOLI.
101
oflf by the Eagle, as the decoration of a
ceiling. This picture was long consi-
dered as a work of Titian's, and was
afterwards removed elsewhere as such,
says Lanzi, Its description corresponds
with that in the National Gallery, from
the Colonna Palace, Rome, and attri-
buted to Titian. (Eidolji.)
MAZZOLINI, LoDOVico, b. at Fer-
rara, about 1J:81, d. about 1530. Fer-
rarese School. Pupil of Lorenzo
Costa. He adopted the somewhat fan-
tastic manner which is characteristic of
the earlier Ferrarese painters; he seems
frequently influenced by a quaint capri-
cious taste, shown by the introduc-
tion of most trivial incidents (though
not unnatural), even in the gravest or
most elevated subjects. His heads
have a strong individuality, and appear
to be taken from the life ; they are
extremely ordinary in character, but
are painted with great care : this pecu-
liarity applies to his countenances of
old men, they are hard; his style of
form, however, is full and good, and
shows, apparently, the influence of
Gai-afalo ; his colouring is also rich and
positive. His architectural backgrounds
are very remarkable; he was fond,
also, of introducing bassi-rilievi : his
works are, throughout, carefully finished
and symmetrically composed. Owing
to his omission by Vasari, Mazzolini's
name is not as well known as it de-
serves to be; he is the Malini only
very slightly noticed by that writer.
Works. Bologna, the Nativity of
Christ ; God the Father. Rome, Doria
Palace, Christ Disputing with the Doc-
tors : Gallery of the Capitol, the same
subject. Berlin Museum, the same, on
a larger scale, dated 1524, and by some
considered Mazzolini's master- piece ;
it was formerly in San Francesco, at
Bologna; there are three other sacied
subjects in this collection. London,
National Gallery, two Holy FamiHes,
with Saints, and Angels, &c., good and
characteristic examples. Louvre, a
Holy Family. (Lanzi.)
MAZZUOLI, or MAZZOLA, Giro-
LAMO Feancesco Maria, Called II
Paemigiano, and sometimes Parme-
GiANiNO, b. at Parma, Jan. 11, 1503,
or, correctly, 1504, d. Aug. 24, at Casal
Maggiore, 1540. Lombard School. He
was the son of Filippo Mazzola, and
the pupil of his uncles, Michele and
Pietro, llario. He went in 1523 to
Rome, and he remained in that city
until 1527, when it was sacked by the
soldiers of Bourbon ; he was then en-
gaged on his picture of St. Jerome, in
the National Gallery. He returned to
Parma in 1531. Parmigiano now re-
ceived his important commission to
decorate the church of Santa Maria
della Steccata with frescoes, but, being
of dissipated habits, he was so dilatory,
and delayed so long, that he was finally
thrown into prison for breach of con-
tract. When released, instead of con-
tinuing the works, as he had promised,
he fled to Casal Maggiore, and died
shortly afterwards, leaving the frescoes
little more than commenced. Parmi-
giano ranks foremost among the follow-
ers of Correggio, whose style influenced
him from his early youth : gifted with
great natural capacity, he reproduced,
with considerable success, many of the
peculiar beauties which distinguished
Correggio, but was unable to escape
from the mannerism, which it is the
fate of most imitators to fall into :
foreshortening and soft gradated round-
ness of form became an essential aim
with Parmigiano. Truth of action is
sacrificed to an affected grace of atti-
tude, exaggerated passion is substituted
for forcible emotion. Parmigiano en-
deavoured to combine the noble forms
of the Roman School with his own
peculiarities of manner, but his elon-
gated necks and limbs rendered such a
result impossible. His execution is,
however, distinguished by great deci-
102
MAZZUOLI— MEMMI.
sion, and he occasionally attained a real
grandeur of form, as in the Moses of
the Steccata, a figure of which Sir
Joshua Eeynolds says it is difficult to
decide, whether to admire most the
correctness of the drawing or the
grandeur of the conception. His atti-
tudes also, notwithstanding habitual
affectation, are occasionally natural
and graceful, and display sometimes
great sweetness of expression. His
landscape backgrounds are sometimes
admirable; and he was, it appears, on
all occasions, a most successful portrait-
painter. He etched a few plates.
There were two other painters of this
family, Girolamo and Alessandro, called
Bedolo. Girolamo Mazzuoli was a
good colourist; he was living at Parma
in 1580.
Works. Parma, church of San
Giovanni, the Marriage of St. Cathe-
rine : church of the Madonna della
Steccata, the ceiling in fresco (chiaro-
scuro), representing Adam and Eve ;
and Moses breaking the Tables of the
Law. Naples, Studj Gallery, Portrait
of Americus Vespucci; Lucretia; and
several others; portraits; Holy Fa-
milies, &c. Florence, Gallery of the
Pitti Palace, the Madonna del Collo
Lungo. Uffizj, his own portrait; a
Holy Family. Bologna, the Madonna
and Child, with St. Margaret and other
Saints ; his most celebrated altar-piece ;
and the model of the Carracci. Berlin
Gallery, the Baptism of Christ. Vienna
Gallery, Cupid making a Bow (1536),
one of his most celebrated easel pic-
tures, often copied. Dresden Gallery,
la Madonna della Eosa. London,
National Gallery, the Vision of St.
Jerome (1527), a very early work.
(Vasari, Affo, Mortara.)
MELANI, Cav. Giuseppe, h. at Pisa
about 1680, d. 1747. Tuscan School.
A pupil of Camillo Gabrielli, and a
follower of Pietro da Cortona. His
master-piece is the large picture of the
Death of San Eanieri, in the cathedral
of Pisa; but his greater talent lay in
fresco-painting, in which he aided his
brother Francesco, inserting the figures
in his architectural schemes.
His brother Francesco d. in 1742,
he was a distinguished painter of archi-
tecture. The vault of San Matteo, at
Pisa, displays the talents of both bro-
thers. (Lanzi.)
MELZI, Francesco, II Conte, still
living 1567. Lombard School. A Mi-
lanese nobleman, the scholar and inti-
mate friend of Leonardo da Vinci.
As he did not make painting a pro-
fession, his works are not numerous ;
but his pictures bear so strong a re-
semblance to those of Leonardo, that
they have been mistaken for them.
Melzi accompanied Leonardo to France,
and inherited his designs, studies,
books, and manuscripts; which, with
his own personal knowledge, enabled
him to furnish Vasari and Lomazzo
with some valuable notices of the life
of that great painter.
Works. The Castle of Vaprio (be-
longing to the Melzi family), a large
fresco of the Madonna and Child.
Berlin Gallery, Vertumnus and Po-
mona, the former in the garb of an
Old Woman.
MEMMI, SiMONE, or rather Simone
Di Martino ; Memmo (William) was
the name of his father-in-law; b. at
Siena, about 1285, d. at Avignon, 1344.
Sienese School. This painter is the
chief representative of the peculiarities
which distinguished the early Sienese
School; showing an admirable inven-
tion, but little taste in design or execu-
tion. He is supposed to have been
the pupil of Giotto, and to have painted
in conjunction with him at Eome.
Tliat Simone was Giotto's pupU has
been doubted by Eumohr ; he appears
to have been rather Giotto's rival,
from the manner in which the two
painters are mentioned by Petrarch : —
MEMMI— MICHELANGELO.
" I have known two excellent painters,
Giotto, a citizen of Florence, whose
fame among the moderns is immense ;
and Simone, of Siena." Petrarch be-
came acquainted with Simone at Avig-
non, where he painted Laura, in 1339.
Simone's frescoes are represented as
having a greater character of holiness
than is generally found among the Flo-
rentine painters of his time ; though
ill drawn, his figures are dignified.
The accessory parts — the hair and orna-
ments, ai-e finished with great delicacy.
The story of the portraits of Petrarch
and Laura, in the Cappella degli Spag-
nuoli, is a mere fable. The only por-
trait of Laura, painted by Simone, is
lost ; but there appears to be a portrait
of her in a MS. in the Laurentian
Library, at Florence ; it is engraved
by Cicognara, in his History of Sculp-
ture, vol. i. pi. 42. In the Ambrosian
Library, at Milan, in a Virgil, and in
the Eoyal Library, at Paris, in a Bible,
are miniature illustrations by Memmi.
The Virgil in the Ambrosian Library
belonged to Petrarch. Lippo Memmi
was Simone's brother-in-law, and com-
pleted some of Simone's unfinished
works ; he was still living in 1361.
Works. Siena Academy, an altar-
piece, the Madonna and Child, with
Saints : Palazza Pubblico, Sala del
Consiglio, large fresco, the Madonna
and Child, enthroned ; the Apostles
and Saints ; and Angels ofiering
Flowers, inscribed — Li Angelichi fio-
recti, Rose et Gigli, onde 5' adorna lo
Celeste Prato, nan mi dilettaii piu
ch' e biion consigli, <tc., Ac. 1315. (Dis-
puted.) Florence, Santa Maria No-
vella, chapel de' Spagnuoli, the Church
Militant and Triumphant; Paradise;
St. Peter and Two Angels receiving
the Souls of the Just ; the Crucifixion,
&c. (1332) : Ufiizj, an Annunciation^by
Simone and Lippo, conjointly (1333) :
chapter-house of Santo Spirito, the
Crucifixion (doubtful). Pisa, Campo
Santo, San Eanieri, partly restored by
the Melani (doubtful). Berlin Gal-
lery, Virgin and Child ; a picture in two
divisions, the upper representing the
Annunciation, the lower part Saints.
Antwerp Gallery, a Crucifixion, &c.
England, Liverpool Institution, the
Virgin and Joseph, with the youthful
Saviour, who has just rejoined them,
marked — Symon de Senis me pinxit
Juh. A. M.CCC.XLIL {Vasari.)
MICHELANGELO Buonaeroti,
the Caposcuola of the Florentine
School, h. at Castel Caprese, near
Arezzo, March 6, 1475, d. at Eome,
Feb. 17, 1564, having nearly completed
his eighty-ninth year.
Michelangelo was apprenticed to
Domenico Ghirlandajo, April 1, 1488,
for three years. He first practised,
however, as a sculptor, owing to the
special patronage of Lorenzo de' Me-
dici ; upon the death of Lorenzo, in
1492, he removed to Bologna, but re-
turned to Florence in 1494; he then
visited Eome ; returned again to Flo-
rence in 1501, and in 1503 was com-
missioned by the Gonfaloniere Sodo-
rini to prepare a Cartoon for the
Council Hall. Up to this time Michel-
angelo had been employed exclusively
as a sculptor. This Cartoon, cele-
brated as the Cartoon of Pisa, was
completed in 1506 ; he was invited to
Eome by Julius II. during its pro-
gress, returned to Florence in 1505,
and made a third visit to Eome in
1508. On this occasion Michelangelo
commenced his great career as a pain-
ter; he completed the ceihng of the
Sistine Chapel at the close of 1512,
the Cartoons were commenced in 1509.
During the Pontificate of Leo X., he
was chiefly employed at the quarries of
Pietra Santa; but he was commanded
to continue the frescoes of the Sistine
Chapel by Clement VII. ; the great
fresco of the Last Judgment was com-
menced in 1533, and finished in 1541.
104
MICHELANGELO.
In 1546 he succeeded Antonio da San
Gallo, as Architect of St. Peter's, and
from that time, except the inferior fres-
coes of the Paohna, painted in 1549,
he executed httle more in painting.
Michelangelo completely revolution-
ised the Art of Painting, though there
was not that absolute originality in his
manner which is generally attributed
to it; he enlarged but very little on
the style of Luca Signorelli. He must
have been well acquainted with the
works of Luca Signorelli, at Orvieto.
He studied also the works of Masaccio,
in the Brancacci Chapel, at Florence ;
and he had frequented the so-called
Academy, founded in a garden near
San Marco, by Lorenzo de' Medici, for
the promotion of design and sculp-
ture. The fine collection of antique
statues which he found in this garden,
rapidly developed his powers as a
sculptor, in which capacity his original
great eminence was attained. So ac-
curate were his powers of observation,
that he is commonly said to have been
gifted with a universal genius ; he was
great as architect, as sculptor, and as
painter; he was a poet and a musi-
cian — sublimity of conception, gran-
deur of form, and breadth of manner,
are the characteristics of his style ;
but he was far from being free from
manner; his forms were overcharged,
and exliibit too uniform and prominent
a display of muscle; a defect which
even his women and children are not
exempt from. " Character and beauty,"
says Fuseli truly, " were admitted only
as far as they could be made subser-
vient to the grandeur of the whole ;
weakness of sex or age, deformity or
wretchedness, were invested with a dig-
nity inseparable from his works. The
difficult motives and positions which
he always selected, display his masterly
power and facility."
The first important drawing by
Michelangelo was the Cartoon of Pisa,
executed in competition with Leonardo
da Vinci's celebrated work, " The Bat-
tle of the Standard," Michelangelo
selected for his subject the first alarm
of a battle — some soldiers bathing in
the Arno unexpectedly hear the sum-
mons to arms. He displays the greatest
variety in action and attitude, and an
unrivalled exhibition of anatomical
knowledge and skill of foreshortening.
Yet in this scene of tumult and appa-
rent disorder the strictest unity of
motive is preserved. Eagerness to
engage, combined with subordination
to authority, seems to animate the
energetic multitude. Michelangelo's
contemporaries declared that he never
produced a work so perfect in its style
of form. Benvenuto Cellini calls it
" The School of the World ;" it had,
doubtless, great influence on the art of
that period. The Earl of Leicester
possesses at Holkham an old copy of
the principal portion of this work, all
that now remains of it ; it is sufficiently
known from prints. The ceiling of the
Sistine Chapel, at Eome, his second
great triumph, contains the most per-
fect works of this extraordinary painter.
These frescoes represent the Creation
of the World, and of Man ; the Fall of
Man, and the early History of the
World, with reference to Man's final
redemption and salvation. The central
portion contains various scenes of the
Creation and the Fall, The represen-
tation of the Deluge is one of the most
dramatic compositions ; but each sepa-
rate scene in this great work unfolds
striking and peculiar beauties. In the
triangular compartments of the vaulted
portion of the ceiling, between the
window recesses, are the Prophets and
Sibyls, which are probably the most
sublime inventions that modern art has
produced. The groups and figures
representing the genealogy of the Vir-
gin, belong hkewise to Michelangelo's
noblest compositions, and display un-
MICHELANGELO— MINZOCCHI.
105
usual tenderness of feeling. At the
age of sixty this great painter com-
menced his second great undertaking
in this chapel, after a cessation of
twenty years, the Last Judgment, on
the altar wall ; and he finished it
within seven years. If we consider
the number of figures, the boldness
of the conception, the variety of move-
ment and attitude, the masterly draw-
ing, or the extraordinary and difficult
foreshortening, this immense work cer-
tainly stands alone in the history of art
though it is inferior in sublimity and
grandeur to the scheme of the ceiling ;
there is a fine small copy of it in the
Gallery at Naples, made by Marcello
Venusti, wbo executed some other of
Michelangelo's designs in oil colours.
Michelangelo himself never painted
in oils, his only authentic easel picture
is in distemper, it is an early work,
and is in the tribune of the Uffizj, at
Florence. His scholars and others
were allowed to paint from his draw-
ings and cartoons, several such works
are dispersed in various galleries, as
the paintings of Michelangelo himself,
as the so-called " Dream," in the
National Gallery, London. This ex-
traordinary man devoted the last years
of his life exclusively to the building
of St. Peter's, at Eome, at which he
laboured witliont remimeration.
IVorks. Rome, Vatican, the ceiling
of the Sistine Chapel, frescoes from
the Old and New Testament — the
Creation, Fall and Redemption of
Man. On the end wall of the same
chapel, the Last Judgment; Pauline
Chapel, the Crucifixion of St. Peter ;
and the Conversion of St. Paul. Flo-
rence, the Uffizj, a Holy Family, tem-
pera. ( Vasari, Condivi, Duppa, Qua-
tremere de Quincy.)
MILANI, AuRELiANo, h. at Bologna,
1675, d. at Rome, 1749. Bologne*se
School. Pupil first of his uncle Giulio
Cesare Milani, afterwards of Cesare
Gennari and Lorenzo Pasinelli. He
studied and copied with great assiduity
the works of the Carracci, and com-
pletely succeeded in attaining the ma-
terial aim of that School, Milani be-
coming eminently academic in his
execution, more especially in drawing :
the later years of his life were spent in
Rome. He etched a few plates.
Works. Bologna, Santa Maria della
Vita, St. Jerome: church of La Purita,
the Resurrection. Rome, San Barto-
lomeo de' Bergamasthi, the Behead-
ing of John the Baptist: Palazzo Pan-
fili, &c. (Crespi.)
MILANO, Giovanni da, painted in
1305. Tuscan School. The scholar
and assistant of Taddeo Gaddi. Va-
sari mentions works by him in Milan,
Salona, Florence, Arezzo, and Assisi.
Rumohr pronounced Giovanni (whom
he calls da Melano, from an inscrip-
tion), both in comeliness of form and
character, of the first rank, and supe-
rior to his contemporaries, not except-
ing even Giotto or Gaddi.
Works. Assisi, Lower Church, the
Crucifixion, (fee. Florence, Ognissanti,
Gondi Dini Chapel, Saints: Academy,
the Dead Christ (1365), engraved in
Rosini's work. {Rumohr.)
MINZOCCHI, Francesco, called II
Vecchio di San Bernardo, b. at Forli,
1513, d. 1574. Bolognese SchooL He
studied the w^orks of Marco Palme-
giani of Forli, and afterwards those of
Pordenone; and Vasari enumerates
him among the scholars of Barto-
lomeo Genga. In general he did
not treat his sacred subjects with the
customary prescriptive dignity and pro-
priety; he followed rather the natu-
ralist and genre treatment of the Bas-
sans, rivalling even Dutch accuracy of
representation. In the chapel of San
Francesco di Paula, in the Basilica of
Loreto, he painted, in fresco, the Sacri-
fice of Melchisedec, and the Miracle of
the Manna, two of his most charac-
106
MINZOCCHI— MODENA.
teristic master-pieces ; and at Forli, in
Santa Maria della Grata, he repre-
sented the Trinity, displaying his
power of foreshortening, in the more
dignified class of art. His sons, Pietro
Paolo and Sehastiano, hoth followed
painting, but with little success: the
elder assisted his father in ornamental
work. (VasarL)
MIRADORI, LuiGi, called II Ge-
NOVESE, painted in 1647. Lombard
School. A native of Genoa. He studied
at Cremona under Panfilo Nuvolone,
and adopted the style of the Bolognese.
He appears to have had a predilection
for the terrible. In the churches of
Cremona are many of his works: at
San Clemente, is an altar-piece of the
Virgin in Glory, restoring the hand of
San Giovanni Damasceno, cut off by
the Iconoclasts : in San Francesco,
Christ feeding the Five Thousand;
and other works: in San Lorenzo, the
Slaughter of the Innocents, &c. Milan,
Casa Borri, Execution of Conspirators.
(^Panni, LanzL)
MISCIROLI, ToMMASo, called II
PiTTOR ViLiANO, or the Peasant Pain-
ter, h. at Faenza, 1636, d. 1699. Bo-
lognese School. He studied more
especially the Avorks of Guido. His
pictures are numerous and indifferent.
In the church of St. Cecilia at Faenza
is the. Martyrdom of that Saint, which
is considered his master-piece. (Lanzi.)
MITELLI, Agostino, b. March 16,
at Battidizzo, near Bologna, 1609, d. at
Madrid, August 2, 1660. Bolognese
School. He was the scholar of Ga-
briele degli Occhiali, of Dentone, and
of his future companion Colonna.
Painted chiefly perspective views and
architectural elevations, as decorative
work, in which he attained a great
name, and he occasionally himself in-
serted the figures in those scenes. It
was a style of decoration in part
adopted from the ancient ruins, but
was carried further and made very
popular by Mitelli. As the beautiful
elevations and vistas composing these
decorations gave great cheerfulness and
extent to saloons, they became very
popular, and Mitelli, in conjunction
with Michelangelo Colonna, who gene-
rally painted the figures only, so de-
corated several of the Bolognese
palaces ; also the archiepis copal palace
at Ravenna; and they were employed
together at Parma, Modena, Florence,
Rome, and Genoa. Mitelli and Co-
lonna also decorated some saloons of
the palaces of Madrid in the time of
Philip IV.: they spent two years at
the Spanish Court, when their labours
were interrupted only by the death of
Mitelli, through fever from exposure
to the sun of a Spanish summer. Mi-
telli published some ornamental friezes
etched by his own hand — Fre(/gi delV
architettura da Agostino Mitelli. In
his line Mitelli is one of the most dis-
tinguished of the Italian painters.
Agostino's son, Giuseppe Maeia Mi-
telli (6. 1634, d. 1718), assisted his
father in the figures of his designs,
and also attained considerable reputa-
tion as a painter, but still more as an
engraver. (Malvasia.)
MODENA, Barnaba da, painted in
1357-68. Lombard School. Barnaba
is considered the eldest Lombard
painter of consideration. There is a
picture in the church of San Francesco,
at Alba in Piedmont, by this painter,
considered by Della Valle, in his illus-
trations of Vasari, as superior even to
Giotto. There is also a similar pic-
ture, the Virgin and Child, in the
Stadel Institut at Frankfort, marked
Barnabas de Mutina pinxit. Anno
M.CGC.LXVIL, in ^tmpera, with a gold
ground, and on wood. It is in the old
Byzantine manner; some of the lights
are hatched in gold. There is another
similar in the Berlin Gallery, also the
Virgin and Child, with the like gold
hatchings, and painted the year after.
MODENA— MONSIGNOEL
107
1368: the nimbus, or glory of the
Virgin, containing in both instances,
the inscription, Ave gratia plena
dominus tecum.
MODENA, or MUTINA, Tommaso
DA, painted, 1352. Venetian School.
This was an early Italian painter, who
was employed at Prague at the Court
of the Emperor Charles IV. of Ger-
many, about the middle of the fourteenth
century. The Emperor employed this
and other painters to decorate the
castle of Carlstein. In the chapel of
the castle are two pictures on wood, by
Tommaso, an Ecce Homo, and a Ma-
donna, of considerable largeness of
style. Von Mechel and others sup-
posed Tommaso to have been a Bohe-
mian, but the inscriptions on some of
his pictures show that he was of Mo-
dena: the important picture of the
Virgin, with the two side pieces con-
taining the patron saints of Prague,
contains the following singular inscrip-
tion : —
" Quis opus hoc finxit, Thomas de
Mutina pinxit.
Quale vides lector, Barisini filius
auctor."
The picture is not in oils as was given
out by Von Mechel, but in tempera.
Works. Venice, Academy, St. Ca-
therine. Trevigi, chapter-house of the
Dominicans, a series of portraits of
members of the order, 1352. Vienna,
Belvedere Galler}', the Virgin and
Child, with Saints, Wencelaus and
Palmatius on the wings. Prague Ca-
thedral, the Sancta Veronica, Head of
Christ, on a gold ground. Berlin Gal-
lery, ten figures of Saints in so many
compartments.
MOLA, PiETEO Erancesco, 6. in or
near Milan, 1612, d. at Rome, 1668.
Bolognese School. He was taken by
his father, Gio. Battista Mola, early |o
Eome, and studied under the Cav.
D'Arpino there; he then studied at
Venice, and became finally one of the
ablest imitators of Francesco Albani at
Bologna. He was much influenced by
the works of Guercino in his choice of
light and shade. Mola was a good
figure-painter, whether on a large or
small scale : in oil and in fresco ; and
his landscapes, representing generally
sacred or mythological scenes, indi-
cated by the introduction of a few
figures, are finely composed. They
are strongly coloured, forcible in
efiect of light and atmosphere, espe-
cially in glowing evening scenes. Mola
was President of the Academy of St.
Luke. He etched a few plates.
Works. Rome, church of Gesu (in
the chapel), in fresco, St. Peter de-
livered from Prison; and the Conver-
sion of Paul: Monte Cavallo, Quirinal
Palace, Joseph making himself known
to his Brethren. Milan, Sta. Maria
della Vittoria, St. John in the Wilder-
ness. Munich, Gallery, the Magda-
len ; Hagar and Ishmael. Berlin Gal-
lery, Galatea; Mercury and Argus.
Louvre, five sacred subjects, and two
others. London, National Galler}^, St.
John preaching; Leda; and the Ei-
poso. {Passeri.)
MONA, DoMENico, b. 1550, d. 1602.
Ferrarese School. The scholar of H
Bastaruolo. He painted with surpris-
ing rapidity, and executed many works
in Ferrara, but the majority extremely
careless in execution ; he Avas of a
flighty character, and is said to have
eventually become deranged.
Works. Ferrara, Santa Maria in
Vado, the Birth of the Virgin ; and the
Nativity: in the cathedral, in the sa-
cristy, the Deposition from the Cross.
{Bariijffaldi, Lanzi.)
MONCALVO. [Caccia.]
MONSIGNORI, or BONSIGNOEI,
Francesco, b. at Verona, 1455, d. near
Mantua, 1519. He was the scholar of
Andrea Mantegna, and excelled chiefly
in portraits, in the painting of animals,
and in architectural perspective ; but
108
MONSIGNOPJ— MONTORFANO.
most of the works mentioned by Vasari
have perished. His brother, Girolamo,
of the order of the Dominicans, was
distinguished for a fine copy lie made
of Leonardo da Vinci's Last Supper,
at Milan, now in France. Francesco
has signed nearly all his remaining
pictures " Bonsignori," which appears
to be his correct name. He lived
chiefly at the court of Francesco,
Marquis of Mantua; and, as he had
deceived dogs and birds by his paint-
ings, he was called The Modern
Zeuxis.
Works. Mantua, Santa Maria delle
Grazie, St. Sebastian. Verona, San
Ferando, the Madonna, with saints ;
San Nazzaro, the Virgin and Child,
with Saints. Milan, Brera, San Ber-
nardino and San Ludovico. ( Vasari.)
MONTAGNA, Bartolomeo, paint-
ed about 1500. Venetian School. The
works of this old painter are still nu-
merous in Vicenza, his native city.
He was the scholar of Giovanni Bel-
lini, and is distinguished by a strong
quattrocento manner, with much dry-
ness of design, and a colouring infe-
rior to Bellini's. He is said to have
studied, also, under Andrea Mantegna.
Montagna was also an engraver : his
brother Benedetto became a celebrated
engraver. In the Berlin Gallery is a
Virgin and Child, with saints, by Mon-
tagna.
Works. Vicenza, San Bartolomeo,
the Virgin and Child, enthroned, with
Saints ; Santa Corona, the Magdalen,
and other saints ; San Lorenzo, Christ
appearing to Mary Magdalen ; and San
Michele, Sant' Onofrio.
MONTALTO. [Danedi.]
MONTANINI, PiETRO, called Pe-
TEUCCio Perugino, h. 1619, d. 1689.
Umbrian School. He studied under
Giro Ferri and Salvator Eosa, but he
painted chiefly landscapes in the style
of the latter ; in these he excelled.
His figure-pieces are inferior. Many
of his works are still in the collections
at Perugia, and some are occasionally
found in foreign collections. {Pascoli.)
MONTE MEZZANO, Francesco, of
Verona, d. young, about 1600. Vene-
tian School. Scholar and imitator of
Paolo Veronese, with considerable suc-
cess, in many respects, particularly in
the colouring of his heads, but as a
Venetian his colouring is feeble : his
portraits are excellent.
Works. Venice, church of San Fran-
cesco della Vigna, the Annunciation ;
Santa Marta, St. Jerome, &c. ; in San
Niccolo, the Titular, in glory. {Za-
netti.)
MONTI, Francesco, h. at Bologna,
1685, d. 1768. Bolognese School.
Pupil of Giuseppe dal Sole. He was
employed at Turin, and executed large
works there, with many figures, both
in fresco and in oils. He painted, also,
for the churches of Bologna, and at
Brescia, where he settled, and left his
principal works. His daughter Eleo-
nora painted portraits. Francesco
Monti, called II Brescianino delle Bat-
taglie (ft. 1696, d. 1712), was probably
her brother. He settled in Parma,
and painted chiefly battle-pieces in
imitation of Bourguignon. (Crespi.)
MONTORFANO, Giovanni Dona-
To, painted in 1495. Lombard School.
He painted some historical subjects at
Milan : his figures are of the quattro-
cento taste, and wanting in grace, but
his heads have a strong natural expres-
sion. Some of the ornaments of his
pictures are in the old style in relief.
He appears to have considerably ex-
celled in perspective. In the refectoiy
of the Dominicans of Santa Maria
delle Grazie, at Milan, he represented
the Crucifixion, opposite the Last
Supper, by Leonardo da Vinci, a cir-
cumstance by which the fame of Mon-
torfano has suffered. In San Giorgio,
at Brescia, is Saint George with the
Dragon, attributed to him.
MORANDI— MOKONI.
109
MORANDI, Giovanni Maria, h.
at Florence, 1622, d. at Rome, 1717.
Roman School. He was the scholar
of Bilivert, and studied colouring at
Venice ; but subsequently resided and
painted at Rome, where he imitated
the manner of Pietro da Cortona.
Several of his works, histories, and
portraits are in the churches and pri-
vate collections of Rome.
Works. Rome, church of Santa
Maria della Pace, the Death of the
Virgin; Santa Maria del Popolo, the
Visitation . (Pascoli.)
MORAZZONE, Cav. Pierfran-
ciisco Mazuchelli da, b. 1571, d.
1626. Lombard School. He studied
early in Milan, and afterwards the
works of Titian and Paul Veronese, at
Venice, by which he became a good
colourist, and he greatly improved his
style of form by a visit to Rome.
Morazzone had just commenced to
paint the cupola of the cathedral of
Piacenza, when his work was sus-
pended by death : it was completed by
Guercino.
Works. Rome, Santa Maria Madda-
lena al Corso, the Assumption of the
Virgin. Milan, Sant' Antonio Abate,
the Epiphany. Como, San Giovanni,
St. Michael defeating the fallen Angels.
Varese, Madonna del Monte, Christ
Scourged. {Lanzi.)
MORO, II. [Torbido.]
MORO, Del, Battista d'Angelo,
called Del Moro, from his master
and father-in-law, Francesco Torbido,
or II Moro, the Moor, living 1568. Ve-
netian School. He studied the works
of Titian at Venice, and was one of the
most distinguished of the Veronese
painters. Battista painted in competi-
tion with Paul Veronese in tlie cathe-
dral of Mantua. He painted in fresco
and in oil, in the style of Torbido, but
with a richer impasto and more grace,
says Lanzi. He painted also in minia-
ture, and was an engraver. Some of
his works are still in the churches of
Venice and Verona. Marco and Giulio
del Moro, the son and brother of
Batista, were also his assistants. {Bi-
dolfi.)
MORONE, Francesco, h. at Verona,
1474, d. May 16, 1529. A^enetian School.
The son and pupil of Domenico Mo-
rone. He painted in fresco and in oil,
and excelled in portraits. Vasari notices
him in conjunction with Girolamo dai
Libri, with whom he worked in Santa
Maria in Organo, and commends him
for the grace and good drawing of his
figures, and for the beauty of his
colouring: in style he resembles the
school of Bellini.
Works. Verona, Santa Maria in
Organo, the Virgin and Saints ; a
series of Pope's portraits, &c., in the
sacristy; Sant' Anastasia, the Madonna,
St. Augustine, and St. Thomas Aquinas,
with the Donors : San Bernardino,
the Crucifixion ; and the Washing of
the Feet. On a house near the Ponte
delle Navi, a fresco of the Madonna,
and four saints. Florence, Ufiizj, por-
traits ; Pitti Palace, portraits. Berlin
Gallery, a Madonna and Child. {Dal
Pozzo.)
MORONI, GiAMBATTiSTA, h. at Al-
bino, near Bergamo, about 1510, d.
about 1578. Venetian School. He
was the pupil of Alessandro Bonvicino,
called II Moretto da Brescia. His his-
torical works are not important. He
did not equal his master in composi-
tion, but he was a veiy distinguished
portrait painter, being surpassed, per-
haps, in this respect by Titian alone.
His heads are full of animation and
natural beauty : greater attention is
properly paid to individuality than to
any elevated notion of the ideal. His
draperies are also beautiful; but he
was not so successful in the painting of
the hands. Titian used to recommend
those who went from Venice to Ber-
gamo, that, if they wished true por-
110
MORONI— MUZIANO.
traits of themselves, they shorQd be
painted by Moroni. His historical
■works are more in the Lombard or
Milanese taste than the Venetian.
Works. Bergamo, Sant' Alessandro
della Croce, the Coronation of the Vir-
gin. Verona, the cathedral, St. Peter
and St. Paul. Milan, Brera, the As-
sumption of the Virgin ; the Virgin and
Saints ; and three male portraits. The
Academy and Manfrini Galleries of
Venice, and the Uffizj of Florence,
contain also portraits ; and in the Ber-
lin gallery is a portrait of the painter,
and another of a young man. London.
Stafford House, the Portrait of a Jesuit.
{Bidolfi, TassL)
MUNARI, Pellegrino, called, also,
Aeetusi, and commonly Pellegrino
DA MoDENA, d. 1523. Roman School.
He visited Rome in 1 5(39, and became
an assistant of Raphael ; he painted
the histories of Jacob and Solomon,
in the Loggie of the Vatican, from the
designs of Raphael. Pellegrino com-
pletely acquired the style of Raphael
in execution. After the death of that
great painter he left Rome, and settled
at Modena, and a similar influence to
that exerted by Giulio Romano at
Mantua was brought to bear by Pelle-
grino at Modena.
Works. Modena, church of San
Paolo, the Birth of the Virgin. Rome,
San Giacomo degli Spagnuoli, the Life
of St. James, fresco. London, Stafford
Gallery, the Madonna and Child, with
Saints, enthroned. (Tiraboschi.)
MURA, Francesco de, called Fran-
CESCHiELLO. He was a native of Naples,
and living in 1743. Neapolitan School.
One of the principal scholars of Fran-
cesco Solimene, and painted in his
superficial manner. He was employed
in many of the public and private
buildings of Naples ; but, says Lanzi,
his best works are the frescoes of the
Royal palace at Turin, where, about
1730, he represented, in several cham-
bers, some Olympic games, and the
achievements of Achilles. (Dominici.)
MURANOjAndrea da, painted about
1400. Andrea was one of the first
painters of the Venetian School who
displayed any original ability, 'and, as
the master of the Vivarini, must be
considered one of the fathers of Vene-
tian painting. He improved the treat-
ment of the extremities, and planted
his figures better than had previously
been done. In the Venetian Aca-
demy is a picture by Andrea, from San
Pietro Martire in Murano, of the Virgin,
■with St. Sebastian and other Saints.
MURATORI, DoMENico Maria, 6.
near Bologna, 1662; d. at Rome, 1749.
Bolognese School. The scholar of
Lorenzo Pasinelli : he painted in the
style of Maratta and Cignani, chiefly for
the churches at Rome ; among ■which
the altar-piece of the church of the
Santi Apostoli, the Martyrdom of St.
Philip and St. James, has the reputa-
tion of being the largest in Rome. In
the church of the Sagre Stimate is
Christ crowned with Thorns : in San
Giovanni in Laterano, a Prophet. At
Pisa, in the primaziale or cathedral is
San Ranieri working a miracle, one of
Muratori's best pieces. (Lanzi. )
MUZIANO, GiROLAMo, b. at Aqua-
fredda, near Brescia, 1530 ; d. April
27, at Rome, 1592. Venetian School.
He was the scholar first of Girolamo
Romanino, at Brescia; he then studied
the works of Titian at Venice, espe-
cially his landscape backgrounds ; and
was employed subsequently, from about
1550, at Rome. Here he first became
known as Girolamo de' Paesi ; but he
soon showed other ability than that of
landscape-painting ; and he was pro-
nounced even by Michelangelo one of
the first painters of his time. His
works are not quite free from that ana-
tomical mannerism which possessed
the imitators of the frescoes of the
Sistine Chapel, but many of them are of
MUZIANO— NATALT.
Ill
the better style of the Roman School,
of excellent aiTangement, and his
heads are dignified and expressive.
His master-piece, the Resurrection of
Lazarus, sometime in Santa Maria
Maggiore, is now lost : that formerly of
the Orleans collection, appears to have
been a different picture; this was a
favourite subject with him. His works
were numerous in Rome ; and he exe-
cuted in oil a Resurrection of Lazarus
(1556), and a Sancta Veronica for the
cathedral of Orvieto ( noticed by Vasari ),
and others for Foligno and Loreto,
Muziano painted many portraits ; and
he completed the drawings of the bas-
reliefs of the Trajan column, com-
menced by Giulio Romano, and after-
wards engraved by Villamena. He was
chiefly instrumental in establishing
the Academy of St. Luke at Rome : he
was also an architect : he was employed
by Gregory XIII. in the Vatican, where
he built the Capella Gregoriana ; and
the perfection of the Roman Mosaics
is due much to the labours of
Muziano.
Works. Rome, Santa Maria degli
Angeli St. Jerome Preaching in the
Desert ; and Christ giving the Keys to
Peter. The Gesu, the Circumcision.
Bologna, Academy, St. Jerome in the
Desert. Dresden, Gallery, St. Francis,
in a landscape. Rheims, cathedral,
Christ washing the Disciples' Feet.
Louvre, the Raising of Lazarus (from
San Luigi dei Francesi at Rome), and
the Incredulity of St. Thomas. {Bag-
lione. ) J
NALDINI, Battista, h. at Florence
1536 ; d. about 1600. Tuscan School.
He studied under Jacopo da Pontormo,
and Angelo Bronzino, and painted at
Florence in the Palazzo Vecchio, in
conjunction with Vasari, with whom he
remained fourteen years. Lanzi finds
fault with the somewhat closing and a
fierceness of expression of the eyes of
Naldini's figures: his drawing and
colouring were generally good.
Works. Rome, Trinita de' Monti,
the Baptism of Christ, and subjects
from the life of John the Baptist, in
fresco: San Giovanni DecoUato, the
Martyrdom of St. John the Evangelist,
in oil. Florence, Santa Maria Novella,
the Deposition from the Cross, and the
Purification. {Borghini, Baldinucci.)
NANNI. [Udine, da.]
NASELLI, Francesco, d. about
1630. A Ferrarese nobleman. He
studied and copied the works of the
Carracci, Guido, and Guercino, and be-
came an able follower of the Bolognese
School.
Works. Ferrara, in the cathedral,
the Nativity : Santa Maria de' Servi,
the Last Supper : San Francesco, the
Assumption of the Virgin. (Lanzi.)
NASINI, Cav. Giuseppe, b. 1661, d.
1736. Sienese School. A scholar of
Ciro Ferri. He painted at Rome some
extensive works in fresco, as the cupola
of the chapel of Saint Antonio, in the
church of the Apostles. Siena also
contains many of his works of various
degrees of merit. One of his best is
considered San Leonardo, in the
Madonna del Plan to at Foligno.
Nasini belonged to the school of
Macchinisti ; bold and able, but inva-
riably working with an undisciplined
pencil. {Lanzi.)
NATALI, Giuseppe, h. at Casal
Maggiore, near Cremona, 1652 ; d.
1722. Lombard School. He studied
some time at Rome and at Bologna,
where he was attracted by the archi-
tectural and ornamental works of
Dentone, Colonna, and MiteUi, and be-
came an ornamental painter of great
distinction in Cremona and Lombardy
generally : he also painted landscapes.
His three brothers, Francesco, Lorenzo,
and Pietro were his pupils and assist-
ants. There were many other painters
112
NATALI— NOYELLI.
of this name and family of considerable
ability in various branches of the art.
NEBBIA, Cesare, 6. at Orvieto
about 1536 ; d. 1614. Koman School.
He was the best scliolar of Girolamo
Muziano, and assisted his master in
his works : he completed those begun
by Muziano, in the Capella Grego-
riana, in the Vatican. Nebbia painted
many works in Kome both in fresco
and in oil.
Works. Kome, Santa Maria Mag-
giore, Cappella Sforzi, subjects from
the Life of the Virgin : Trinita de'
Monti, Cappella Borghese, the Ci-uci-
fixion : San Giacomo degli Spagnuoli,
the Eesurrection : Santa Maria de'
Monti, the Coronation of the Virgin.
{Baglione.)
NEGEONE, PiETRO, b. at Cosenza
about 1505, d. 1565. Neapolitan School.
He is said to have studied under Gio.
Antonio D'Amato, and under Marco
Calabrese. He was called II Giovane
Zingaro. His pictures were numerous
in the churches of Naples. He re-
stored the pictures attributed to Giotto
in Santa Chiara.
Works. Naples, Santa Maria Donna
Komata, the Adoration of the Magi ;
and the Scourging of Christ: Sant'
Agnello, the Virgin and Child, -with
Angels and Saints : Lucca, Santa
Croce, the Virgin and Child,
NEGEOPONTE, Era Antonio da,
flourished about 1440. Paduan and
Venetian Schools. His works resemble
those of Bartolomeo Vivarini in their
style of drawing ; the architectural
backgrounds and other accessories are
finished with great care. At Venice,
in San Francesco della Vigna, is an
alter-piece representing the Madonna
and Child, with angels; in the same
church is a picture of three male
heads, attributed to Era Antonio.
NELLI, SuoR Plautilla, d. 1588,
according to Lanzi, aged 65, which
does not agree with the • date on the
Berlin picture noticed below. Tus-
can School. She was a nun of
the Dominican convent of Santa
Caterina at Florence, and imitated
the works of Era Bartolomeo, but
with little success : some accounts
make her his scholar. She was in
possession of some original drawings
in chiaroscuro of Era Bartolomeo,
which came afterwards into the pos-
session of the late King of Holland.
In the Florentine Academy is a Mar-
riage of St. Catherine : aud in the
Berlin Gallery is a large picture by
Suor Nelli, representing Christ and
Apostles, with Martha reproaching
Mary for not assisting her (1524).
She painted in oil and in miniature.
(LanzL)
NOGAEI, Giuseppe, b. at Venice,
1699 ; d. 1763. Venetian School. He
was the scholar of Pittoni and of
Antonio Balestra, and was a portrait-
painter of great ability. His pictures are
well coloured and highly finished, and
seem to be faithful individual resem-
blances ; many of his portraits are
fancy pictures ; a St. Peter and foilr
portraits are in the Gallery of Dresden,
and there are some in England.
When Correggio's Notte was removed
to Dresden, Nogari was employed to
make the copy which was to replace it
at Modena. {Zanetti.)
NOVELLI, Cav. PiETRO, called II
MoNREALESE, b. about 1603, living in
1660. One of the principal native
painters of Sicily. He painted some-
what in the style of Michelangelo da
Caravaggio, whose works have had an
almost universal influence over the
later Neapolitan School. Novelli's
pictures are highly esteemed in his
own country. Some of the principal
are at Palermo, in San Domenico ; in
Santa Zita; and in the Gallery of the
Univei'sity. At Monreale, in the refec-
tory of the Benedictines, is the Mar-
riage at Cana: others in the cathedral
NOVELLI— OGGIONE .
lis
and in the Abbey of San Martino. In
the Gallery of Naples, there are three
pictures by Novelli, — St. Paul; the
Virgin and the Trinity; and Judith.
He was also an architect and an en-
graver. ( Gallo.)
NUVOLONE, Carlo Francesco, h.
1608, d. 1651. Lombard School. The
son of Panfilo Nuvolone, his first in-
structor ; but he followed Giulio Cesare
Proeaccini, and Guido Reni. His imi-
tation of the woi'ks of the latter acquired
him the appellation of the Lombard
Guido. He painted history and por-
traits. The public buildings of Parma,
Cremona, and Piacenza still possess
many of his works. The Purification
of the Virgin, in San Vincenzo, at
Piacenza, is one of his best ; another is
the Miracle of St. Peter, at the Beautiful
Gate of the Temple, in San Vittore, at
Milan. His heads of the Madonnas
were much sought after in his time,
although they are feeble and mannered,
and of that spurious grace which has
injured so many of the later works of
Guido.
His brother, Giuseppe Nuvolone,
followed more decidedly the manner of
the Proeaccini; he painted in a bold
manner, with strong light and shade.
His master-piece is the Resuscitation of
a dead man at Rome, by San Dome-
nico, in the church of that Saint at
Cremona. Giuseppe died in 1703, aged
84. Both brothers were called Panfilo,
after their father.
NUZIO. [ Alegretto da Fabriano.]
NUZZI, Mario, called Mario dai
FiORi, h. at Penna, 1603, d. at Rome,
1673. Roman School. Pupil of his
uncle, Tommaso Salini; he resided
chiefly in Rome, where his bird, fruit,
and flower-pieces were much admired
and sought after ; but from some defect
in the colouring, or his method of
painting, many of his pictures havft
faded and darkened so much as to lose
their value. {PascolL)
OBERTO, Francesco di, painted in
Genoa, in 1388. In San Domenico, at
Genoa, is still the Madonna, between
two Angels, by this otherwise unknown
painter, inscribed Franciscus de Oberto.
It is the earliest picture extant in
Genoa; and, says Lanzi, shows no
traces of the school of Giotto.
ODAZZI, or ODASI, Cav. Giovanni,
b. at Rome, 1663, d. June 6, 1731.
Roman School. He studied under Ciro
Ferri, and under Gio. Battista Gaulli,
and, through the patronage of Bene-
dict XHI., became one of the principal
fresco-painters of his time; but, not-
withstanding his great facility, industry,
and success, belongs only to the infe-
rior Machinists. He etched also a few
plates.
Works. Rome, San Giovanni Late-
rano, the Prophet Hosea; and other
works: Santi Apostoli, the Fall of
Lucifer : Santa Maria degli Angeh, San
Bruno. Velletri, the cupola of the
cathedral. {PascolL)
OGGIONE, or UGGIONE, Marco
DA, b. about 1470, d. 1530. Lombard
School. The scholar of Leonardo da
Vinci, and one of the best of the Mi-
lanese painters, but he was far from
approaching the power of Leonardo,
nor did he equal the grace and tender-
ness of Luini. His frescoes of Santa
Maria della Pace, in Milan, praised by
Lanzi, were removed from the wall by
Barezzi, and are now in the Brera
Gallery. They are unimportant; his
easel pictures, of which the Brera con-
tains seven, are superior; they have
the calm dignity and the mild expres-
sion characteristic of the school. The
Archangel Michael, with two other An-
gels, combating Lucifer, is considered
the best of his works in this collection.
Marco D'Oggione is best known for his
copy, in oil, of the Last Supper, of
Leonardo da Vinci, now in the Royal
Academy of London. It was painted
about 1510, for the refectory of the
114
OGGIONE— ORCAGNA.
Certosa of Pavia, and having been
executed by a distinguished scholar of
Leonardo, when the original was in its
perfect state, now that the original has
perished, it is a work of great value.
The Berlin Gallery possesses the Vir-
gin and Child, with Saints, by Oggione :
and, in the Louvre, is a Holy Family
by him. (Bossi.)
ORCAGNA, or L'ARCAGNUOLO,
the name by which Andrea di Cione
is commonly known, b. about 1315,
d. about 1376. Painter, sculptor, and
architect; he ranks among the most
distinguished of the old Florentine
artists. Andrea first studied with his
father, who was a distinguished sculp-
tor and goldsmith ; he then became the
scholar of Andrea Pisano. Andrea
and his brother Bernardo were much
engaged at Pisa. Andrea's frescoes in
the Campo Santo are among the first
productions of their age. The Triumph
of Death, and the Last Judgment, are
by Andrea, and the Hell by Bernardo.
He painted similar subjects in the
Strozzi Chapel, in Santa Maria Novella,
at Florence, in 1357 ; here, too, Ber-
nardo assisted. These compositions
are a species of painted epic, full of
spirited incidents, but not superior to
the art of their time; in individual
figures the merit is great, the forms
are solemn and dignified, and the va-
rious emotions effectively expressed.
The central group of Angels in the
Last Judgment exhibits something
sublime in character and attitude. But
the grouping and composition gene-
rally are treated altogether irrespec-
tively of the effect of a whole; the
composition wants unity, and though
the individual actions show much
energy and a right conception of the
aciion or motive, they express it gene-
rally entirely without taste, grace, or
dramatic power; and whatever may be
the force of expression on occasional
instances, these great defects are cha-
racteristic of even the best works of
the trecento or early Italian art. The
sentiment is there, but the just material
representation is almost wholly want-
ing. In all encomiums, therefore, of
early Italian art, this qualification is
imperative — there is certainly a soul,
but tlie body is not yet developed. So
much praise has been given of late to
the earlier artists, that language has
been found wanting to do justice to the
great masters of the cinquecento ; and
criticism has had recourse to depre-
cating their defects rather than advo-
cating their beauties. The sentimental
is not the most difficult part of art, yet
a little sentiment, happily displayed,
has recently elevated into favourable
notice many works that the absence
of every other good quality had hitherto
condemned to deseiTed obscurity. The
perfection of art must consist in the
co-ordinate development of the sen-
suous and the sentimental ; this was
not approached in Italian art until far
in the fifteenth century, when Dona-
tello, Lorenzo Ghiberti, Fra Angelico,
Gentile da Fabriano, Masaccio, Filip-
pino Lippi, and Luca Signorelli showed
that, in art, as in nature, the material
was as essential an element of beauty
as the spiritual. As an architect, Or-
cagna built the celebrated "Loggia dei
Lanzi," in the Piazza Granduca, at
Florence; it is still perfect. The
church of Or' San Michele, and its
tabernacle, are likewise his work. Or-
cagna Avas in the habit of signing his
name differently on his paintings and
his sculptures. He did as was done by
Francia after him, on his sculptures he
wrote Fece Andrea di Cione. Pittore ;
and, on his paintings, Fcce Andrea di
Cione. Scnltore. Piumohr has shown
that the name Orgagna or Orcagna is a
contraction of Arcagnuolo.
Bernardo appears to have been very
inferior to his brother: the Hell in the
Campo Santo, though said to be from a
OKCAGNA— PACCHIAROTTO*
115
design by Orcagna, is a mere outrage
upon everything we are taught to admire
in art. It, however, doubtless, fairly
represents the popular notions of Hell
of the time; the nature of the repre-
sentation appears to be from Dante;
the Devil, a huge monster, is in the
centre of the composition, and seems
to be devouring mortals as his chief
pastime. The general scheme of the
picture is in seven compartments, each
representing the punishments incurred
by the several deadly sins, according to
the Roman Church — lust, avarice,
anger, gluttony, envy, idleness, and
pride. The picture has been altered ;
its original state is probably shown in
the old print of the fifteenth century,
published in MoiTona's Fisa Illustrata.
ORSI, Lelio, called Lelio da No-
VELLARA, h. at Eeggio, 1511, d. at
Novellara, 1587. Lombard School. He
studied and copied the works of Cor-
reggio, and is considered one of the
best imitators of that master. His life
was spent chiefly at Reggio and Novel-
lara, hence, says Lanzi, he is less
known than he deserves to be. Many
of his works have perished, but some
frescoes from Novellara are preserved
in the Ducal Palace at Modena. One
of his master-pieces is the altar-piece of
San Michele, at Parma, the Virgin and
Child, with the Archangel Michael,
judging a Soul. In the Vienna Gallery
is Innocence, a young Girl with a Lamb.
In the Berlin Gallery is a picture of
Christ on the Cross, two lamenting
Angels above, below the Magdalen.
{Tiraboschi, Lanzi.)
ORSI, Prospeeo, called Peospeeino
DALLE Grottesche, b. at Rome, about
1560, d. about 1635. Roman School.
A follower of Michelangelo da Cara-
vaggio. He was employed by Sixtus
v., in the Palace of San Giovanni
Laterano, and the Scala Santa,
where he painted two frescoes, one
representing Moses with the Israel-
ites passing the Red Sea; and the
other, Isaac blessing Jacob. He was
chiefly distinguished for his arabesques,
as implied by his nickname. (Baglione.)
ORTOLANO, Gio. Battista Ben-
venuto, called L', d. about 1525. Fer-
rarese School. He was the son of a
gardener, whence his name, and is said
to have studied at Bologna, under
Bagnacavallo. There is a resemblance
between the works of L'Ortolano and
those of Garofolo; and, according to
Lanzi, pictures by Ortolano have been,
and are, attributed to Garofolo, mistaken
for his early works ; a confusion aided
by the similarity of name, Benvenuto,
as well as style.
Works. Ferrara, Santa Maria de'
Servi, the Nativity : San Lorenzo, the
Adoration of the Magi: San Niccolo,
the Virgin and Child, with Saints.
Berlin Gallery, St. Jerome kneeling
with the Lion. (Lanzi.)
ORVIETO, PlETEO Di. [Puccic]
OTTINI, Pasquale, called Pasqua-
LOTTO, b. at Verona, about 1570, d.
1630. Venetian School. A pupil of
Felice Brusasorci. He completed
some of his master's pictures left un-
finished at his death. He was held in
high consideration by the Veronese;
but his colouring is, in general, feeble
for his school. At Verona, in San
Stephano, he painted the Murder of
the Innocents : and in San Giorgio is
a picture of San Niccolo and other
Saints : in San Francesco di Paola, the
Deposition. (Dal Pozzo.)
PACCHIAROTTO, Jacopo. He was
painting in Siena until 1585, when
owing to his being concerned in a con-
spiracy of the people against the Go-
vernment, he was obliged to fly, and
he took refuge in France, where he
joined II Rosso, then working for
Francis I. at Fontainebleau. Pacchia-
rolto w^as one of those excellent
I 2
11«
PACCHIAEOTTO— PAGGI.
painters, who, having the misfortune
to be omitted by Vasari, have been
almost forgotten by posterity : he may
be the Girolamo di Pacchia mentioned
by Vasari in the life of II Sodoma.
Sienese School. The works of this
painter much resemble those of Pietro
Perugino, for though in time belong-
ing to the sixteenth century, he is one
of the Quattrocentisti in style ; but the
influence of Raphael is also apparent in
his works ; his forms are fuller than
Perugino's ; his heads have great
beauty of feature and sweetness of ex-
pression, and his colouring has won-
derful force. Speth compares his
works rather with those of Raphael,
and adds that designating Pacchia-
rotto as of the School of Perugino, is
only magnifying the injustice he had
already undergone, in having his
works attributed to that master.
Works. Siena, the Academy, various
specimens : Santa Caterina, St. Cathe-
rine on her visit to the body of Agnes,
of Montepulciano : San Bernardino,
the Birth; and the Annunciation of
the Virgin, frescoes. Munich, Pina-
cothek, two beautiful easel pictures,
from San Bernardino, in Siena; San
Francesco d'Assisi with two Angels in
the background; the Madonna and
Child, with four Angels; half-length
figures in both. National Gallery, Ma-
donna and Child. {Lanzi, Speth.)
PAGANI, Gregorio, b. at Florence,
Dec. 3, 1558 ; d. 1C05. Tuscan School.
The son of Francesco Pagani, and the
scholar first of Santi di Tito. He then
studied with Cigoli. Pagani was one
of the most distinguished followers of
Cigoli, and aided him materially in
reforming the style of colouring of the
Florentine School: in drawing and
chiaroscuro their models were Michel-
angelo and Correggio. His works are
not numerous : his master-piece, St.
Helena finding the Cross, formerly in
the Carmine at Florence, was burnt in
the fire of that church in 1771 : it is,
however, preserved in the print of G.
B. Cecchi. There are a Nativity, in
tempera, by Pagani, in Santa Maria del
Fiore ; and a fresco of San Domenico,
in the cloisters of Santa Maria Novella,
at Florence. He was also a modeller
or sculptor : he modelled three bas-
reliefs of the bronze gates of the cathe-
dral of Pisa. (Baldinucci.)
PAGGI, Gio. Batista, b. at Genoa,
1554; d. March 10, 1627. Genoese
School. He was the scholar of Luca
Cambiaso, and, though exclusively dis-
tinguished as a painter, was also sculp-
tor and architect. In 1580 he fled, in
consequence of a homicide, to Florence,
where he lived many years. He re-
turned to Genoa about 1600 ; having
continued his studies with great ad-
vantage at Florence, where he was
much employed, and acquired a great
reputation. Here he adopted a more
than usually careful and vigorous style
of drawing, and contributed greatly to
ameliorate the incorrect design of his
countjrymen, and to revive the declining
state of the Genoese School also in
its colouring, in which he especially
excelled. He enjoyed the reputation
of the principal Genoese painter of his
time; and he wrote a treatise on his
art partly in antagonism to the princi-
ples of Lomazzo; it was published in
1607 under the title Definizione, o sia
Divistone della Piitiira, now scarce.
He also etched a few plates.
Works. Florence, church degli
Angeli, a Holy Family : Santa Maria
Novella, cloister, St. Catherine of
Siena : San Marco, the Transfigura-
tion. Pavia, the Certosa, three subjects
from the Passion of Christ. Pisa, San
Francesco, the Resurrection of Christ.
Genoa, Palazzo Doria, the Murder of
the Innocents: San Bartolomeo, the
Annunciation ; and Christ giving to
Ananias, the Messenger of Abgarus,
the Sancta Veronica^ or holy true
PAGGI— PALMA.
117
image of his own countenance, im-
pressed on the cloth with which He
wiped his face. (Soprani.)
PAGNI, Benedetto, of Pescia,
painted from about 1520 to about
1560. Lombard School. The scholar
and assistant of Giulio Komano. He
assisted that master in his works in
Eome, and in the Palazzo del Te, at
Mantua. Pagni painted an altar-piece
in the church of Sant' Andrea, at
Mantua, representing the Martyrdom
of San Lorenzo, which is considered
his best work. He painted also some
frescoes in Pescia : in the cathedral
there is the Marriage at Cana by him.
(Vasari.)
PALMA, Jacopo, called II Giovane,
b. at Venice, 1544 ; d. 1628. Venetian
School. He was the son and scholar
of Antonio, and the great nephew of
the elder Palma. He studied and
copied the works of Tintoretto and
Titian at Venice ; and those of Michel-
angelo, Kaphael, and Polidoro da
Caravaggio at Eome. He acquired
some qualities of all these painters,
thoroughly carrying out the principle
of eclecticism. In some respects the
younger Palraa was possessed of the
highest ability, many of his pictures
being beautiful in their drawing and in
their details, especially in the heads ;
but neglecting generally the higher pur-
poses of the art for the sake of despatch
&nd force, or the colpeggiar' of the Ve-
netians, for the ^'pronto guadagno" his
execution became sketchy and careless,
as in some of the works of his model,
Tintoretto, and his manner mechanical
though skilful. Lanzi terms him the
last of the good age and the first of
the bad, of the Venetian School. The
remarkable bravura of his pictures,
which are extremely numerous, doubt-
less contributed to the decline of the,
art in Venice ; manner now supplanted
nature. Yet some of his works were
so excellent that Guido and Guercino,
says Boschini, upon seeing one of
them exclaimed, " What a pity that
such a painter should ever have died !"
Zanetti describes pictures by the
younger Palma in seventy - four
churches and saloons of the public
buildings of Venice; and they are
numerous in many galleries out of
Venice. Many of his pictures have
been removed from the churches
to the Venetian Academy, but some of
his best works are still in the DucaJ
Palace : as the Last Judgment, in the
Sala dello Scrutinio ; and others in the
Sala del Maggior Consiglio, including
the River Fight of the Venetians under
Bembo, with the Milanese under
Pacino Eustachio, near Cremona, when
the Venetians gained a complete vic-
tory: it is. called the " quaddro del
Burchi." Palraa etched many plates.
{Ridolfi,, Zanetti.)
PALMA, Jacopo, called II Vecchio,
h. at Serinalta, near Bergamo, about
1480, living in 1521. Venetian School.
He was called II Vecchio to distinguish
him afterwards from his grand nephew
of the same name, and with whom he
has been confounded. He arrived in
Venice in the early part of the sixteenth
century, when Titian had attained his
great reputation, and he was in some
measure the scholar of that great
painter. The early works of Palma
resemble those of Bellini, but he
eventually adopted the cinquecenio
enlargement of style, then thoroughly
established by Giorgione and Titian,
at Venice ; and his later works bear
much the resemblance to those of
Giorgione. His heads have in his
eai-ly works a somewhat antiquated
severity. In his later productions his
figures are distinguished by a certain
vivacity, and much sweetness and deli-
cacy of expression : he excelled in
figures of the Virgin and Saints, and his
own daughters, especially the beautiful
Violante, are supposed to have been his
11*
PALMA— PANETTI.
ordinary models for these subjects.
His draperies flow in rich and ample
folds ; his colouring is harmonious and
glowing, like that of Giorgione, hut
with a prevailing yellow tone in the
flesh ; and his works are very highly
finished. Some of his portraits are
admirable ; they are highly praised by
Vasari, Palma's works, on the whole,
are numerous in the European gal-
leries, though according to Vasari he
died aged only forty-eight.
Works. Venice, Academy, St. John
the Baptist -with St. Peter and other
Saints, an early work in the style of
Giorgione ; Christ and the Widow of
Nain ; the Ascension of the Virgin :
Santa Maria Pormosa, Sta. Barbara
with the palm branch, above the Pieta,
on either side, St. Sebastian and St.
Anthony; Palma's master-piece: San
Zaccaria, the Madonna with six Saints
and an Angel : Santa Lucia : Santa
Maria del Orto : Manfrini Palace, &c.
Ferrara, Santa Maria del Vado, the
Tribute Money. Florence, Pal. Pitti,
Christ at Emmaus ; Holy Family ; Por-
trait, &c. Milan, Brera, Adoration of
the Magi ; the Woman taken in Adul-
tery. Kome, Borghese and Colonna
Palaces, Madonnas. Dresden, Venus ;
three Sisters, the painter's daughters ;
and several others. Vienna Gallery,
thirteen specimens. Berlin Gallery, the
Virgin reading whilst the Child sleeps ;
the Virgin adoring the Child ; Portrait
of a Doge ; and two other sacred sub-
jects. Louvre, the Nativity; one of
the Shepherds adoring the Child.
(Vasari, Zanetti.)
PALMEZZANO, or Palmegiani
Marco, sometimes called Marco da
FoRLi, painted in 1503, living in 1537.
Bolognese School. He was the scholar
of Melozzo da Forli, and according to
Lanzi his early works were in the dry
and formal manner of the Quattro-
centisti, with abundance of gilding ;
while his later productions displayed
more skill in the grouping and
more freedom of execution ; yet
with a grace and a finish approach-
ing Francia. He was, however, in
the habit of disregarding the dra-
matic unities ; and introduced accessory
groups that had no relation with the
principal. In the Brera at Milan are
three pictures by Palmezzano — the
Nativity ; the Madonna and Child,
with St. Peter and other Saints ; and
the Coronation of the Virgin. Also at
Forli, in the Duomo, is a picture re-
presenting the Last Supper, and in
the Berlin Gallery are two pictures,
one of the Virgin and Child, with
Saints, signed Marcus PalmezzamiSy
Pictor ForoUorensis ; and a small pic-
ture of Christ bearing his Cross, with
a similar signature, and the date 1503.
PxVLMIERI, Giuseppe, b. at Genoa,
1674; d. 1740. Genoese School. He
painted historical subjects, and was a
good colourist, but displayed most
talent in his representation of animals
in hunts, &c. Some of his best works
of tliis kind are at Lisbon. In the
church of San Domenico, at Genoa, is
a picture of the Eesurrection of Christ,
his best historical work. {Ratli.)
PALTRONIERI, Pietro, called II
MiRANDOLESE DALLE PrOSPETTIVE, h.
at Mirandola, 1673 ; d. at Bologna,
1741. Bolognese School. He was the
scholar of G. F. Cassana, and Marcan-
tonio Chiarini. He painted perspec-
tive, architectural views, and ornament
with great skill. The figures frequently
introduced into his works were inserted
by Ercole Graziani : his pictures, com-
monly views of ruins, are to be met
with in Eome and Bologna; and at
Vienna, where he dwelt some time.
PANETTI, Domenico, h. at Fer-
rara, 1460, d. about 1530. Ferrarese
School. The early works of this pain-
ter resemble those of the oldest Fer-
rarese masters, but without their fan-
tastic tendency; and according to
PANETTI— PAOLO.
119
Lanzi, a great improvement is percep-
tible in Panetti's later works, from the
example of the works of Garofolo (a
former pupil), who had returned to
Ferrara with all the experience brought
from the school of Raphael, at Eome.
Works. Ferrara, church of San Nic-
colo, the Deposition from the Cross :
San Francesco, the Visitation : the
Augustines, Sant' Andrea: Santa Ma-
ria in Vado, the Visitation. Berlin
Gallery, an Entombment, marked —
Dominici. Paneti. Opus. (Bariiffaldi.)
PANICALE, Masolino da, b. about
1403, d. about 1440. Tuscan School.
He was the scholar of Lorenzo Ghi-
berti and of Gherardo Stamina ; and,
like Lorenzo and his own contemporary
Masaccio, was one of the great pioneers
of the art, who led the way to the
glorious cinqiiecento. Masolino's fres-
coes in the Brancacci Chapel hold a
prominent position amongst the works
of the day which marked the transi-
tion period, from the conventionalities
of the quattrocento, in the beginning
of the fifteenth century, to the more
positive individualities of the later part.
Although Masolino adhered pretty
closely to the former prescribed types,
his frescoes display great qualities for
their time, though by the side of the
master-pieces of Masaccio and Filip-
pino Lippi. He is sometimes called
the master of Masaccio, but of this
there is no evidence, and he was appa-
rently a younger man.
Works. Florence, in Santa Maria
del Carmine, Brancacci Chapel, the
Preaching of St. Peter ; the same
Apostle healing the Cripple at the
Beautiful Gate ; the Eaising of Tabi-
tha; and Adam and Eve, or the Fall:
Academy, the Virgin adoring the In-
fant Christ, with St. Joseph and St.
John. Castiglione d'Olona, near Como,
frescoes of the Collegiate Church —
the Life of the Virgin, with various
Saints ; and the Lives of St. Lawrence
and St. Stephen, marked — MasoUnus de
Florentia pinxit : in the baptistery of
the same church, frescoes from the
Life of John the Baptist, similar in
style, dated 1435. (The above frescoes
were only recovered from whitewash in
1843.) (Vasari.)
PANNINI, Cav. Gio. Paolo, b. at
Piacenza, 1695, d. Oct. 21, 1768. Eo-
man School. The scholar of Andrea
Lucatelli and Benedetto Luti ; he
painted ruins, landscapes, and archi-
tectural subjects with great skill ; his
ruins were selected chiefly from Eome
and its neighbourhood ; his shadows
are generally too dark and red for
exteriors ; his figures are numerous
and skilfully introduced.
Works. Eome, Monte Cavallo, Pa-
lazzo Quirinale, two pictures of archi-
tecture, &c. Louvre, the Interior of
St. Peter's, at Eome, his master-piece,
painted in 1730, in honour of the birth
of the Dauphin, 1729 ; and eight other
subjects. {Mundler.)
PAOLINI, PiETEO, 6. at Lucca,
1603, d. 1681. Eoman School. He
went early to Eome, where he became
a pupil of Angelo Caroselli, and a
follower of Caravaggio; he appears
also, from his works, to have studied
some time in Venice. Paolini repre-
sented village festivals and other genre
pieces, as well as great historical sub-
jects ; many of his cabinet pictures
are in the private collections at Lucca.
In the church of San Michele, in that
town, he represented the Martyrdom
of St. Andrew ; and in the library of
San Fridiano, St. Gregory entertaining
the Pilgrims ; his greatest works ; the
latter is much in the taste of the
magnificent pictures of Paul Veronese.
{Baldimtcci, Lanzi.)
PAOLO, Maesteo, painted in 1333-
1346. Venetian School. Magister
Paulus is the oldest of the Venetian
painters. In conjimction with his two
sons, Jacopo and Giovanni, he repre-
120
PAOLO— PASINELLI.
Sented the Dead Christ, with the Apos-
tles, and other historic incidents from
the Life of Christ; itis an altar-piece, or
ancona, divided into compartments, in
the centre of the great altar of St.
Mark's, at Venice. This work is exe-
cuted in the old Greek manner. There
is another painting hy him in the
sacristy of the Padri Conventuali at
Vicenza, marked — 1333, Paulus de
Veneiiis pinxit hoc opus. (Lanzi.)
PAPA, SiMONE, the Elder, h. at
Naples, about 1430, d. about 1488.
Neapolitan School. The pupil of An-
tonio Solario, called Lo Zingaro, and
his most distinguished follower; he
exhibits some of the Flemish accu-
racy and brilliancy of colour.
Works. Naples, the Museo Borbonico,
St. Michael, with other Saints, and the
Donors : San Niccolo alia Dogana,
the Annunciation: San Lorenzo, the
Virgin and Saviour, with Saints : Santa
Maria Nuova, St. Michael defeating
the rebel Angels.
A second Simone Papa, called the
Younger (about 1506-1567), was the
scholar of Gio. Antonio d'Amato, and
distinguished himself as a fresco -
painter ; in the church of Monte Oli-
veto are some of his works. {Domi-
nici.)
PARENTINO, Beekardo, b. at Pa-
renzo, in Istria, in 1437, d. at Vicenza,
1531. Paduan School. He studied
under Andrea Mantegna, and painted
ten scenes from the Life of San Bene-
detto for the principal cloister of Santa
Giustina, at Padua. These frescoes,
in chiaroscuro, show a great resem-
blance to those of Mantegna. He be-
came an Augustan monk, under the
name of Lorenzo. The Academy of
Venice possesses a Nativity by Paren-
tino. {Lanzi.)
PAEMIGIANO. [Mazzuoli.]
PARODI, Domenico, b. at Genoa,
1668, d. 1740. Genoese School. He
was instructed by Bombelli, at Venice,
and he copied many works of the great
Venetian masters ; but eventually he
became a follower of Carlo Maratta, at
Rome. Owing to his diligent study of
Greek sculpture, to which he had been
originally brought up by his father,
his drawing was more correct than that
of most painters of his time. His
works are numerous at Rome and
Genoa ; Mengs is said to have been .
astonished by, and greatly admired,
the allegorical subjects painted by
Parodi in the Negroni Palace, at
Genoa, celebrating the history of that
family, and Lanzi observes that none
has been more honoured by painting.
In the church of the Fihppini is San
Francesco di Sales, one of his most
celebrated works ; there are others in
the Durazzo Palace. He was also an
architect. (Batti.)
PAROLINI, GiAcoMO, b. at Fer-
rara, 1663, d. 1733. Ferrarese SchooL
He studied first under Peruzzini, in
Turin, and then with Cignani, at
Bologna, in whose style he excelled ;
especially in his fine drawing and rich
carnations. He excelled also in Amo-
rini, festive dances. Bacchanalian, and
other scenes, much in the taste of
Albani. With Parolini terminated the
great masters of the Ferrarese School ;
its glories were buried with him, says
Lanzi.
Works. Ferrara, cathedral, the Last
Supper. Verona, church of San Sebas-
tiano, St. Sebastian in glory. {Banif-
faldi. )
PASINELLI, LoEENZO, b. at Bo-
logna, 1629, rf.l700. Bolognese School.
A pupil of Simone Cantarini, but he
attempted to acquire the great style of
Paul Veronese. He painted large com-
positions with many figures ; his atti-
tudes are sometimes exaggerated, and,
like most Venetians, he is regardless of
the propriety of costume and place in
his religious pieces. He painted more
for private than for public collections.
PASINELLI— PELLE GEINO.
m
Works. Bologna, the Certosa, Christ's
Entry into Jerusalem ; church of the
harefooted Carmelites, a Holy Family;
church of San Francesco, the dead
restored to life ; Casa Kanuzzi, Corio-
laniis. Pasinelli etched a few plates.
PASSAKOTTI, Bartolomeo, b. at
Bologna, about 1530, d. 1592. Bolog-
nese School. He was a scholar and
coadjutor of Taddeo Zuccaro, at Kome,
whither he had gone with Vignola. He
possessed great facility of execution,
but his works are extremely mannered ;
Lanzi, however, praises him for his
portraits, in which, according to Guido,
says Malvasia, he was inferior only to
Titian ; he likewise excelled in the nude.
He was also an engraver of some
abihty ; he used the emblem of a spar-
row instead of his name. Passarotti
established^^' a school at Bologna, in
which, among many others, he had
Agostino CaiTacci for a scholar. He
brought up four sons as painters, of
whom, Tiburzio attained some distinc-
tion ; he died in 1612. There is a Vir-
gin in glory by Tiburzio in the Academy
of Bologna.
Works. Eome, San Paolo alle Tre
Fontane, the Martyrdom of St. Paul.
Bologna, San Pietro, the Adoraiion of
the Magi : San Giacomo Maggiore, the
Virgin with Saints. Academy, Presen-
tation of the Virgin ; and Portraits of
Popes Sixtus V. and Pius V. (Mal-
vasia.)
PASSEKI, GiAMBATisTA, b. at Eome,
about 1610, d. April 22, 1679, Eoman
School. The pupil for a short time
of Domenichino, with whom he lived
at Frascati. He painted chiefly for
private collections, and frequently birds
and game, and other genre, and still-
life subjects, with occasional half
figures ; he executed several for the
Costaguti family ; his purely figure-
pieces are rare. Passeri was poet as
well as painter, and possessed a good
knowledge of the principles of art. He
wrote The Lives of the Painters, Sculp-
tors, and Architects who practised at
Rome, and died from 1641 to 1673
inclusive, published at Eome in 4to.
1773. It is one of the best series
of Italian art-biographies. Passeri
was President of the Academy of
St. Luke, which possessed his Portrtdt
of Domenichino, for whom Passeri
had an intense veneration; the Portrait
is now in the Gallery of Florence.
Giuseppe Passeri, the distinguished
scholar of Carlo Maratta, who died in
17J4, was Giambatista's nephew.
PASSIGNANO, Cav. Domenico
Cresti da, b. at Florence, about 1558,
d. at Florence, May 17, 1638. Tuscan
School. He was the pupil of Naldini,
and of Federigo Zuccaro. He resem-
bles most Zuccaro in his manner ; he
assisted that painter in the frescoes of
the cupola of Florence. Passignano
also accompanied Zuccaro to Venice,
where he studied the works of Paolo
Veronese and Tintoretto, and where
he fully developed his showy but super-
ficial style. He returned to Florence
in 1589, and was first Professor of the
Academy there; Lodovico Carracci is
said to have studied with him. He
painted with such extraordinary fcravwra
and rapidity that he acquired among
the painters of Florence the nickname
of Pass-ognuno (out-strips every one).
He was employed at Eome by Clement
VIII., who decorated him with the
order of the Abito di Cristo. He was
the friend of Cigoli, and considerably
aided that master in improving the
colour of the Florentine Scliool.
Works. Passignano, church of the
Monks of Vallombrosa, a Glory. Flo-
rence, theCoUegio San Giovanino,Christ
bearing the Cross. Eome, Palazzo
Borghese, Descent from the Cross.
Frascati, Cappella di Mondragone, a
Dead Christ. Louvre, the Discovery
of the Cross. (Baglione, Baldinucci.)
PELLEGEINO da San Daniello,
122
PELLEGEINO— PERANDA.
h. about 1480, d. about 1545. Venetian
School. Scholar of Gio. Bellini, who
bestowed the name of Pell^rino on
him, on account of his talents, or per-
haps, rather perseverance ; his name
was Martino : so says Vasari, who has
slightly noticed Pellegrino in his Life
of Pordenone. His name of San
Daniello is derived from his haAdng
settled and married in that place. His
pictures are painted with great care,
and his figures are dignified and grace-
ful in their attitudes. He painted in
the style of Bellini, and in his best
works resembles Giorgione. He is
one of the principal painters of the
Friuli, second only to Pordenone : his
proper name seems to have been Pel-
legrino da Udiue. The history of his
works is given in detail by Count
Mainago : Sioria delle Belle Arti Friu-
lane. Udine, 1823.
Works. Udine, cathedral, Holy Fa-
mily. San Daniello, church of Sant'
Antonio, frescoes representing scenes
from the Life of Christ (1497-1522),
Pellegrino's principal works — Cividale,
Santa Maria de Battudi, the Virgin,
with Saints (1529).
PELLEGRINO, DA MoDENA. [Mu-
NARI.]
PENNACHI, PiERMARiA, painted in
1520. Venetian School. A scholar of
Giovanni Bellini, and one of those who
entered into the spirit of the cinque-
cento, and attempted an enlargement
of style with considerable success.
Works. Venice, Santa Maria de'
Miracoli, frescoes of the ceiling: San
Francesco della Vigna, the Annuncia-
tion : Santa Maria della Salute (in the
sacristy), a Madonna. Berlin Gallery,
Christ mourned by two Angels ; marked
Petrus Maria Tarvisio P. {Zanetti.)
PENNI, GiAN Francesco, called II
Fattore, b. at Florence about 1488, d.
at Naples, 1528. Roman School. After
Giulio Romano, Penni was the fa-
vourite scholar of Raphael ; he assisted
him in the Vatican frescoes, and more
than any other in the cartoons for tlie
tapestries. He executed the Stories of
Abraham and Isaac in the Loggie, and
worked afterwards, in conjunction with
Giulio Romano, in the completion of
the frescoes in the Hall of Constantine,
where he painted the Baptism of Con-
stantine by San Silvestro, and, accord-
ing to some, Constantine's donation of
Rome to that Pontifi"; attributed other-
wise to Raflfaellino del Colle. He as-
sisted likewise in the Farnesina. He
and Giulio Romano were coheirs of
Raphael's effects in objects of art. His
own works are unimportant, as nearly
the whole of his short life was occu-
pied in carrying out the designs of
Raphael. His name of II Fattore he
acquired from being articled or appren-
ticed to Raphael in his youth. He re-
sided latterly at Naples, but died not
long after he settled there, and his
works are not often to be met with.
Passavant and Kugler attribute to
Penni the Madonna del Passeggio,
in the Bridgewater Gallery. He
copied several of Raphael's celebrated
oil pictures, as the Transfiguration in
the Sisiarra Palace at Rome. Two
original pictures by Penni, from the
Borghese Gallery, Hope and Charity,
are in the Hope and Neeld collections
in London. Lanzi notices Penni's ex-
cellence in landscapes ; that is, of
course, for backgrounds. Luca Penni
is said to have been the brother of
Gianfrancesco : he also assisted Ra-
phael and Perino del Vaga. ( Vasari.)
PERANDA, Santo, b. at Venice,
1566, d. 1638. Venetian School. A
pupil of Leonardo Corona, and of the
younger Palma, whose manner he imi-
tated, but improved his style by a so-
journ at Rome. His pictures were
very numerous in Venice.
Works. Venice, San Procolo, the
Descent from the Cross, his master-
piece : Ducal Palace, the Defeat of the
PERANDA— PEEUGINO.
123
Saracens by the Venetians : San Bar-
tolomeo, the Gathering the Manna :
church of the Teatini, several works.
(Ridolfi, Zanetti.)
PERUGIA, GiANNicoLO da, or Gio-
vanni Nicola Manni, h. at Citta della
Pieve, about 1478, d. 1544. Umbrian
School. The pupil and assistant of
Pietro Perugino, in whose style he
painted : his colouring is good.
Works. Perugia, the Academy, a
series of figures, church of San Tom-
maso, over the high altar, the Incre-
dulity of St. Thomas. (Mariotii.)
PERUGIA, SiNiBALDO DA, painted
1505-28. Umbrian School. The scholar
of Pietro Perugino, and, according to
Lanzi, one of the best of the school.
In the cathedral at Gubbio is an altar-
piece of the date of 1505. There are
also some works in his native place.
{Mariotti.)
PERUGINO, PiETEO, correctly
Pietro Vannucci, called II Perugino,
h. at Citta della Pieve, about 1446, d. at
Castello di Fontignano, 1524. Um-
brian School. It is unknown from
whom this celebrated painter received
his first instructions. Benedetto Bon-
figli was his master, according to some
accounts. The works of Niccolo Alunno
also probably exercised an influence
upon his early impressions. At about
twenty- five years of age he went to
Florence, where, says Vasari, he studied
under Andrea Verocchio. His first
works of note were painted at Florence ;
he then painted at Siena, Vallombrosa,
the Certosa di Pavia, Naples, Borgo
San Sepolcro, Bologna, and Rome ;
earning distinction everywhere, more
especially for the brilliancy of his
colouring. He commenced his frescoes
at Rome about 1480, and was employed
there about ten years; he returned in
1495 to Perugia, as the head or caj^o-
scuola of the Umbrian painters. On
his return to Perugia he opened his
academy, in which Raphael's rising
powers were gradually developed. From
Vasari's account of Perugino, we learn
that a strong antagonism existed be-
tween the man and his art, and in spite
of his skill the love of money is said to
have chiefly influenced him in the pro-
duction of his pictures ; he lost some
important commissions by his exorbi-
tant charges: and his jealousy of the
new views of art, which he made no
secret of, also made him oVjnoxious to
his Florentine contemporaries. He, on
one occasion, took Michelangelo before
a magistrate for calling him a dunce,
" Goffo neli' arte," but met with only
ridicule for his pains. Vasari says he
denied the immortality of the soul. He
died refusing the sacrament, or to con-
fess; he was accordingly buried in a
field by the public road, in un conse-
crated ground : he was cm-ious to
ascertain the fate of a soul' that had
never confessed. Such is the statement
of Gasparo Celio, a Roman painter of
the sixteenth century, as coming from
Niccolo dalle Pomerance, whose wife
was related to Pietro's. Whatever his
idiosyncratic peculiarities, he was un-
questionably one of the best painters
of his time, or at least of the fifteenth
century. His works are characterised
by exquisite purity and charming senti-
ment ; many of his heads are also
beautifully drawn, and in colour, with,
perhaps, the single exception of Fran-
cia, he had no equal in central Italy.
But his drawing was unequal, and in
male figures especially, where the hmbs
are shown, is mean in style: and he
ever adhered to the formal convention-
alities of the quattrocenlismo. His
earliest works, executed at Perugia,
exhibit the stifibess of Alunno ; whilst
in the first years of his Florentine life,
he seems to have inclined to direct
imitation, as in the Adoration of the
Kings, in Santa Maria Nuova, at Pe-
rugia; he has introduced his own
portrait into this picture. His great
124=
PEKUGINO— PERUZZI.
fresco in the Sistine Chapel, at Eome,
representing the Baptism of Christ and
the Dehvery of the Keys to Peter, is also
of that period, and in the composition,
grouping, and drapery, decidedly Tus-
can. It was after this period, however,
that with increased powers he returned
to his first style, and produced his
greatest works. At this time, also, he
developed that grace and softness, that
delicate yet enthusiastic earnestness,
which give so great a charm to his best
pictures. The Infant Christ adored
by the Virgin (1491), in the Palazzo
Albani at Rome; the Ascension of
Christ, in the Museum at Lyons,
termed by Vasari, Perugino's best oil
picture in Perugia (1495) (other por-
tions of this work are in the Vatican
and at Eouen) ; the frescoes in the
chapter-house of Santa Maria Madda-
lena de' P&,zzi at Florence, represent-
ing the Crucifixion ; and the celebrated
Pieta or Deposition in the Pitti Palace
(1495), are all fruits of this second
period. The last picture is generally
admitted to be Perugino's master-piece ;
even the drawing of the heads leaves
nothing to be desired, they possess a
fullness and beauty worthy of Raphael.
The expression and the technical exe-
cution are generally admirable, yet
even this picture is not free from that
littleness of style in the accessory
forms, which was almost as much the
fault of the age as of the man, and the
figure of Christ more especially suffers
from it. The Madonna enthroned,
with four Saints beneath, in the Gallery
at Bologna, is also among his best
works executed at this time. But he
had not been long established at Pe-
rugia, before he gave himself up to a
mere mechanical proficiency, and he
now worked principally for gain ; hence
uniformity of design, weakness, man-
nerism, and considerable inequality
of execution, according as he was as-
sisted by scholars of more or less
talent. Even those which Pietro exe-
cuted with his own hand at this later
period, such as the Martyrdom of St.
Sebastian in San Francesco de' Con-
ventuali at Perugia (1518), are strik-
ingly weak.
Works. Rome, Vatican Gallery, the
Resurrection of Christ; the Madonna,
with four Saints; three Saints. Flo-
rence, church of La Calza, the Cruci-
fixion : the Academy, the Assumption
of the Virgin (1500); Christ on the
Mount of Olives ; the Pieta, a master-
piece: Ufiizj, his own Portrait (1494).
Fano, Santa Maria Nuova, an altar-
piece, the centre of which represents
the Virgin with Saints (1497). Peru-
gia, in the Collegio del Cambio, frescoes
on the walls of the principal hall ; also
the vaulted ceiling of the hall (1500):
convent of San Francesco del Monte,
in an inner chapel, a fresco of the
Birth of Christ: Sant' Agostino, in the
sacristy, eight half-length pictures of
Saints, on wood. Bologna, Gallery,
Madonna enthroned in the Clouds,
with four Saints below. Citta della
Pieve, Santa Maria de' Bianchi, the
Adoration of the Kings (1504). Ber-
lin Gallery, a Madonna with two ador-
ing Angels ; and a Madonna and Child,
with Saints. Lyons Museum, Ascen-
sion of Christ. Caen, the Marriage of
the Virgin. Louvre, the Nativity; the
Virgin and Child, two Angels and two
Saints adoring ; and three other sacred
subjects. London, National Gallery,
the Virgin and Infant Christ, with St,
John, marked Petrus Perugimis, in
gold, on the hem of the mantle of the
Virgin. {Vasari, Mezzanotte, Ver-
miglioli.)
PERUZZI, Baldassaee, called Bal-
DASSARE DA SiENA, b. at Siena, March
7, 1481, d. at Rome, January 6, 1537.
His family was originally of Volterra.
Baldassare was more eminent as an
architect than as a painter; his early
education is obscure. His early pic-
PERUZZI— PESELLO.
125
tures rather lean to the qnattrocentismo,
or the old style of the fifteenth century,
and they are distinguished by the art-
less grace and dignified expression
characteristic of the art of that period;
he excelled in drawing, and became in
some measure an imitator of Eaphael.
His oil pictures are extremely scarce.
He appears to have gone to Rome
early, in the pontificate of Julius II.,
after having earned some distinction
at Volterra. His first Roman patron
was Agostino Chigi, for whom Peruzzi
built the celebrated villa on the Tiber,
afterwards known as the Famesina.
He now practised chiefly as an archi-
tect, and in 1520 succeeded Raphael as
architect of St. Peter's. Peruzzi was
also a distinguished decorator, parti-
cularly skilful in those elegant cinque-
cento arabesques, which the Vatican
Loggie had contributed to make ex-
tremely popular in Rome in the earlier
half of the sixteenth century. The Pa-
lazzo Massimi by Peruzzi, presents a
remarkable example of this ornamental
work, in stucco, &c. He also decorated
facades with architectural schemes in
chiaroscuro, enriched with bas-reliefs,
after the style of Polidoro da Cara-
vaggio: he executed similar works at
Siena. Peruzzi also introduced thea-
trical decorations into Rome in the time
of Leo X. As an architect he ranks
with the greatest of Italy.
Works. Rome, Farnesina, ceiling of
the saloon, the History of Perseus:
Sant' Onofrio, frescoes on the walls of
the tribune, the Madonna enthroned,
with Saints; the Adoration of the
Kings; and the Flight into Egypt (all
early works) : Santa Maria della Pace,
the Presentation of the Virgin. Near
Siena, the church of Fonte Giusta, the
Sibyl announcing the Birth of Christ
to Augustus. Torre Balbiana, St.
Jerome (in oil). London, National
Gallery, the Adoration of the Kings,
a drawing (1522), the kings being por-
traits of Titian, Raphael, and Michel-
angelo ; also the copy in oil-colours by
Girolamo da Trevigi, or Bartolomeo
Cesi: Bridgewater Gallery, an Adora-
tion of the Kings. Berlin Museum, a
figure of Charity (an early work).
( Vasari. )
PESELLO, GiULiANO, painted, 1390,
living in 1457. Tuscan School. Va-
sari states that Pesello studied with
Andrea del Castagno till the age of 30,
but as Andrea was bom only in the
beginning of the fifteenth century, and
Pesello painted in ]390, this is an
error. That Pesello imitated Andrea
in his later years may be a fact, espe-
cially in painting animals, which he
represented with great skill, And, says
Vasari, better than any painter of his
time. His works are extremely scarce ;
there was an altar-piece by Giuliano, of
the Trinity, with San Zeno and San
Jacopo, formerly in the church of the
Santissima Trinita at Pistoja, in the
possession of Mr. Young Ottley; it is
described by Waagen. In the Berlin
Gallery is a Virgin and Child by Pe-
sello.
Giuliano's son, Francesco Pesello,
called Reselling, b. about 1426, d.
July 29, 1457, was the scholar of Fra
Filippo Lippi. Vasari praises some
pictures of a Predella, of an altar-piece
by Fra Filippo (of which two are in
the Louvre, and three in the Floren-
tine Academy), which he says are
hardly to be distinguished from the
hand of Fra Filippo himself: they are,
the Nativity ; a Miracle of St. Anthony ;
and the Martyrdom of saints Cosimus
and Damianus. The exhibition of a
relic in the cathedral of Florence, now
in the Liverpool Institution, a Predella,
containing portraits of Cosmo, Piero,
Lorenzo, and Giuliano de Medici, is
spoken equally highly of by Waagen,
who remarks that it recalls Masaccio
in its sharply-defined character, and in
the figures. {Vasari.)
126
PIAZZETTA— PINTUEICCHIO.
PIAZZETTA, Gio. Battista, 6. at
Venice, 1682, d. 1754. Venetian School.
He studied first under liis father
Jacopo, a carver of wood; afterwards
under Molinari, a painter ; but he
eventually studied the works of Guer-
cino, at Bologna, and endeavoured to
master the strong contrasts of light
and shade, characteristic of that
painter. He fell into an exaggerated
manner, and became one of the darkest
of the Tenehrosi : he, however, suc-
ceeded in powerful reflexes, producing
a striking ejBFect; and was certainly one
of the most distinguished Venetian
painters of the eigliteenth century. In
his colouring he was less successful.
Many of his works have been en-
graved, and his drawings are highly
esteemed ; he excelled in caricatm-e.
According to Lanzi, his master-piece is
the beheading of John the Baptist, in
San Giovanni, at Padua. {Zanetti.)
PIETPtO, NiccoLA Di, painted in
1392. Tuscan School. The few fres-
coes that remain by this painter,
assumed to have been a scholar of
Giotto, are amongst the most remark-
able of their time. The nine large
frescoes of the Passion, in the chapter-
house of the convent of San Francesco,
at Pisa, though much damaged, show,
says Dr. Forster, a stronger appre-
ciation of individuality and beauty
than had been hitherto manifested.
They are marked — l^iccholaus Petri
Pictor de Florentla hoc depinsit opus,
M.CCC.LXXXXII. They are engraved
by Lasinio.
PINO, Marco da, or Marco da
Siena, b. at Siena, about 1520, d. at
Naples, about 1587. Sienese School.
He is said to have been the scholar of
Domenico Beccafumi and of Daniele
da Volterra. Baldinucci states that he
studied also under Baldassare Peruzzi.
He studied some time in Eome, and
became one of the most judicious and
able imitators of Michelangelo. In
about 15C0, Marco da Pino settled in
Naples, and acquired the reputation of
the most distinguished painter of his
time in that city, where he exerted
great influence in his art; he contri-
buted also, with the aid of his pupil
Criscuolo, towards its history, in vin-
dication of Vasari's neglect of the
Neapolitan School. He was also a dis-
tinguished architect as well as painter.
Works. Eome, Santa Maria Ara-
celi, a Pieta, or Dead Christ, with the
Virgin and St. John. Naples, San
Giovanni de' Fiorentini, the Deposition
from the Cross (1577) ; San Severino,
the Assumption of the Virgin ; the
Adoration of the Magi; and others:
Studj Gallery, the Circumcision, &c.
(DominicL)
PINTUEICCHIO, or Bern.\rdino
DI Betto, b. at Perugia, 1454, d. at
Siena, Dec. 11, 1513. Umbrian School.
Little is known of his early hfe. His
father's name was Benedetto ; Pintu-
ricchio is a mere nickname, signifying
the "Little Painter." After Eaphael,
he was the most distinguished of Pie-
tro Perugino's scholars, or rather as-
sistants ; Eumohr supposes his mas-
ter to have been Niccolo Alunno,
He adhered much to Pietro's manner,
but surpassed him, perhaps, in most
respects, especially in composition, in
drawing, and in general taste ; he was
one of those who mainly contributed
to the great advancement of the six-
teenth century. About 1484 he worked
as Perugino's assistant at Eome. From
1492 he was employed at Orvieto and
at Eome ; and in 1502 he was com-
missioned by Cardinal Piccolomini to
paint the frescoes of the Library of
Siena, in which he procured the assist-
ance of Eaphael, then a youth, in his
twentieth year only; and who, says
Vasari, prepared some of the drawings
and cartoons for that work. PintUric-
chio and Eaphael are termed fellow
pupils ; but there was thiity years
PINTUEICCHIO.
127
difference between them, and Pintiiric-
chio, if ever with Perugino, must have
left him before Kaphael was placed
with that painter, about 1495. Vasari
says that Kaphael was placed with
Perugino by his father during his
mother's life-time, which must have
been before he was nine years old : he
was however placed by his uncles after
the death of both parents. Raphael ap-
pears to have been called to Siena ex-
pressly to assist Pinturicchio, but that
he made any of the original sketches of
the Library series, as well as some of
the drawings and cartoons, is highly
improbable. These frescoes, executed
between 1502 and 1509, are very re-
markable as being one of the earliest
series of examples in which the com-
mon incidents of life ai-e represented,
in a simply natural or dramatic man-
ner ; there being no traces of the old
symmetrical composition and religious
sentimentalism of expression. Pintu-
ricchio had now completely forsaken
the style of Perugino, in which his
earlier performances were executed.
He, however, never possessed that
power of execution, or judgment in
composition, requisite to display the
true spirit of the cinqnecento, already
fully developed by Michelangelo at
Florence during the progress of the
Library frescoes. He was latterly care-
less, and, like Perugino, is accused of
allowing his love of gain to totally
supplant his devotion to his art. This
betrayfed him at last into a superficial
and mechanical manner. Some of his
later productions, as Sir Charles East-
lalce has remarked {Lit. of Fine Arts,
p. 194), scarcely give an idea of the
powerful and touching expressions
which are so striking in his earlier
works. Like Perugino, in another re-
spect, he trusted his works too much
to his pupils. He was a great decora-
tor; the vault of the choir or tribune
of Santa Maria del Popolo, at Eome,
painted before 1508, was perhaps the
most magnificent pictorial decoration
that had been at that time produced
at Rome ; he was a thorough master
of the ornament of the period. He
executed many decorations in Rome,
but few have been preserved ; his Views
of Rome, Florence, Venice, and other
chief cities of Italy, painted in the
Vatican, are of those that have pe-
rished ; he excelled in landscape. Pin-
turicchio has shown himself through-
out his works an original observer of
Nature ; many of his incidents, in sub-
ject and treatment, border on natu-
rahsm ; not inconsistent with his
character as a man of the world : he
early deserted the traditional conven-
tionalisms of expression. Vasari's
strange story of his death through
avarice is indignantly contradicted by
Mariotti and otliers ; but the true ver-
sion was not less melancholy, though
more honourable to Pinturicchio — he
was deserted by his wife Grania, during
an illness, she locked him in his
house alone, and there left him to
starve.
Works. Rome, the Appartamento
Borgia, in the Vatican, frescoes painted
before 1484, in conjunction with Peru-
gino ; other early productions of great
merit, and in his Umbrian style, are
the frescoes in Santa Maria Araceli,
representing scenes from the Life of
San Bernardo, of Siena: in Santa
Croce in Gerusalemme, frescoes re-
presenting the Discovery of the Cross,
by St. Helena : and in the Capitol,
Palazzo de' Conservatori, in the cha-
pel, a Madonna and Child (recently
ascribed by Passavant to L'Ingegno).
Perugia, the Academy, the Madonna
enthroned; St. Augustin; St. Jerome;
&c. ; several pictures arranged toge-
ther as one altar-piece (1495), com-
bining (says Rumohr) the pure feel-
ing of Alunnd, with the superior form
of Pintui'icchio's period. Naples, Studj,
128
PINTUKICCHIO— PIOMBO.
the Assumption of the Virgin, formerly
in the church of Monte Oliveto : San
Severino, in the sacristy of Sant'
Agostino, a Madonna and Child, and
the Donor. Spello, Sant' Andrea, the
paintings of a chapel (1508); traces
of his later mechanical manner are
here very evident, says Rumohr : in
the cathedral of that place, in a cha-
pel, is his own Portrait, marked — Ber-
nardinus Pictoricius Perujiniis, 1501.
Siena, in the library of the cathedral,
the celebrated series of ten large his-
torical representations from the Life
of Enea Silvio Piccolomini, afterwards
Pope Pius II., the chief merit of which
has been unjustly given to Raphael.
Berhn Gallery, Adoration of the Kings.
(Vasari, Rumohr, VermiglioU.)
PIOLA, DoMENico, 6. at Genoa,
1628, d. 1703. Genoese School. He
studied under Gio. Domenico Capel-
lini, and imitated the manner of Pietro
da Cortona. He painted in conjunc-
tion with Valerio Castelli for the
churches at Genoa, and painted some
decorative friezes in the palaces ; he
excelled in representing children. His
brother Pellegro, who had shown great
talent, was assassinated in 1640 in his
twenty-third year only. Domenico en-
graved a few plates. {Ratti.)
PIOMBO, Fra Sebastiano del, h.
at Venice, 1485, d. at Rome, 1547.
Venetian School. Sebastiano's family
name was Luciani, and he was originally
a musician. His taste for painting,
however, led him to enter the school
of Gio. Bellini, which he afterwards left
for that of Giorgione, whose most dis-
tinguished scholar he became, and
completely mastered Giorgione's style,
especially shown in some portraits he
painted at this time at Venice. Such
was Sebastiano's reputation, that Ago-
stino Chigi, about 1512, invited him to
Rome, to decorate his villa on the
Tiber, known afterwards as the Farne-
sina. In Rome he contracted an in-
timacy with Michelangelo, and painted
subsequently some oil pictures from
the designs of that great master. In
the works executed at this period,
Sebastiano adopted more of Michel-
angelo's mode of composition, and
style of form ; he endeavoured to com-
bine grandeur of form with the rich
Venetian colouring, by the instance, it
is supposed, of Michelangelo himself,
who by combining the grand with the
ornamental style, hoped to establish a
counterpoise to the then all -engrossing
school of Raphael ; and he availed
himself of the talents of Sebastiano,
the Venetian, to effect this object. He
accordingly assisted him in his de-
signs; and in the celebrated Raising
of Lazarus, painted in 1519, in rivalry
with Raphael's Transfiguration, for
the same patron, Giulio de' Medici,
Bishop of Narbonne, and afterwards
Clement VIL, Michelangelo is said to
have supplied the drawing of the La-
zarus, and part of the group imme-
diately around him. Sebastiano, though
a fine colourist, and more conspicuous
at Rome than he would have been at
Venice, produced but few historical
works; he adhered to his original taste
for portraits ; but after he was ap-
pointed Frate del Piombo (Keeper of
the Leaden Seals), by Clement VIL,
he became idle, and gave himself up
to a life of ease. Some of his por-
traits are admirable, in their style,
the severe and grand, but notwith-
standing the eulogy of Vasari, his style,
while well suited for males, was un-
fitted for female portraits ; this is
sufficiently shown in two celebrated
pictures — the Portrait of Andrea Doria,
in the Doria Palace, at Rome, and that
supposed to be Giulia Gonzaga, in
the National Gallery, London. Vasari
says Sebastiano surpassed all others
in his portraits ; they are boldly de-
signed, full of animation and character;
the heads and hands are of great de-
PIOMBO—PISANO.
129
licacy, the colouring is rich and har-
monious, and all the details and acces-
sories are rendered with great exact-
ness, as in his own Portrait, and that
of Tppohto de' Medici, in the National
Gallery. Sebastiano painted some of
his pictures on slate and on stone.
In the Berlin Gallery is a picture of
Christ on the Cross, of which the stone
itself constitutes the background.
Works. Venice, San Giovanni Cri-
sostomo, an altar-piece representing
that saint with the Baptist and other
saints, male and female, an early work,
and long supposed in Venice to have
been by Giorgione ; San Niccolo, a Ma-
donna, with Saints. Florence, Pitti
Palace, the Martyrdom of Sant' Agatha,
1520. Eome, San Pietro in Montorio,
the Scourging of Christ, (fresco) ;
Doria Gallery, Andrea Doria. Naples,
Studj Gallery, Pope Clement VII. and
others. Arezzo, Pietro Aretino. Ber-
lin Gallery, the Portrait of Pietro
Aretino ; a Dead Christ, supported by
Joseph of Arimathea; Christ on the
Cross, from a drawing by Michelangelo.
Louvre, the Visitation of the Virgin,
1521. London, National Gallery, the
Eaising of Lazarus, Sebastiano's mas-
ter-piece; and the portraits mentioned.
Bridgewater Gallery, the Entombment.
{Vasari, Biagi.)
PIPPL [KOMANC]
PISANELLO, ViTTOEE, called also
PiSANO, b. 1404, d. about 1451. Vene-
tian School. He was of Verona or its
neighbourhood, and is noticed by
Vasari in the life of Gentile da Fa-
briano, with whom Pisanello painted
in the Lateran Palace, at Rome; and
much in the same style as that cele-
brated painter, but in some respects he
was more realistic. He excelled in fore-
shortening, and in perspective, and also
distinguished himself for his skill as an
animal painter, especially of horses.
Pisanello is said to have done for the
advancement of art in Verona what
was achieved by Masaccio in Florence.
Schorn has remarked that his delicate
graceful figures partake, in attitude
and character, of the simplicity and
sentiment of an earlier period, while
in his efforts to represent dramatic
action, in the fore-shortening of the
figure and other technical diflBculties,
he approached nearer Masaccio: the
works so much praised by Vasari for
these qualities have perished. Pisa-
nello was also a very celebrated me-
dallist, indeed the reviver of this art
among the moderns ; several, at least
fifteen, of his works of this class are
still preserved, well-executed individual
portraits, and all marked Opus Pisani
Pictoris ; their dates range from 1444
to 1448, but some are earlier.
Works. Verona, San Fermo Mag-
giore, an Annunciation, fresco, c. 1420,
marked Pisanius pinsit, much injured:
Palazzo del Consiglio, a Madonna in
a flower garden, with Angels and
Saints. Ferrara, Galleria Costabili, San
Giorgio, and Sant' Antonio, abate.
PISANO, GiuNTA, painted from 1202
to 1255. Tuscan School. The first
Italian painter of any importance, or
whose name is inscribed on an existing
work. To him are ascribed a picture,
with Saints, in the chapel of the Campo
Santo, at Pisa, and some wall-paintings
in the upper church of San Francesco
at Assisi, representing the Martyrdom of
St. Peter and the Destruction of Simon
Magus. These were painted about
1230, and were the first executed in
that church. Till 1229 Giunta was
living in Pisa. The former work is
much retouched, and the action and
expression in these productions are
still feeble, and fettered by Byzantine
conventionalisms. But in the Cruci-
fixion, painted on a cross in Santa
Maria degli Angeli at Assisi, and in a
second in San Ranieri at Pisa, marked
Juncta Pisanus me fecit, a very re-
markable advancement is indicated ;
130
PISANO— POCCETTI.
the prescriptive forms of the Greek
Scliool are supplanted by nature, ex-
pressed with great intelUgence. The
Assisi specimen of these interesting
works is of the year 1236, or four years
before the birth of Cimabue; a tracing of
it has been pubUshed by Eamboux, in
his Outlines from old Christian Paint-
ings, in Italy. Kosini, who has engraved
the other, supposes that Giunta had
the chief hand in the frescoes of San
Piero in Grado, near Pisa, and that he
was invited to Assisi by Fra Elia in
consequence of these works. Giunta
painted on cloth stretched on wood
and prepared with plaster. The im-
pasto is good, but the colouring is
brown and horny. {3Iariotti, Morrona,
Lanzi, Eosini.)
PISTOJA, Leonaedo da, called II
PiSTOJA, painted 1516, d. at Naples
about 1550. Tuscan School. He was
a Tuscan by birth, and worked at Rome
and at Naples under Gianfrancesco
Penni, called II Fattore. He was a
good portrait-painter ; his other works
are rare. He is called Guelfo, Mala-
testa, and Gratia; little is known about
him. There is an Annunciation in
the Chapel of the Canonici, marked
Leonardus Gratia Pistoriensis. In the
Berlin Museum is a Madonna and
Child, in the Eoman taste, by this
painter, marked Opus. Leon. Pist.
M.D.XVI. {Vasari, Lanzi.)
PISTOJA, Fea Paolo da, b. 1400,
d. Aug. 3, 1547. Tuscan School. His
family name was Signoracci ; his father
Bernardino was his first master. He
was a Dominican, and the favourite
assistant and heir of Fra Bartolomeo.
He painted several pictures after the
drawings of II Frate ; Yasari mentions
three, in the church of San Domenico
at Pistoja; and another, the Assump-
tion of the Virgin, in Santa Maria del
Sasso in Casentino. Two are still in
San Domenico at Pistoja, an Adoration
of the Kings (1526), and a Crucifixion;
a third, a Madonna and Child and
Saints, is in the sacristy, from the con-
vent of St. Catherine; a fourth is irt
San Paolo at Pistoja, representing th«
Virgin enthroned. There is an altar-
piece of the Madonna and Child, with
Saints, by Fra Paolo, in the Gallery at
Vienna (1510). The fresco of the
Crucifixion, with St. Catherine and
other Saints, in the convent of Santo
Spirito at Siena (1516), and long
attributed to Fra Bartolomeo, is also
the work of Fra Paolo. ( Vasari, Mar-
chess)
PITOCCHI, Matteo da', h. at
Florence, d. at Padua, 1700. Venetian
School. He painted, in a naturahst
manner, burlesques, heads of mendi-
cants, and other genre subjects, which
are met with in the Galleries of Venice,
Vicenza, and Verona. He executed
also some historical works ; a few are
in the churches at Padua. ( Brandolese.)
POCCETTI, Beenaedino Baeba-
TELLi, called also Beenaedino delle
Geotesche, b. at Florence, 1548, d,
Nov. 9, 1612. Tuscan School. He
was the scholar of Michele del Ghir-
landajo, and studied with enthusiasm
the works of Raphael, in the Farnesina,
at Rome. He painted chiefly in fresco,
and was most celebrated as an orna-
mental painter; he possessed great
facility of execution, and executed
many works on the facades of houses
at Florence. He represented historical
and religious subjects, which he adorn-
ed with landscapes, sea- views, fruit,
and flowers, and other ornamental de-
tails. At Florence, in the Nunziata,
are some of his most celebrated works,
in the cloister of the convent, con-
sisting of seven frescoes, of which the
first, representing the Beato Amadio
restoring a child to life, is considered
his master-piece. At Pistoja, in the
convent of the Send, are also some
lunettes, greatly praised, says Lanzi.
(Baldinucci.)
POLLAJUOLO— PONTE.
131
POLLAJUOLO, Antonio, b. at Flo-
rence, 1432 ? ; d.at Rome, 1498. Tuscan
School. The son of Jacopo del Polla-
juolo, and the scholar of Lorenzo
Ghiberti. He was sculptor as well as
painter, and a distinguished goldsmith.
He assisted Ghiberti in completing the
architrave of the second set of gates of
the baptistery of San Giovanni at
Florence, those with the illustrations
from the Old Testament. Antonio
possessed considerable knowledge of
anatomy, and was the first artist who
dissected in order to learn the struc-
ture and action of the muscles for the
purpose of art. He devoted himself
only latterly to painting, in which art
he worked conjointly with his brother
Piero, ten years his junior, who had
studied under Andrea del Castagno.
The best of their works, says Vasari, is
the Martyrdom of St. Sebastian, in the
church of the Servi at Florence, painted
in 1475. His composition is simple,
and the colouring good, but Rumohr
remarks that he never went beyond
mediocrity: Vasari notices the anato-
mical display of some of his figures, a
result of his earlier studies, and his ori-
ginal occupation as a modeller. Antonio
went to Rome in 1484, by the invitation
of Innocent VIII : he made, in 1493,
the monument of Sixtus IV. in St.
Peter's, and executed afterwards a
monument to Innocent VIII. Accord-
ing to the inscription on Antonio's
tomb, in San Pietro in Vinculis, he
died in his 73rd year, which indicates
]42G as the year of his birth, a date
more in accordance also with his
assistance of Ghiberti. He engraved
a few plates.
Works. Florence, Academy, the three
Archangels Michael, Raphael, and
Gabriel. Ufiizj, two pictures of the
Labours of Hercules ; another of three
Saints, formerly in San Miniato al
Monte. In San Miniato, an Annun-
ciation. In the church of San Gimig-
nano, a Coronation of the Virgin (by
Piero, 1483). Berhn Gallery, an An-
nunciation ; and the Martyrdom of St.
Sebastian. {Vasari, Rumohr, Gaye.)
PONTE, Jacopo da, called II Bas-
SANO from his birthplace, b. 1510,
d. Feb. 13, 1592. Venetian School.
The son of Francesco da Ponte, a
scholar of Giovanni Bellini. He was
chiefly instructed by Bonifazio at Venice,
and having studied the works of Titian,
of Bonifazio and Parmegiano, for a
short time, he returned to Bassano. In
his early pictures he adhered to the
great historic style of his models, and
excelled both in colour and in chiar-
oscuro ; but this style he eventually for-
sook for one more genial to his tastes.
Jacopo Bassano is considered the
earliest gem'e painter in Italy ; the
great feature of his characteristic works
being the intimate blending of sacred
and mythological subjects with inci-
dents of ordinary hfe : he introduced
every kind of familiar object, whatever
might be the subject of the picture ; and
he was particularly fond of painting
animals, which he constantly inserted,
with or without propriety. He also ex-
celled in landscape - painting. The
Mourning Marys at Chis\vick ; Christ
bearing the Cross at Holkam ; a Cruci-
fixion in the Berlin Gallery ; the Nati-
vity, at San Giuseppe, the Baptism of
Santa Lucilla in the Mumcipahta, and
St. Martin dividing his cloak with the
beggar in the church of San Valentino,
at Bassano, — are among the best spe-
cimens of his earlier style. His later
works, though often as sacred and as
dignified in their subjects, are purely
genre pictures, executed often with a
slightness and indifierence that con-
trast strangely with the ordinary re-
serve and respect with which the pres-
«| tige of custom usually hallows such
subjects under the treatment of the
painter : as Christ driving the Money-
changers from the Temple, in the
K 2
132
PONTE— POETA.
National Gallery. One peculiarity of
Bassano and his school is the too com-
mon practice of concealing the hands
and feet, whether designedly or acci-
dentally, a paltry resource if had re-
course to to spare labour or to avoid
diflBiculties. The chief attractions in
his pictures are — the easy, masterly
touch, the animated grouping, the
occasional brilliancy of his colouring,
and the striking efiect of his lights and
shadows. He painted latterly figures
of a small size only, and frequently
on a dark ground. His portraits are
generally excellent. His pictures are
very nuraeroiis. Jacopo had four sons,
all of whom he brought up as painters :
Francesco, Giambattista, Leandro, and
Girolamo. Francesco, the eldest, b.
1550, d. July 4th, 1592, was the most
distinguished. He was employed in the
Ducal Palace with Tintoretto and Paul
Veronese, but he threw himself from a
window, in a fever, in his 42nd year, and
left these works unfinished. Leandro,
Cavaliere, the third son, b. 1558, d. 1623,
was an excellent portrait-painter, and
he completed some of his brother's un-
finished works. The others, Giam-
battista, b. 1553, d. 1613, and Giro-
lamo, b. 1560, d. 1622, chiefly copied
or imitated the works of their father.
They were all known by the name of
Bassano.
Works. Florence, the Uffizj, a
Family Concert. Venice, Academy,
the Kepose ; and the Eaising of
Lazarus and several other portraits
by Leandro Bassano. Padua, church
of Santa Maria, the Entombment.
Naples, Studj, the portrait of a woman.
Berlin Gallery, portrait of an old man ;
and the Crucifixion. Louvre, the
Nativity ; the Entrance into the Ark ;
the Portrait of John of Bologna ; and
various other subjects. London, Na-
tional Gallery, portrait of a gentleman ;
and the Expulsion from the Temple.
(Ridoljij Verci, Lanzi, Cadorin.)
PONTORMO, Jacopo Carucci
DA, h. at Pontormo, 1493 ; d. at
Florence, 1558. Tuscan School. He
studied a short time in the ^school
of Leonardo da Vinci, then with Piero
di Cosimo, with Albertinelli, and
finally, in 1512, with Andrea del
Sarto, whom he imitated. His early
works were admired by Raphael and by
Michelangelo; their merit seems to
have excited the jealousy of Andrea,
who excluded him from his studio.
At this time his figures were dignified
and graceful, his heads animated and
expressive, and his colouring rich
and harmonious. But he could never
remain fixed to one style ; he became
now a copyist of Albert Diirer, and in
his Deluge and Last Judgment, in San
Lorenzo, which occupied him eleven
years, he adopted the style of the anato-
mical imitators of Michelangelo : they
have long since been whitewashed
over. There are, however, some ex-
cellent portraits by Pontormo, power-
fully painted, full of animation, warm
in colour, and admirable in finish.
Works. Florence, Uffizj, two cabinets,
on which are the paintings of the His-
tory of Joseph ; Portrait of Cosmo de'
Medici. In the Court of the Annunziata,
the Salutation : Pitti Palace, Hall of
Saturn, Portrait of Ippolito de' Medici ;
and the Martyrdom of the forty crown-
ed Saints. Berlin Gallery, Venus and
Love, from a cartoon by Michelangelo ;
the Portrait of Andrea del Sarto.
Louvre, a Holy Family ; a Portrait of
Giovanni delle Corniole. (Vasari.)
PORDENONE. [Licinio.]
PORTA, Giuseppe, called Del Sal-
viATi, b. at Castel Nuovo, in the Gar-
fagnana, about 1520 ; living in 1572.
Tuscan School. A pupil and imitator
of Francesco Salviati, under whom he
studied at Rome. He afterwards ac-
companied his master to Venice, where
he was employed many years, and in
1572 published a treatise on the Ionic
PORTA— PEETI.
133
I
Volute. He attempted to combine
Florentine design with Venetian colour-
ing; but his figures are frequently ex-
aggerated in attitude and action ; and
his colouring is, occasionally, feeble.
He painted at Rome, in the Sala Regia,
for Pius IV., and in the library of St.
Mark, at Venice, he represented the
Prophets and Sibyls.
Works. Venice, church of the Servi,
the Assumption of the Virgin : in the
Frari, the Purification : Murano, church
degh Angeli, the Descent from the
Cross. Dresden G-allery, the same sub-
ject. Louvre, the Expulsion from Para-
dise. {Ridolji, Lanzi.)
POUSSIN, Gaspae, b. at Rome in
1613, d. in 1675. He was a French-
man by descent, his family name was
Dughet; but he appears to have adopted
the name of Poussin from his cele-
brated master Nicolas, who married
Gaspar's sister. The early landscapes
of Gaspar have a great affinity with
those of Nicolas, and display the same
fine feeUng for form, combined with
a bolder execution and more pic-
turesque efiect; qualities more fully
developed in his later works. Owing to
his habit of painting on dark grounds,
his pictures have become low in tone,
which gives a gloomy character to the
foregrounds; but the clear, soft per-
spective of the middle ground allures
the eye into the distance. His scenes
are generally mountainous and woody.
Ramdohr, who places Gaspar second
only to Claude, has remarked on the
solemn character of Gaspar's works,
which impels the mind to reflection tend-
ing to the melancholy. The " Italian
Landscape," in the National Gallery,
from the Colonna Palace, in Rome, is an
admirable example of the higher class
of fancy composition of this great land-
scape-painter, and an admirable ex-
ample of his free and masterly exe-
cution; it is also exempt from that
sombreness from which many of his
compositions now suffer. His tempera
pictures in Rome show that much of
the darkness, now apparently charac-
teristic of his works, is peculiar to his
oil pictures, and is the result of me-
thod, or time, or both ; some are coated
with dirt and varnish, a covering more
fatal to the efiect of landscapes than
of figure pieces. The enchanting
scenes of Tivoli, Frascati, Albano, and
other places in the vicinity of Rome,
were the most frequent subjects of his
pencil. Gaspar's figures are said to
have been frequently designed by
Nicolas Poussin.
Works. Rome, San Martino a' Monti,
scenes in fresco, from the Lives of
Elias and Ehsha : Doria and Colonna
Palaces, many landscapes in tempera.
Berlin Gallery, three landscapes. Lon-
don, National Gallery, a land-storm.
Shepherds seeking Refuge for their
Flocks ; a landscape, with Abraham
and Isaac; landscape, with Dido and
Eneas ; a woody landscape. Evening —
a view near Albano; an Italian land-
scape, mountain scenery; view of La
Riccia. (Pascoli, Ramdohr.)
PRETI, Cav. Mattia, caUed II Cav.
Calabrese, 6. at Tavema, Feb. 24,
1613, d. at Malta, Jan. 13, 1699. Nea-
politan School. The scholar of his
brother Gregorio, in Rome, and of
Guercino, whom he sought out in
Cento, in consequence of having seen
his Santa Petronilla. Preti travelled
much; he visited Paris and Madrid,
and studied the works of all the great
masters ; his drawing was bold but
incorrect ; his colouring is, in general,
sombre in the shadows, with aprevailing
ashy tone everywhere. He possessed
extraordinary facility of execution, and
chiefly represented martyrdoms, and
other tragical or mournful scenes; a
reflection of his own career, in which a
homicide was by no means an extra-
ordinary incident; he was a skilful
swordsman, but there appears to have
134
PEETI— PEIMATICCIO.
been mucli more recklessness than
malice in his disposition. He painted
some large frescoes at Kome, Modena,
Naples, and Malta ; his oil pictures
are numerous and he holds a high
place among the Naturalists. He was
scarcely rivalled in the South, until
Luca Giordano supplanted him. Many
of his works are engraved, and he
etched several plates himself. There
is a fresco in San Carlo de' Catenari,
at Kome, by his brother Gregorio, who
was President of tlie Academy^of St.
Luke.
Works. Eome, Sant' Andrea della
Valle, subjects from the Life of St.
Andrew. Siena, cathedral, the Preach-
ing of St. Bernard; Naples, San Do-
menico, San Pietro a Majella ; church
of the Carthusians, frescoes. Dres-
den, the Martyrdom of St. Bartholo-
mew; and the Incredulity of St. Tho-
mas. Louvre, St. Paul and St. Anthony
in the Desert; the Martyrdom of St.
Andrew. {Dominici.)
PEEVITALI, Andrea, of Bergamo,
painted from 1506 to 1528. Venetian
School. He was th,e scholar of Gio.
Bellini, and adhered to the traditional
character of the quattrocento. But his
figm^es are not without the tranquil
dignity and simplicity of the Bellini
school ; he excelled in perspective, and
in landscape, and especially in colour.
He painted also some charming Ma-
donnas. Previtali adhered also to the
early taste in his ornamental accesso-
ries. Eidolfi states that his portraits
passed for works of Belhni. His chief
works are still at Bergamo, where he
died of the plague.
Works. Bergamo, Santo Spirito, the
Baptist Preaching, with other Saints
(1515) : cathedral, San Benedetto, and
other Saints : Sant' Andrea, Deposi-
tion from the Cross. Carrara Gallery,
several works. Venice, Manfrini Gal-
lery, a Holy Family. Berlin Gallery,
three Female Saints; the Pieta, or
Dead Christ, mourned by the Virgin,
St. John, and other Women. (Tassi.)
PEIMATICCIO, Francesco, b. at
Bologna, 1504, d. at Paris, 1570. This
painter studied first under Innocenzio
da Imola, and then under Bagnaca-
vallo. He afterwards, in 1525, entered
the service of Giulio Eomano, whom
he assisted for several years in deco-
rating the Palazzo del Te, at Mantua,
and in other numerous works, stuccoes
as well as paintings. He was invited
to France by Francis I., to decorate
the new palace at Fontainebleau ; he
visited Paris in 1531 ; Niccolo dell'
Abate arrived about the same time ;
II Eosso had preceded them. Prima-
ticcio and Niccolo received a first pay-
ment in 1533 ; Eosso and they were the
first who executed frescoes and stuccoes
in France. Primaticcio represented,
scenes from the " Odyssey ; " and was
assisted by Niccolo dell' Abate, who
painted from his designs. The frescoes
in the Saloon of the Guards, or Gallery
of Henry II., alone are preserved.
About 1541 Primaticcio was sent to
collect casts in Eome, where he was
aided in that object by Vignola. He
returned to France, in 1543, with a
great collection of works of art ; II
Eosso had died during his absence, in
1541. In 1559 he was employed as
superintendent of the Eoyal buildings,
with a salary of 1200 francs the year.
There are few easel pictures by Prima-
ticcio, and most of his frescoes have
perished. " Ulysses returned to Pe-
nelope," in the collection at Castle
Howard, is therefore a valuable work ;
it shows careful execution, and (says
Dr. Waagen) is noble in character and
in style, but the colouring is feeble.
His figures are, however, in general
like those of his model, Parmegiano,
lank and affected. II Eosso and Pri-
maticcio gave a great impulse to the
arts in France ; they had numerous
scholars, and their school went by the
PEIMATICCIO— PEOOACCINI.
i&r
name of " the School of Fontaine-
bleau."
Primaticcio, in his capacity of super-
intendent of Eoyal Buildings to Fran-
cis II., was charged with the con-
struction of the two monuments at
St. Denis, to Francis I. and Henry II.
And they were not completed until after
his death ; the latter was designed by
Primaticcio, but the chief sculptures
were by Germain Pilon. In the Louvre
are some pictures attributed to Prima-
ticcio and to his scholars, as the Con-
tinence of Scipio ; and the Portrait of
Diana of Poitiers, Duchess of Valen-
tinois ; and two others. Francis I.
created him Abbot of St. Martin de
Troyes in 1544. {Vasari, Gaye.)
PKOCACCINI, Ercole, called II
Vecchio, h. at Bologna, 1520, living
1591. Lombard School. He was the
founder of the Eclectic school of Milan,
established there by his sons ; it is
doubted whether Ercole ever lived in
Milan ; his chief model was Correggio.
His design was minute, and his colour-
ing feeble ; but a careful and diligent
painter, he opposed himself to the
mere executive mannerism prevalent
at that period. His school was much
frequented; and, without neglecting the
study of Nature, he endeavoured to
enforce on his scholars the good result
that must ensue from the union of the
best qualities of the great masters.
Procaccini etched a few plates.
Works. Bologna, San Benedetto,
the Annunciation : San Giacomo Mag-
giore, Christ praying in the Garden :
San Stefano, the Deposition from the
Cross. {Lomazzo, Malvasia, Lanzi.)
PROCACCINI, Camillo, b. at Bo-
logna, 154G, d. at Milan, 1626. Lom-
bard School. The son of Ercole Pro-
caccini. He studied with his father,
with the Carracci, and the works of
Correggio, at Parma, and those ht
Raphael and Michelangelo, at Rome,
and settled in Milan about 1590. He
possessed extraordinary facility in exe-
cution, and produced works, according
to Lanzi, sufficient to have occupied
ten other painters, in the same time.
This facility, however, necessarily led
to a careless execution, fatal to many
of his works. But in some of his
better productions, there is a peculiar
delicacy of execution resembhng Sas-
soferrato. Several specimens of this
kind are to be seen in the churches
and galleries at Milan.
Works. Milan, Brera, the Adora-
tion of Kings: Santa Maria del Car-
mine, a Madonna and Child : cathe-
dral, in the sacristy, the Martyrdom
of St. Agnes. Bologna, Academy, the
Adoration of the Shepherds. Reggio,
San Procolo, fresco of the Last Judg-
ment. And in the Dresden Gallery,
San Rocco administering to those sick
of the Plague; one of his most cele-
brated works. {Lomazzo^ Malvasia,
Lanzi. )
PROCACCINI, GiuLio Cesaee, b.
at Bologna, about 1548, living in 1618.
Lombard School. The son and scholar
of Ercole, and brother of Camillo,
and likewise an imitator of Correggio,
whose works he studied at Parma; he
commenced his career as a sculptor.
He approaches nearest in style to
Correggio, more especially in colour,
and light and shade, in small cabinet
pictures ; some of these have passed
as works by Correggio. He is con-
sidered the most distinguished painter
of his family ; but his works are veiy
unequal. The churches and collec-
tions at Milan, Genoa, Parma, &c.,
abound with his works. Carlo Anto-
nio, a third son of Ercole, was a
distinguished landscape-painter; and
Carlo's son, Ercole (1590-1676), called
II Giovine, followed the style of his
uncles. Andrea (1671-1734), probably
of the same famil}', was a distinguished
scholar of Carlo Maratta, at Rome.
Works, Milan, church of Sant' An-
130
PKOCACCINI— RAMENGHI.
tonio, the Annunciation : San Celso,
the Transfiguration. Brescia, Sant'
Afra, the Virgin and Child, with Saints.
Berlin Gallery, the Angel appearing to
Joseph in a Dream. Munich Gallery,
Holy Family ; Madonna. Louvre, the
Virgin and Child adored by the Bap-
tist, and two Saints. {Matvasia, Rattiy
Lanzi.)
PUCCIO, PiETEO Di, of Orvieto,
painted at Pisa, 1390. Tuscan School.
A painter first accurately noticed by
Dr. Forster ; some frescoes by him on
the north wall of the Carapo Santo, at
Pisa, have hitherto passed and been
engraved as works of Buffalraacco.
They represent some chief events from
the Creation to the Deluge ; and evince
an earnest feeling for sacred subjects,
combined with a simple and cheerful
treatment of the ordinary incidents of
life in the detail. Still, as compositions
on a whole, they are in every case
artificial, constrained, and wanting in
dramatic truth ; perspective is wholly
disregarded. In colour, they are be-
yond their time, and also show much
technical skill ; they belong to the
earliest Italian frescoes. On the same
wall is a Coronation of the Virgin, but
little more than the original design is
now visible. Puccio was employed at
the rate of fourteen gold florins the
month. {Ciampi, Lasinio, Forster.)
PULIGO, DoMENiGO, h. at Florence,
1475, d. 1527. Tuscan School. A
scholar of Eidolfo Ghirlandajo, and
the friend and assistant of Andrea del
Sarto. His colouring is good ; but his
outline undecided, and, as Vasari has
remarked, lost in the ground of his
pictures. He frequently painted from
the designs of Andrea, for whose works
Puligo's Madonnas, or Holy Families,
have sometimes been mistaken. The
Pitti Palace, at Florence, and the
Colonna and Borghese Galleries, at
Eome, contain several of Puligo's pic-
tures. He painted also portraits, which,
says Vasari, were all beautiful and
faithful.
Works. Florence, Santa Maddalena
de' Pazzi, the Madonna and Child,
with John the Baptist, and other
Saints. Castello d' Anghiari, Deposi-
tion from the Cross. \ Vasari.)
PULZONE, SciPioNE, called Gae-
TANO, or SciPioNE DA Gaeta, d. aged
38, about 1590. Roman School. Scholar
of Jacopino del Conte ; he painted
some altar-pieces, but is more distin-
guished as a portrait-painter, in which
he attained a great name. His heads
are highly elaborated, but expressive
and animated ; the hair, the eyes, and
the accessories are finished with great
minuteness ; so much so, that his por-
traits appeared living, says Baglione.
Works. Rome, San Silvestro, at
Monte Cavallo, the Assumption : church
of the Gesu, a Pieta: Borghese Gal-
lery, a Holy Family. {Baglione.)
QUAINI, Ltjigi, h. at Bologna, 1643,
d. 1717. Bolognese School. The son
of Francesco, and a scholar of Guer-
cino, and afterwards of Carlo Cignani,
whom he assisted, and (says Lanzi)
his works cannot be distinguished from
Cignani's. He afterwards united with
Marco Franceschini, Avith whom he
painted at Bologna, at Genoa, and at
Rome; the designs for the most part
being the work of Franceschini. Luigi
also, like his father, who was a scholar
of Agostino Mitelli, excelled in paint-
ing flowers, armour, and landscape.
{Lanzi.)
RAMENGHI, Bartolomeo, called
II Bagnacavallo, from his birth-place,
6. 1484, d. 1542. Bolognese School.
He was first a pupil of Francia; he
subsequently studied under Raphael,
at Rome, wliere he assisted in the Vati-
can ; and on his retura to Bologna, he
EAMENGHI— .EAPHAEL.
187
introduced the Roman style into that
city, and improved the character of its
school. He was, says Kugler, pre-
served from the degenerate mannerism
into which so many of the scholars
of Raphael were betrayed, by the sim-
pHcity of representation he had early
acquired during his connection with
Francia. His good colouring, as Waa-
gen has remarked, was probably from
the same source. He aimed at gran-
deur and freedom, and though pos-
sessing less vigour than Julio Romano,
or Perino del Vaga, he acquired more
of the peculiar grace of Raphael's
style, who with him even superseded
nature ; but he was deficient in the
power necessary to adequately animate
the grand forms he selected; and he
is frequently accordingly little more
than a simple copyist of Raphael, or
even of Francia ; he excelled in in-
fants. He was much admired by the
Carracci and their school. His pic-
tures are rare in galleries — the Ma-
donna in Glory, at Dresden, is one of
the finest. Giovanni Battista Bagna-
cavallo, who assisted Primaticcio, at
Fontainebleau, and Vasari, at Rome,
was the son of Bartolomeo Ramenghi.
Works. Bologna, San Michele in
Bosco, remains of frescoes : Santa
Maria Madalena, Assumption of the
Virgin, &c. ; San Donato ; Ai Servi;
Sant' Agostino ; SS. Vitale ed Agri-
cola ; San Stefano, &c. : and in the
Academy, a Holy Family. Rome, Co-
lonna Palace, the sketch of a Troop of
Warriors before a City. Dresden Gal-
lery, Madonna in Glory, with four
Saints. Berlin Gallery, St. Agnes with
St. Petronius, holding the model of
Bologna, and another Saint. Louvre,
the Circumcision. {Baruffaldi, Lanzi,
Vaccolini.)
RAPHAEL, or Raffaello Santj,
or Sanzio, b. at Urbino, April 6, 1483,
d. at Rome, April 6, 1520. Roman
School. He received the first in-
structions in his art from his father,
Giovanni Santi ; but having lost both
his parents when very young, he was
placed, about 1495, by his uncles
Simone Ciarla and Bartolomeo Santi
with Pietro Perugino, at Perugia. In
1502 or 1503, he was in Siena, assist-
ing Pinturicchio with his frescoes, in
the library of the Duomo ; and in
1504 he paid his first visit to Florence,
where, with the exception of short
intervals spent at Perugia and Bo-
logna, Raphael resided more than
three years, and made the acquaint-
ance of Fra Bartolomeo, Michelangelo,
and other great artists of that remark-
able age. In 1508 he was invited to
Rome by Julius II., to paint the Vati-
can Stanze ; Michelangelo went in the
same year to Rome, and commenced
preparations for his frescoes of the
ceihng of the Sistine Chapel. The
remaining twelve years of his short
life Raphael passed in Rome.
The works of Raphael are extremely
numerous, in oil and in fresco ; and
they are painted in three several
styles : — in what is called his first, or
Perugino style; his second, or Floren-
tine style ; and his third, or Roman
style. Each style has its peculiar
merit, and all show a progress analo-
gous to the course of the revival of
art itself; in the first, timid and imita-
tive only of the example of his master
Perugino, a traditionary or probationary
style; in the second, dating from the
year 1504, an eclectic style is developed.
Raphael, no longer bound by the ex-
ample of Perugino, endeavoured to
form a style of his own, from the
various qualities displayed by the great
masters of the new world of art, opened
up to him by his visit to Florence, in
the works of Fra Bartolomeo, Da
Vinci, Michelangelo, and of Francia.
His colouring, light and shade, and
form, now all assume a more vigorous
character, and his composition already
1-38
RAPHAEL.
gives promise of that remarkable dra-
matic power to which it not long after-
wards attained. But it was some years
before Raphael fully developed in Rome
that unparalleled style through which
he has achieved, by universal acclama-
tion, the glorious title of the Prince of
Painters ; this is first fully developed
in the Hehodorus (1512). All his
f5tyles are beautiful, all have their
high attractions, but some qualities
of his earlier styles owe much of their
remarkable prominence to the defi-
ciency of others ; the quattrocento mas-
ters, generally, owe much of their glory
to this accidental importance of their
peculiar accomplishments. It is only
in Raphael's third manner, that we
feel forced to give our involuntary im-
qualified approval ; and because in this
all qualities are equally advanced : it
displays a co-ordinate development of
body and soul, passion and sentiment ;
the sensuous and the spiritual have
equal sway, and we have a normal art,
the just representative of nature; Hfe
in its grandest and in its minutest
spheres.
In his first, or Perugino manner,
sentiment transcends all other qua-
lities ; this was comparative art infancy.
Perugino and the Umbrian painters
could feel strongly, but could only ex-
press their feelings imperfectly; their
representations were true and natural
in their aim, they felt thoroughly, but
they wanted the art-power, the know-
ledge, the practical and technical skill,
to put that feeling with life-like truth
into their compositions ; mere appo-
sition and representation usurped the
place of complete dramatic composi-
tion, and the true indication of mind
or sentiment by the con-esponding out-
ward expressions of the body ; nature's
lesson was but half learnt.
In this first style, therefore, one of
pure imitation as regai'ds himself,
Raphael acquired the first great essen-
tial of art, sentiment, the quahty
already matured in the Umbrian School-
But his visit to Florence showed him
that this was not all tJmt was required
to perfect. art, and though the Umbrian
School from which Raphael proceeded
was perhaps in advance of the Floren-
tine in its own sphere, the young
painter of Urbino did not fail to per-
ceive that he had much to acquire to
attain to the full powers of his absorb-
ing art. In 1506 Michelangelo exhi-
bited his celebrated Cartoon of Pisa ;
this must have influenced Raphael,
though perhaps, owing to the animosity
which existed between Michelangelo
and Perugino, and Raphael's respect
for the latter, he may have suffered,
himself to have been less influenced
by it than he might otherwise have
been. However, his style of form was
now greatly enlarged, and his com-
position became much more dramatic,
as is seen in the Entombment of
Christ, in the Borghese Gallery, at
Rome (1507), or the Madonna del Bal-
dachino, at Florence, painted at the
same time, compared with the Corona-
tion of theVirgin, in the Vatican, painted
about 1502, or the Sposalizio, in the
Brera, painted in 1501.
In the spring of 1508 Raphael went
to Rome, and soon afterwards com-
menced the Vatican Frescoes, in the
so-called Stanze. The Theology, or
Dispute on the Sacrament, the first
completed, 1509, was still in his Flo-
rentine manner. In the Philosophy,
or School of Athens (1511), he gave
the first positive indications of his third
or great style, more completely deve-
loped in the Expulsion of Heliodorus
from the Temple of Jerusalem, 1512.
This great work, and the ceiling of the
Sistine Chapel, were completed at the
same time ; but Raphael had seen
Michelangelo's work in progress, and
doubtless much of his own admirable
enlargement of style was due to the
EAPHAEL.
1B9
rivalry of the great Florentine, though
Eaphael never actually imitated the
peculiarities of style of Michelangelo.
The frescoes ofthe Vatican Chambers,
though much obscured and deteriorated
by age, are still the noblest works of
modern painting ; they are seen to
great disadvantage, the locale is ab-
solutely mean, and the rooms are low
and ill-shapen. A good complete set
of copies of these remarkable works
would be a noble adornment of any
national Museum, and of the utmost
importance to the arts. The two ex-
tremes of Italian art meet in these
great works, from the high exclusive
sentiment of the fifteenth century, to
the mere mechanical mannerism of the
sixteenth, but chiefly and characteristi-
cally the happy mean between those
two, hence the deserved great name of
Eaphael ; though he may owe, per-
haps, his great popularity more to his
numerous and charming Madonnas.
The one subject of these great works
is the glorification of the church, and
of the Pontiffs, Julius and Leo, under
whom they were executed. The last
completed is the first in order, the
Sala di Costantino, containing the
Battle of Constantino and Maxentius ;
the Appearance of the Cross ; the Bap-
tism of Constantino ; and the Pre-
sentation of Eome to the Pope. In
the next chamber, the Stanza della
Segnatura (of the Signature), are —
the Theology, or Dispute on the Sacra-
ment, Eaphael's first work in the
Vatican, an extraordinary performance,
in his second manner, and with all
the glory of the quattrocento ; the com-
position is vast and symmetrical, but
full of grandeur; many of the heads
are magnificent : opposite to this is the
Philosophy, or School of Athens, a
composition of a difierent character, J)ut
equally remarkable, and with greater
freedom and fulness of form, but on
the whole inferior in grandeur and less
impressive: on a third wall, is the
Parnassus, or Poetry ; and opposite to
it Jurisprudence, in tliree distinct com-
positions ; in the centre above are three
female figures, personifications of Pru-
dence, Fortitude, and Temperance ;
and at the sides. Ecclesiastical and
Civil Law — Gregory XI. delivering the
Decretals to a consistorial Advocate;
and Justinian delivering the Pandects
to Tribonianus : on the ceiling of this
chamber, on a gold ground, are the per-
sonifications of the four great subjects
represented on the walls. The next
chamber is the Stanza dell' Eliodoro,
containing the Expulsion of Heliodo-
rus from the Temple, illustrating the
passage in Maccabees — "there ap-
peared to them a horse with a terrible
rider upon him, adorned with a very
rich covering ; and he ran fiercely and
struck Heliodorus with his fore-feet ;
and he that sat upon him seemed to
have armour of gold. Moreover there
appeared two other young men, beau-
tiful and strong, bright and glorious,
and in comely apparel : who stood by
him on either side, and scourged him
without ceasing." — The whole typical
of the delivery of the States of the
Church from foreign enemies by Ju-
lius 11. There could not have been
a more refined choice for the purpose,
nor could the subject have been more
sublimely rendered ; the two young
men are indeed bright and glorious,
the whole group has more the charac-
ter of what it represents, an angelic
vision, than the work of human hands.
The next picture is the Mass of Bol-
sena — representing the truth of the
doctrine of transubstantiation to a
doubting priest : while he was con-
secrating the Host in the church of
Santa Christina, at Bolsena, in 1263,
the wafer bled ; the procession of Cor-
pus Christi is the celebration of this
event. On the third wall, opposite to
the Heliodorus, is the Attila ; and the
140
RAPHAEL.
fourth is the deUvery of St. Peter out
of prison : the paintings of this cham-
ber are all great works, and the finest
of Raphael's frescoes. In the fourth
chamber, the Stanza dell' Incendio, so
called from the fire of the Borgo, or
suburb of Rome, miraculously arrested
by Leo IV.; this chamber chiefly exe-
cuted by Raphael's scholars, contains
also the Oath of Leo III., before
Charlemagne ; the Coronation of Char-
lemagne by Leo ; and the Victory of
Leo IV. over the Saracens at Ostia;
all completed in 1517. During the
progress of this chamber, the Loggie
were painted by Raphael's scholars,
Giulio Romano, Gianfrancesco Penni,
Rafiaellino del CoUe, Perino del Vaga,
and Pellegrino da Modena; and the
ornamental arabesques, or grotesques,
imitated from the ancient Baths of
Titus, chiefly by Giovanni da Udine.
The Stanza dell' Eliodoro was com-
pleted in 1514 ; and from this time
Raphael had so many engagements,
that the prosecution of these frescoes
was delayed, and the general character
of his works sensibly deteriorated,
except in some few instances ; his
frescoes, however, more than his oil
pictui-es; but he preserved his style
of grandeur to the last. The third
Vatican chamber, the Stanza dell'
Incendio was executed almost entirely
by his scholars ; and the fourth, or
Sala di Costantino, was only completed
after Raphael's death, by Giulio Ro-
mano and Gianfrancesco Penni, in
1523.
In the meanwhile were executed,
besides the arabesques of the Loggie,
or gallery leading to the Stanze, con-
taining the series known as Raphael's
Bible, also the Galatea and other fres-
coes of the Farnesina, the world-
celebrated Cartoons at Hampton Court
(about 1515) ; numerous Madonnas,
Holy Families, and Portraits ; and the
following admirable oil-pictures — St.
Cecilia, at Bologna ; the great Madonna
di San Sisto, at Dresden ; the Spasimo,
at Madrid ; and his last performance,
the Transfiguration, at Rome. Of
Raphael's numerous Madonnas, &c., a
very interesting general view is given
in small cuts in Sir Charles Eastlake's
second edition of Kugler's Handbook
of Painting in Italy. The whole of
these works, executed during the last
ten years of his life, are in his third
manner, which constitutes the Roman
School in its perfection : — conspicuous
both for the most comprehensive, or,
indeed, boundless range of expression,
as displayed in the Cartoons with
unrivalled power, and unapproached
dramatic composition ; correct and
vigorous design, embodying the ideal
perfection of form in general character,
yet too true to nature to admit of
much absolute individual beauty ; and
in colour, certainly in the frescoes,
grand and appropriate. This unri-
valled painter, surnamed by the Italians
II Divine, died in the vigour of man-
hood; he lived exactly thirty-seven
years, as we are informed by the in-
scription on his tomb by his friend the
Cardinal Bembo ; he died on Good
Friday, April 6, having been born on
that same day, April 6, thirty-seven
years before, 1483.
Raphael lost his life in some mea-
sure owing to his overwhelming occu-
pations ; for, independent of the extra-
ordinary demands on him for pictures,
in 1514, he had succeeded Bramante
as Architect of St. Peters. Of a subtil
and delicate organisation, such inces-
sant and various application must have
injured his health, as it did his repu-
tation, for much was necessarily left to
his numerous scholars. The extra-
ordinary effort he made in his last
work, the Transfiguration, was owing
to the competition of Sebastiano del
Piombo, personally aided by Michel-
angelo. The Transfiguration, and the
EAPHAEL.
141
Raising of Lazarus, were both painted
for the Cardinal Giulio de' Medici,
in 1519 : Raphael's picture was not
finished. It was under these circum-
stances, that on one occasion in March,
1483, when engaged at the Famesina,
he was suddenly summoned by Leo X.
to the Vatican, and in his haste to
meet the Pope, overheated himself,
and in that state he had his audience
with Leo, within the cool precincts of
the Vatican, and caught a cold, which
ended in a fever, fatal to him in four-
teen days. He was buried with great
pomp in the Pantheon.
Raphael's untimely death is assumed
to have been a great calamity to his
art; but it can hardly be a question
that he had fulfilled his destiny, had
performed his work. His commissions
and occupations were too multifarious
to admit of an undivided attention, or
perfect performance for the future :
the Heliodorus, the Madonna di San
Sisto, the Cartoons at Hampton Court,
were not to be surpassed even by him-
self, and as all the circumstances
seemed to fully promise that his works
must henceforth be chiefly executed
by his scholars, the Stanza dell' In-
cendio, the Psyche series of the Far-
nesina, or the Arazzi della Scuola
Nuova, are rather the truer exponents
of the character of his ultimate style,
than the Cartoons, or Transfiguration
itself, his last work, and produced
under peculiar incitement. On the
whole, perhaps, the Hampton Court
Cartoons must be considered as Ra-
phael's noblest work; the series con-
sisted originally of ten, three are
lost — the Stoning of St. Stephen; the
Conversion of St. Paul ; and St. Paul
in Prison at Philippi. Of the seven
at Hampton Court, the character is
well given in Burnet's prints.
Raphael was of a sallow complexion,
had brown eyes, was slight in form,
and about five feet eight inches high :
he was never married, but was engaged
to Maria Bibiena, the niece of the
cardinal of that name ; she died before
him. He left property to the value of
16,000 ducats, from which he be-
queathed an independence to the beau-
tiful Fornarina. His pictures, draw-
ings, and other art materials he left to
his favourite scholars Giulio Romano
and Penni, called II Fattore, on con-
dition of completing his unfinished
works. His numerous school was dis-
persed after the sack of Rome in 1527,
but this dispersal scattered the germs
of the Roman School throughout Italy,
and tended greatly to spread the better
taste of the sixteenth century.
Works. Urbino, in the Ducal Gal-
lery, &c., several early specimens.
Perugia, San Severo, the Trinity,
fresco, 1505 : church of the Francis-
cans, Coronation of the Virgin; and
many others. Florence, Ufifizj, Ma-
donna del Cardellino ; St. John the
Baptist; the Fornarina?; and his own
Portrait : Pitti Palace, Madonna della
Sedia ; Madonna del Baldachino ; Ma-
donna del Impannata ; Julius II. ;
Leo X. and the Cardinals de' Medici
and de' Rossi; and others. Rome,
Borghese Gallery, Entombment : Fres-
coes of the Vatican, Stanze and Loggie :
Vatican Gallery, San Niccola da Tolen-
tino ; Coronation of the Virgin ; Ma-
donna di Fohgno ; Transfiguration :
Sant' Agostino, Isaiah : Santa Maria
della Pace, Prophets and Sibyls : the
Farnesina, Galatea ; Psyche, &c. ; Villa
Madama, &c., &c. Naples, Studj, Ma-
donna della Gatta; Madonna del
Passeggio, &c. Milan, Brera, Lo Spo-
salizio. Bologna, Academy, St. Cecilia-
Paris, Louvre, La Belle Jardiniere
(1507) ; Holy Family of Francis I.
(1518) ; St. Michael and Satan (1518);
Balthazar Castiglione ; and other por-
traits. Madrid Gallery, Holy Family,
La Perla ; the Madonna del Pesce ;
Christ bearing his Cross, Lo Spasimo ;
142
RAPHAEL— EAZZI.
Holy Family, della Eosa; and others.
Vienna, the Repose. Munich Gallery,
Holy Family, Canigiani, an early work ;
Madonna della Tenda; Portrait of
Bindo Altoviti. Dresden, Madonna di
San Sisto. Berlin Gallery, Adoration
of the Kings, &c. of the Ancajani
family, an early work (and perhaps
more correctly attributed to Lo Spagna) ;
Holy Family, di Casa Colonna (1508) ;
and others. England, London, Na-
tional Gallery, St. Catherine (1507) ;
Julius II. : Bridgewater Gallery, Ma-
donna del Passeggio; Madonna mth.
the Palm Tree : Blenheim, Madonna
Enthroned, Ansidei family. Hampton
Court, the seven Cartoons : — The Mira-
culous Draught ; the Charge to Peter ;
Peter and John at the Beautiful Gate ;
the Death of Ananias ; Paul and Bar-
nabas at Lystra; Paul preaching at
Athens ; and Elymas struck Blind.
( Vasai% Pungileonif Longhena, Passu-
vant.)
RATTI, Cav. Caelo Giuseppe, h.
at Genoa, 1735, d. 1795. Genoese
School. He was the son and scholar
of Giovanni Agostino Ratti, a good
painter of Savona= Carlo studied at
Rome, and acquired the friendship of
Mengs and Battoni. He was a good
copyist, but is more distinguished for
Ms writings than his pictures. His
principal work is a continuation of
Soprani's Lives of the Painters of
Genoa : — Delle Vite de' Pittori, Scul-
tori, ed Archltetti, Genovesi. 4to. Gen.
1769.
EAZZT, Cav. Giannantonio, called
II Sodoma, a corrupdon of his sur-
name of SoDONA, as he has signed
himself on some of his works, h. at
Yercelli, in Piedmont, about 1479, d. at
Siena, Feb. 14, 1549. Sienese School.
He was settled in Siena, and had ac-
quired the freedom of the city. His
education is obscure ; he seems to have
been the scholar of Giovenone, at
Vercelli. He settled at Siena after a
considerable sojourn at Rome, whither
he had been invited by Agostino Chigi ;
and he was employed by Julius II. in
the Vatican Stanze. Razzi was, with
Pinturicchio, one of the first to esta-
blish the clnquecento style in Siena;
he excelled in colouring, in expres-
sion, and in motion, but his forms
were not elegant. His taste somewhat
resembles that of Leonardo da Vinci,
particularly in liis women ; they unite
grace and sweetness, with an earnest-
ness of expression uncommon. Had
his perception of beauty been more
uniformly developed, and his drawing
and grouping been more correct, he
would have ranked among the greatest
masters of the sixteenth century. His
earliest works of repute are the seven-
teen frescoes in the Benedictine Mo-
nastery, Monte Oliveto, on the road
from Siena to Rome, representing the
History of St. Benedict, in continuation
of the series commenced by Luca Sig-
noreUi, in 1498. Razzi's were com-
pleted in 1502 ; and it was through
these works that he was invited to
Rome. His later works are, however,
more important; his best productions
are at Siena, in San Domenico, in the
chapel of Santa Caterina da Siena ; two
frescoes painted in 1526, which have
been the constant admiration of pain-
ters, from Baldassare Peruzzi and
Annibal Carracci, down to the present
time. On one side of the altar is
St. Catherine in ecstasy, according to
the legend; on the other side she is
represented fainting, and about to
receive the Eucharist from the Angel ;
these are masterly compositions, the
pathetic expression of the figures and
countenances is very beautiful, the
whole sentiment is unusually power-
fully rendered. The scenes from the
History of the Virgin, in the oratory
of San Bernardino, executed by Razzi,
in conjunction with Pacchiarotto and
Beccafumi, in 1536-38, are also of
EAZZI—EIBEEA.
143
great' merit, especially the Visitation
and the Assumption. Rumohr pre-
fers Eazzi's earhest works, at Monte
Oliveto, for their simple dignity of
character; his later productions are
generally admitted to be unworthy of
him. Lanzi, in alluding to this de-
cline, observes — " still in all his pic-
tures you see traces of the able master,
who, though not willing to paint well,
did not know how to paint badly."
From Vasari's account of Eazzi, we
learn that he was a man of such
eccentric habits and fancies, that he
acquired the nick-name of Mattaccio,
or Arch-Fool, from the monks of
Oliveto. But Vasari has been accused
of injustice in this instance, or was
misled. However, Eazzi squandered
away all his property, and ended his
days in the great hospital of Siena.
But his reputation was great in spite
of his fortunes: Paolo Giovio com-
pares it with tliat of Eaphael. His
pictures are rare in galleries.
Works, in addition to the above
mentioned: — Eome, the Famesina, in
an apartment of the upper story, the
Marriage of Alexander with Eoxana ;
and Alexander in the tent of Darius :
Borghese Palace, a Madonna. Siena,
Town-hall, Chapel, Holy Family : San
Francesco, the Deposition from the
Cross (1513), according to Speth,
Eazzi's master-piece : Sant' Agostino,
an Adoration of Kings : Academy, the
Scourging of Christ. Florence, the
Uffizj, St. Sebastian. Naples, the
Stitdj Gallerj^, the Eesurrection of
Cbrist (1534). Pisa, chapel of the
Gampo Santo, the Sacrifice of Abra-
ham. Munich Gallery, Madonna and
Child. Berlin Gallery, a Christ bear-
ing his Cross ; and Christ crowned
with thorns. Kugler mentions a Lu-
cretia, in the possession of the late M.
Kestner, as worthy of Eaphael. ( Vfl-
sari, Lanzi, Speth, Rumohr, Gaye.)
EIBEEA, Cav. Giuseppe, com-
monly called Lo Spagnoletto (the
Little Spaniard), 6. at Xativa, near
Valencia, in Spain, Jan. 12, 1588, d.
about 1650. Dominici claims Eibera
as a Neapolitan, though of Spanish
descent. He was first a pupil of Fran-
cisco Eibalta, in Valencia. He sub-
sequently went to Italy, where he
studied for some time in Eome ; and
he was in the first instance attracted
by the frescoes of Eaphael and Anni-
bal Carracci ; but he eventually formed
his style from the works of Michel-
angelo da Caravaggio. On leaving
Eome for a time, he visited Modena
and Parma, where he studied the works
of Correggio. He finally settled in
Naples, and married there the daugh-
ter of a rich picture-dealer. By the
position he thus acquired, he was
enabled to perform a more conspicuous
than amiable part in the art annals of
his adopted home, during the last
twenty years of his life.
Eibera was one of tlie most remarkable
of the Italian Naturalisti, the successful
rival of Caravaggio himself. Though
his forms are coarse, his drawing is
always vigorous, and commonly cor-
rect, and his colouring is often intense
and brilliant, but his shadoAvs are
excessive. Some of his sacred sub-
jects, however, are noble in concep-
tion, as well as powerful in execution,
as the Pieta, or Deposition from the
Cross, in the sacristy of San Martino>
at Naples, a masterly work ; and like-
wise the admirable Adoration of the
Shepherds, in the Louvre, at Paris, a
late work (1650). But Eibera, in har-
mony with the jealous impatience of
his disposition, possessed a wild and
extravagant fancy, and the subjects
best suited to his taste were execu-
tions, or martyrdoms distinguished for
their torments, even of the most re-
volting description; such scenes he
painted occasionally with a horrible
fidelity to the story, in dramatic energy,
14i
EIBEEA— BICCI.
and graphic truth of representation.
The preparation for the Martyrdom of
St. Bartholomew, in the Berlin Gal-
lery, is an exception to his ordinary
treatment ; the mere indication of the
torture gives a shuddering interest to
the spectator, which in the grosser
representation, becomes converted into
revolting disgust only. With all his
great power, Eibera was unsuccessful
in high religious sentiment, or even in
mythological scenes ; indeed, he is an
unpleasing artist, says Kugler, in all
those subjects where either grandeur
or beauty is indispensable. This holds
as a common objection to all the great
Naturalistic painters of the school
of Caravaggio; the ordinary life they
selected, with the purely material or
imitative treatment of the subject,
combined with a strong technical man-
nerism in colouring, and light and
shade, present the consciousness of
art-work so palpably to the mind, that
the contemplation or apprehension of
the subject itself, is lost in the con-
sideration of the technical skill ex-
pended over it. It has too much art
to allow the mind to be engrossed by
the subject, and not sufficient nature
to admit of illusion, and consequent
disregard of the means effecting it.
Eibera was, from the very nature of
his style, an excellent portrait-painter,
for male heads. He had many followers
at Naples, among whom were Salvator
Eosa and Luca Giordano, who imitated
and copied his works, and many, doubt-
less, of the pictures imputed to Eibera,
are by the hands of his scholars.
Belisario Corenzio, Giambattista
Carracciolo, and Eibera, formed them-
selves into a cabal to exclude, whether
by intimidation or otherwise, all rival
talent from Naples. Domenichino,
Annibal Carracci, the Cav. d'Arpino
and Guido, were all more or less
victims of this infamous cabal. Many
of Eibera's finest works are in Spain,
in the Escurial, Buenretiro, Prado, &c.
He etched some works. Neither the
time nor place of his death are
known.
Works. Naples, Sma. Trinita, St.
Jerome : San Martino, in the choir,
the Last Supper : Cappella del Tesoro,
Martyrdom of St. Januarius : Studj
Gallery, Silenus. Eome, Corsini Gal-
lery, Venus lamenting over the body
of Adonis. Dresden, Martyrdom of
St. Lawrence. Munich, Death of Se-
neca. Berlin Galleiy, St. Jerome in
Meditation ; and the preparation for
the Martyrdom of St. Bartholomew,
already noticed. London, National
Gallery, a Pieta : Bridgwater Gallery,
Christ teaching in the Temple : Apsley
House, Strogozzo: Burleigh House,
Eepose in Egypt: Stratton House,
Holy Family. Alton Towers, his own
Portrait. ( Cean Bermudez, Dominici.)
EICCHI, PiETRO, called II Luc-
CHESE, b. at Lucca, 1606, d. at Udine,
August 15, 1675. Tuscan School. A
scholar of Passignano in Florence, and
an imitator and scholar of Guido Eeni
in Bologna. He practised also for
some time in France. He afterwards
studied and resided long at Venice,
where he became an imitator of Tin-
toretto. Two altar-pieces by him are
in the church of San Francesco at
Lucca. He also painted much at
Udine, and generally in the Milanese
and Venetian States; but his oil-pic-
tures have decayed. Lanzi especially
praises San Eaiinondo at the Domini-
cans at Bergamo: and the Epiphany
in the Patriarchal Church in Venice:
in the Dresden Gallery is the Betro-
thal of St. Catherine. (Baldinucci.)
EICCT, Antonio. [Baebaltjnga.]
EICCI, Camillo, b. 1580, d. 1618.
Ferrarese School. He was the scholar
and assistant of Ippolito Scarsella,
called Lo Scarsellino : he imitated the
manner of his master with such suc-
cess, that the works of the scholar may
EICCI— RICCIAEELLI.
145
be mistaken for those of the master :
Camillo has less freedom of execution,
but greater harmony of colour than
Scarsellino. The churches of Ferrara
contain many pictures by Camillo
Eicci; in the church of San Niccolo,
he represented the Life and Miracles
of the Bishop of that name, in eighty-
four compartments. {Baruffaldi.)
EICCI, Gio. Batista, called No-
VARESE, h. 1545, d. at Eome, 1620.
Eoman School. He was the scholar of
Lanini, and was employed at Eome by
Sixtus V. and Clement VIII., in the
library of the Vatican, and in the
church and palace of St. John Lateran.
In the church of the Lateran he re-
presented the Consecration of that
Basilica by San Silvestro, his principal
work. In the nave of Santa Maria
Maggiore, he painted the Visitation,
the Ascension, and the Assumption of
the Virgin, in fresco. He was a man-
nered imitator of Eaphael, and his
works belong to the material and
merely ornamental school of the close
of the sixteenth century. {Baglione.)
EICCI, or EIZZI, Sebastiano, b. at
Cividale di Belluno, 1659-60, d. at
Venice, May 15, 1734. Venetian School.
A scholar of Federigo Cervelli at
Venice. He studied also the works of
the great masters at Florence, Modena,
and Parma; he ' was employed in
Germany, arid he visited England in
the reign of Queen Anne, and resided
ten years in this country, where he de-
corated several of the houses of the
nobility. His imitations of the works
of the great masters, especially those
of Paolo Veronese, were very success-
ful ; and he also unscrupulously adopted
the groups and ideas of others in his
own compositions. He possessed great
facihty of execution, was gay in colour,
and graceful in the character of his
forms, but his design is frequently in-«
correct, and his productions are gene-
rally superficial, feeble, and mannered :
they are extremely numerous ; he was
one of the most successful painters of
his age.
His nephew, Marco (1679-1729),
who was with him in this country, was
a good landscape and architectural
painter.
Works. Venice, SS. Cosmo e Da-
miano, alia Giudecca, Solomon; Moses
striking the Eock (in which he was
assisted by Marco Eicei); and the
Triumph of the Ark. Padua, Sta.
Giustina, the Apostles adoring the
Sacrament, in fresco. Bergamo, church
of Sant' Alessandro, St. Gregory. Dres-
den Gallery, Ascension of Christ.
Louvre, an allegorical subject; Christ
giving the keys of Paradise to St.
Peter ; and two other pictures. Hamp-
ton Court, several pictures. (Zanetti.)
EICCIAEELLI, Daniele, caUed
Daniele da Volteera, b. at Volterra in
1509, d. at Eome, April 4, 1566. Tus-
can School. He was first a scholar of
Gio. Antonio Eazzi, and afterwards of
Baldassare Peruzzi. He subsequently
went to Eome, where he studied under
Perino del Vaga; and also worked
under the direction and from the de-
signs of Michelangelo, and he proved
himself to be one of the ablest scholars
of that master. His master-piece is still
in the Trinita de' Monti at Eome ;
though destroyed by the French in en-
deavouring to remove it, it was re-
stored by Palmaroli. It represents the
Descent from the Cross, and is re-
markably similar in character of com-
position to the celebrated picture of the
same subject by Eubens at Antwerp:
the Flemish oil-picture is little more
than a variation of the Eoman fresco.
It is full in composition, and is a grand
impassioned representation, with a
powerful dramatic action, and a pic-
turesque treatment; Michelangelo is
said to have assisted Daniele in this
work. The powers of Daniele, accord-
ing to Vasari, were, to his credit, rather
L
146
RICCIAEELLT— EIDOLFI.
the result of unwearied study and ap-
plication, than of any great natural
facility. His execution was slow and
laboured; some of his works are cold
and artificial, and without that warmth
and energy which alone can satisfy and
impress the spectator. The picture on
slate, showing a back and front view,
of David and Goliath, in the Louvre, is
dry and hard, but it displays a masterly
power of representation and fore-
shortening, and it was long ascribed
to Michelangelo: it had been presented
to Louis XIV., as a work of that great
painter, by the Spanish Ambassador.
Daniele decorated the walls of some of
the Eoman palaces : the subjects from
the history of Judith, in chiarosciu-o,
on the fa9ade of the Massimi Palace
are ascribed to him. After the death
of Perino del Vaga, Daniele was em-
ployed to finish the decorations of the
Sala Eegia, begun by that painter.
Some of the nude figures in Michel-
angelo's Last Judgment were covered
by him Avith slight draperies, Which
saved that great work from the white-
wash destined for it by Paul IV., and
obtained for Daniele the nick-name of
*' Braghettone." This able painter de-
voted himself chiefly to sculpture dur-
ing the latter part of his life.
Works. Eome, Trinita de' Monti,
the Descent from the Cross : San
Pietro in Montorio, the Baptism of
Christ: San Marcello, frescoes. Flor-
ence, Uffizj, the Massacre of the
Innocents. Dresden Gallery, Holy
Family. Louvre, David killing Goliath.
England, Castle Howard, Entombment
of Christ. (Vasari.)
EICCIO, Sanese, II, or Maestro
Eiccio, the common appellation of
Bartolomeo Neroni. He painted about
1550-1573. Sienese School. He was
the son-in-law, pupil, and assistant of
Gio. Antonio Eazzi, and painted his-
torical subjects, perspective and archi-
tectural views. According to Lanzi,
his Descent from the Cross in the
church of the Derelitte at Siena, dis-
plays much affinity with the works of
Eazzi; on the otiier hand two large
pictures by Eiccio, in the Sienese
Academy, show the influence of the
Florentine School: he followed the
taste of Federigo Zucchero, and of
Vasari. In the Berlin Gallery is a
Madonna and Child, with Saints, by
this painter. He was also an archi-
tect.
EICCIO, DoMENico, called II Beu-
SAsoRci (from his father, who invented
a rat-trap), b. at Verona, 1494, d. 1567.
Venetian School. He was the scholar
of Giolfino, and studied also the works
of Giorgione and Titian; he painted
historical subjects, and decorated villas
and palaces with frescoes. Eiccio's
picture of St. Mark, in the church of
the Padri Agostiniani at Verona, bears
a great resemblance to the works of
Titian; his execution is generally of a
strong Venetian character, and he was
called the Titian of Verona. His prin-
cipal works in his native place are the
frescoes of the Palazzo de' Murari, a
mythological series; and the celebrated
Cavalcade of Clement VII. and Charles
v., in the Palazzo Eidolfi. He painted
also in the ducal palace at Mantua.
His oil pictures generally belong rather
to the jnythological, than the sacred
province of art.
Felice Eiccio, Domenico's son (6.
1540, d. 1605), called also Brusasorci,
studied at Florence under Jacopo
Ligozzi, and adopted a different style
from his father, more dehcate,but with
less power. Lanzi commends his
elegant design, and the graceful air of
his heads : he was an excellent portrait-
painter. Domenico had another son,
Giambattista, and a daughter, Cecilia,
who likewise distinguished themselves
in the art. {Ridol/i, Dal Pozzo.)
EIDOLFI, Cav. Carlo, 6. at Vi-
cenza, 1594, d. at Venice 1658. Vene-
RIDOLFI— EOMANELLI.
147
lian School. A scholar of Antonio
Vassilacchi; he painted historical sub-
jects and portraits. His works are
less mannered than those of many of
his contemporaries. He was employed
by Innocent X. at Rome. The Visita-
tion, in the church of Ognissanti at
Venice is considered his master-piece.
He is distinguished as a writer on art.
His Lives of the Venetian Painters,
displays, says Lanzi, fidelity and judg-
ment ; he is precise and just, correct,
and well informed on the subjects of
pictures. This work, notwithstanding,
is very imperfect ; it first appeared in
Venice in 1648, in two volumes quarto,
with portraits, under the title Le
Marttviglie delV Arte ovvero, Le Vite
degli Illustri Pittori Veneti e dello
Stato. A new edition, in two vols.
octavo, appeared in Padua in 1835, but
the promised notes and additions are
still to come. Ridolfi was the Venetian
Vasari, and his defects have been well
supplied by later writers, as Boschini,
Zanetti, Lanzi, Cadorin, &c.
RIDOLFI, Claudio, b. at Verona,
1560, d. at Corinaldo, 1644. Roman
School. He studied under Dario
Pozzo and Paul Veronese. He after-
wards settled in Urbino, and seems to
have been much influenced by the
works of Federigo Barocci with whom
he lived on terms of intimacy ; but
Ridolfi finally established himself in
Corinaldo in the March of Ancona.
Lanzi commends him for the graceful
expression in the air of his heads, and
his beautiful colouring. He painted
porti-aits as well as historical subjects.
At Urbino, in Santa Lucia, is the Birth
of the Baptist; and in Santo Spirito
the Presentation of the Virgin in the
Temple : in Rimini is the Deposition
from the Cross ; and in Padua, in
Santa Giustina, St. Benedict present-
ing the Rules to the principal Bene-
dictines. {Ridolfi.)
RIMINALDI, Okazio, h. at Pisa,
1586, d. December 10, 1631. Tuscan
School. He studied first under Ra-
nieri Alberghetti, then under Aurelio
Lomi, and with Gentileschi at Rome.
He was a follower at one time of
Michelangelo da Caravaggio, and after-
wards with more constancy of Domeni-
chino. He painted at Rome ; but
chiefly for the churches, and the cathe-
dral, of Pisa. One of his principal
works, the Martyrdom of St. Cecilia,
has been placed in the Pitti Palace at
Florence ; there is a copy of it by Do-
menico Gabbiani in Santa Caterina at
Pisa. In the cathedral are the Brazen
Serpent; Samson slaying the Philis-
tines (both about 1626 ; there is a copy
of the first in the Florentine Gallery) ;
and his chief and last work, the As-
sumption of the Virgin, in oil, in the
cupola, finished by his brother Giro-
lamo, and for which the family received
5000 scudi. (Morrona.)
ROBUSTI. [Tintoretto.]
ROMANELLI, Gio. Francesco, 6.
at Viterbo, about 1610, d. 1662. Ro-
man School. He first studied with a
relative at Rome, L'Incarnatini ; then
under Domenichino, and subsequently
under Pietro da Cortona, whose man-
ner he followed. His works are vigor-
ous, and chiefly ornamental only, but
are sometimes pleasing, though not
free from the mannerism of the Ma-
chinists. He was much patronised by
Bernini, who pitted him against Carlo
Maratta, Andrea Sacchi, and Pietro da
Cortona himself. One of his principal
works is tlie Deposition from the Cross,
in Sant' Ambrogio della Massima ; in
St. Peter's is a Presentation in the
Temple, in mosaic. Romanelli showed
more delicacy of execution, but less
power than Pietro da Cortona. Ro-
manelli resided eight years in France,
where, through his patron the Cardinal
Barberini he was much employed by
the Cardinal Mazarin. He decorated
some of the apartments in the old
L 2
148
KOMANELLI— EOMANO.
Louvre, the so-called Salles, des Sai-
sons, de la Paix, des Romains, and
du Centaure, witli subjects from the
iEneid, and for which he was made a
Knight of the order of St. Michael by
Louis XIV. A large copy of Guido's
Triumph of Bacchus by Romanelli is
at Hampton Court. In the Gallery of
the Louvre are the Gathering of the
Manna, and two mythological subjects.
He painted more in fresco than in oil.
{Passeri.)
EOMANINO, GiKOLAMO Romani,
called II Romanino, a native of Brescia,
painted in 1510, d. about 1550. Ve-
netian School. He was the scholar
of Stefano Rizzi, and the contemporary
and rival of Bonvicino, called 11
Moretto di Brescia ; and he surpassed
that master in boldness of conception
and energy of expression, though he
was inferior to him in the simplicity of
his compositions, in the fmish and the
choice of his forms. The works of
Titian seem to have been the great
models of Romanino: the Descent
from the Cross, from the CasaBrog-
noli, Brescia, which is now in the
Berlin Gallery, is considered one of
Romanino's master-pieces ; it is men-
tioned by Ridolfi as having been
praised by Palma as a genuine Venetian
work, alluding to its rich colour and
impasto, in Titian's style. It is a some-
what coarse picture, but very powerful
in composition and colour. The Dead
Christ with Mourners (1510), in the
Manfrini Gallery at Venice, is a truly
grand work, says Kugler, conveying a
touching expression of grief.
Works. Brescia, San Domenico, the
Coronation of the Virgin, with St.
Domenic and other Saints : San Gio-
vanni Evangelista, Christ in the House
of the Pharisee; the Resurrection of
Lazarus; the Marriage of the Virgin,
&c. : San Giuseppe, the Crucifixion,
with various Saints : Santa Maria Cal-
chera, Sant' ApoUonio administering
the Sacrament; the Last 'Supper.
Padua, in the sacristy of Sta. Justin a,
a Madonna enthroned. Verona, San
Giorgio, scenes from the Life and
Death of St. George. Berlin Gallery,
Judith with the head of Holophernes ;
a Madonna and Child enthroned, with
Angels and Saints. {Eidolji, Lanziy
Brognoli.)
ROMANO, GiuLio, or Giulio Pippi,
6. at Rome 1492 or 1498, d. at Mantua,
Nov. 1, 1546. Roman School. Giulio's
father was Pietro di Filippo de' Gian-
nuzzi, who seems to have placed his
son as early as his eleventh or twelfth
year with Raphael, if the entry in the
Archivio dclla Sanita of Mantua with
regard to Giulio's age be correct— that
he was only forty-seven when he died :
Vasari states that he was born in 1492.
Pippi is an abbreviation of di Filippo.
Giulio was the most distinguished of
the scholars of Raphael; he assisted
him in various works during his hfe-
time, and with Penni completed seve-
ral left unfinished after Raphael's
death. When a mere boy, Giulio ap-
pears to have been entrusted with im-
portant works by Raphael : he painted
in the Loggie, and in the Farnesina:
and he dead-coloured some of Raphael's
principal oil pictures. This peculiar
education of Giulio seems to have deve-
loped his executive powers, at the ex-
pense of some of the more graceful
and spiritual qualities of his art. He
and Gianfrancesco Penni were co-heirs
of Raphael's artistic effects, on the
condition of completing his unfinished
works ; and they executed accordingly
the four great frescoes of the Sala di
Costantino in the Vatican, containing
the " Battle of Constantine," the " Ap-
parition of the Cross," the " Baptism
of Constantine," and the " Presenta-
tion of Rome to the Pope:" all finished
in 1523. Giulio was endowed with a
fertile invention, great energy of cha-
racter, an animated and cheerful appre-
EOMANO— EONCALLT.
149
hension of life, and uncommon powers
of execution : his composition and
drawing were Roman, his colouring
was warm hut heavy ; his composition
occasionally displays even a poetic
grandeur, hut he altogether wanted
that delicacy and purity of expression
which distinguishes the best works of
Raphael. Like most great painters, he
was unequal in his execution, and in
some of his best works he was both
extravagant and feeble, and dirty
in colour; though he always pre-
served the fulness of form charac-
teristic of his school. An altar-piece
in San Stefano at Genoa, representing
the Martyrdom of that Saint, is one of
Giulio's most important works, in oil
(while in Paris the head of St. Ste-
phen was restored by Girodet) : also, a
Holy Family in the Dresden Gallery
known as La Sainte Famille au Ba-
sin, is a noble picture of its class,
possessing all the sterner qualities of
Raphael's style, and admirably drawn ;
it is, however, heavy and brown in
colour. Another noble work is a Ma-
donna enthroned, with Angels and
Saints, above the high-altar in Santa
Maria dell' Anima, at Rome. His
easel pictures are rare. Some of his
earlier and more celebrated produc-
tions are in the Ducal Palaces at Man-
tua. Giulio entered the service of
Federigo Gonzaga, Duke of Mantua,
in ]524; he rebuilt the Palazzo del
T6, and decorated it with his greatest
works — the frescoes of the " Fall of
the Giants," and the " Story of Cupid
and Psyche;" though they appear to
have been chiefly carried out by his
pupils, Primaticcio, and others. Giu-
lio's ornamental works in this palace
and the Palazzo Vecchio have acquired
him the title of the Prince of Decorators.
In the Palazzo Vecchio, also restored
by Giulio, are " Diana at the Chase ;"
and frescoes from the Trojan War.
Giulio was as celebrated as an archi-
tect as he was as a painter; he erected
several palaces and churches; and was
invited to Rome to undertake the pro-
secution of St. Peter's after the death
of Antonio da San Gallo ; his own
death, however, intervened. He had
numerous scholars, and established a
great school at Mantua, surpassing
that of Mantegna, and rivalling that of
Rome. Mantegna's school was then
extinct, says Lanzi. Giulio Romano's
" Dance of the Muses " in the Pitti
Palace, was, however, as M.Rio {Poesie
Chretienne, &c., p. 450) has observed,
evidently borrowed from Andrea Man-
tegna's Muses in the "Parnassus," or
Apollo and the Muses, in the Louvre.
Raphael and Michelangelo had the
same recourse to the works of their
predecessors.
In addition to the works already
mentioned, are in Rome, the Scourging
of Christ in Santa Prassede ; and re-
mains of frescoes in the Villas Lante
and Madama (with rich cinquecento ara-
besque), and the Famesina. His own
Portrait and three other pictures are at
the Louvre: others are at Berlin, at
St. Petersburg, Munich, Vienna, Ve-
nice, Hampton Court, &c. The prints
after Giulio Romano exceed 300.
{Vasari, Bottari, Count D'Arco, Gaye.)
RONCALLI, Cav. Ceistofoeo, called
Dalle Pomaeance, h. 1552, d. 1626.
Roman School. He was a follower of
Barocci, and studied at Rome under
Niccolo Circignano, called also Dalle
Pomarance, from his birth-place near
Volterra. He was distinguished in oil
and fresco, but, like his master Niccolo,
trusted too much to his pupils, and ac-
cordingly many of his works are indif-
ferent; while his colouring in fresco,
says Lanzi, was gay, that of his oil
pictures is sombre. The same writer
complains that Roncalli repeated him-
self too often. His taste was a mix-
ture of the Florentine and Roman.
Among his best works are those of the
160
RONCALLI— ROSA.
cupola and treasury of the Santa Casa
of Loreto, for which he received 18,000
scudi; the Judgment of Solomon in
Casa Galli, Osimo ; the Death of
Ananias in Santa Maria degli Angeli,
at Rome, executed in mosaic in St.
Peter's ; and in St. John Lateran, the
Baptism of Constantine. In San
Giovanni Decollato, the Visitation ; and
in Sant' Andrea della Valle, St. Michael
defeating the rebel Angels. Roncalli
excelled in landscape backgrounds.
{Baglione, Lanzi.)
RONDANI, Francesco Maria, h. at
Parma, d. before 1548. Lombard
School. A scholar and clase imitator
of Correggio, whom he assisted in the
cupola of San Giovanni of Parma.
Rondani generally confined himself to
compositions with few figures, and he
is accused of being too minute in his
accessories. In the church of the
Eremitani, at Parma, is the Virgin with
St. Augustine and St. Jerome, his
master-piece. His pictures are rare in
collections. In the Berlin Gallery are
two small pieces. {Lanzi.)
RONDINELLO, Niccolo, h. about
1460. Roman or Bolognese School.
He was the scholar, imitator, and as-
sistant of Gio. Bellini. Vasari says
that Bellini employed Rondinello in
all his works. His works are chiefly in
the churches of Ravenna : liis draw-
ing is dr}' and formal ; his heads are
less select than those of Bellini, and
his colouring is less vivid. {Lanzi.}
ROSA, Salvator, b. at Borgo di
Renella, July 21, 1615, d. at Rome,
March 15, 1673. He studied first with
Ciccio Fracanzano, a relative ; then
under Spagnoletto; and afterwards
with Aniello Falcone, the battle -painter :
he settled in Rome when only twenty-
three years of age. He painted his-
tory, genre, portraits, and landscapes ;
he was a poet, a satirist, and also a
musician. His landscapes, in which
he was great, have much resemblance
in style to those of Gaspar Poussin,
his contemporary; but Salvator dis-
plays the strong naturalist taste of
Spagnoletto in all his works. Of his
historical works, some are impassioned
and characteristic in style : the Con-
spiracy of Catiline, in the Pitti Palace,
is an example ; the Belisarius is an-
other striking instance ; the Death of
Regulus, long in the Colonna Palace, at
Rome, is of a more wild and naturalist
character ; but in some pictures of this
class, generally inferior to his land-
scapes and portraits, Salvator seems
only to have followed academic rules,
which, accordingly, has somewhat
divested them both of interest and
importance. He was greatly distin-
guished as a portrait-painter, the same
rude energy characterising his single
figures which so peculiarly distin-
guishes his landscapes and ordinary
figure groups. Kugler instances the
Man in Armour, in the Pitti Palace, as
comparable with Rembrandt. Salvator
produced also some excellent and
animated battle-pieces, in the style of
Falcone ; but it is as a landscape-
painter that his powers are seen to
their best advantage — scenes of rugged
grandeur, on the coast or inland,
savage wildness or desolation, the
haunts of banditti, the hermit's re-
treat, rocky defiles, gloomy forests, are
treated by him with a peculiar power
and originahty : the Woodman, in the
National Gallery, is an admirable ex-
ample of this class of his works. He
introduced into these subjects figures
of wandering soldiers, travellers, shep-
herds, or banditti, which, though often
repeated, are always admirable for
their spirit and appropriate treatment ;
they greatly assist the general effect
from their perfect harmony with the
scene, adding to the impression of
lonehness, desolation, or danger. His
colouring is objectionable, it is too
uniformly a sandy or yeUow gray. He
EOSA— EOSALBA CAEEIEEA.
IM
excelled in pictures on a small scale,
though he constantly painted larger
ones.
It is said, by a vague and apparently
recent tradition, that he lived in his
early youth some time among the ban-
ditti who infested the wilds of the
Abruzzi and Lower Italy. Also that
he joined, in 1647, during a visit to
Naples, the Compagnia della Morte, of
which his former master, Aniello, was
the head, and that he took part in the
insurrection of Masanielio, whose por-
trait Salvator certainly painted, appa-
rently several times, according to Do-
minici, but smaller than life. The
story about the banditti appears to be
a pure fable, it is not even alluded
to byPasseri, Baldinucci, or Dominici;
nor is anytime whatever allowed for it.
The sketches made by Salvator before
his visit to Rome in 1638 seem to
have been all taken from the imme-
diate vicinity of Naples : he used to sell
these sketches to the Neapolitan pic-
ture - dealers for a few pence. He
lived towards the close of his life nine
years in Florence. He has etched
some fine plates. Salvator Rosa had
many enemies, especially tlie party of
Bernini and the Academicians, due
chiefly to his independent and satirical
character ; though his Satires were not
published during his life-time, he made
them sufficiently known ; they were
written chiefly at Viterbo, in the latter
portion of his career ; they are on
Music, Poetry, Painting, War, Baby-
lon, and Envy. These Satires were
first published in 1719, nearly fifty
years after his death : a handsome edi-
tion, with a Life of Salvator, was pub-
lished at Florence, in 1833, 8vo. pp.
383.
Works. Naples, Studj Gallery, seve-
ral historical and other works ; Chris J
disputing with the Doctors ; &c. Flo-
rence, Pitti Palace, the Conspiracy of
Catiline; the Portrait of a Man in
Armour; Temptation of St. Anthony ;
Head of an Old Man ; two large Battle-
pieces ; his own Portrait; the " Silva
de' Filosofi," from the Gerini Gallery ;
Marine and other Landscapes ; &c. :
San FeHce, Christ and Peter on the
Sea. Rome, Colonna Gallery, several
examples : Doria Gallery, the Death of
Abel : San Giovanni dei Fiorentini,
SS. Cosmo e Damiano. Viterbo, Chiesa
della Morte, St. Thomas. Genoa, Pa-
lazzo Grillo Cataneo, the Expulsion of
the Money-changers from the Temple.
St. Petersburg, the Painter's Portrait ;
and many other examples. Vienna,
Gallery, a Warrior doing Penance ; a
large Battle-piece ; &c. Berlin Gal-
lery, a Sea-piece ; a Portrait of the
Painter. Louvre, Samuel appearing
to Saul ; Tobias and the Angel; a large
Battle-piece ; and a Landscape. . Eng-
land, London, National Gallery, Mer-
cury and the dishonest Woodman.
Dulwich, a Landscape with Monks ;
Soldiers, playing. Grosvenor Gallery,
the celebrated pictures, Diogenes, and
Democritus ; etched by Salvator himself.
Devonshire House, Jacob's Dream, and
several others. Panshanger, a marine
view. Stratton House, John the Baptist
in the Wilderness ; a marine view ; Ban-
ditti. Longford Castle, a marine view.
Corsham-house, the Martyrdom of St.
Lawrence ; the portrait of Masaniello ?.
Warwick Castle, Banditti ; and others.
Holkham, Rocky Landscape. Castle
Howard, a Man's Portrait. Chiswick,
Rocky Landscape with view of the Sea;
Raynham Hall, Belisarius. {Passeri,
Baldinucci, Dominici. )
ROSA, Annella di. [Belteakc]
ROSALBA CARRIERA, b. at Venice,
Oct. 7, 1675, d. April 15, 1757. This
lady distinguished herself in miniature
painting ; in portraits and religious
pieces ; and in crayons. Zanetti calls
her the honour of her sex and of
Venetian painting. She was educated
at Venice, her first master was the Cav.
152
KOSALBA CAREIEKA— EOSSO.
Lazzari, she then studied under the
Cav. Diamantini and Balestra, but
she practised her art at several of the
principal Courts of Europe ; she en-
joyed extreme popularity, and was
elected a member of the Academies of
Eome, Bologna, and Paris. In the
last years of her life she was blind.
Dresden contains a vast number of her
crayon or pastel-drawings, which pos-
sess almost the force of oil pictures.
{Zanetti.)
EOSSELLI, CosiMO, h. at Florence,
1439, living in Nov. 1506. Tuscan
School. The scholar of Neri di Bicci.
He seems in his earliest works to have
been influenced by Era Angelico da
Eiesole ; he then inclined more to the
style of Masaccio, which too he forsook
for one of his own, eventually. He
executed some good frescoes at an
early age in Sant' Ambrogio, in Flo-
rence ; and in conjunction with other
celebrated painters, he undertook some
works in competition in the Sistine
Chapel, built by Baccio Pintelli for
Sixtus lY., in 1473. These frescoes
are still preserved, but they have little
interest. Cosimo, unable to rival his
competitors in art, determined to make
his productions at least rich ; and he
loaded his figures with gold and ultra-
marine, an artifice, says Vasari, which
was so successful, that the Pope
awarded to Cosimo the promised prize.
His best work is the fresco in the
chapel in Sant' Ambrogio, at Florence ;
it represents the removal of a miracle-
working Chalice from the Church to
the Bishop's Palace, the Abbess and
Nuns follow the procession ; but the
composition consists chiefly of specta-
tors ; among these are some dignified
male figures, and pleasing female
heads. Euraohr professes to have
read 1450 as the date of this picture,
a very early year.
Works. Eome, Sistine Chapel, the
Sermon on the Mount (the landscape,
according to Vasari, is by his pupil
Piero di Cosimo) ; the Last Supper ;
Pharaoh and his host in the Eed Sea ;
Moses receiving the Tables of the
Law; and the Golden Calf. Florence,
Sant' Ambrogio, the removal of the
Chalice ; also an altar-piece : Santa
Maria Maddalena de' Pazzi, the Coro-
nation of the Virgin : Academy, Santa
Barbara, and other Saints. Berlin
Gallery, the Coronation of the Virgin ;
the Virgin and Child enthroned, with
Angels and Saints ; and two other
sacred subjects. Louvre, the Virgin
and Child. {T'osari, Rumohr, Gaye.)
EOSSELLI, Matteo, b. at Florence,
Aug. 10, 1578, d. 1650. Tuscan School.
The scholar of Gregorio Pagani and of
Passignano ; he studied also at Eome,
the works of the great masters : he
was of the same family as Cosimo
Eosselli. Matteo was the son of Do-
menico Eosselli, and one of twenty-
four children ; their mother's name
was Elena Coppi, " His Triumph of
David, in the Pitti Palace," says Kug-
ler, " is distinguished by a freshness
of life and beauty which entitle it to
be classed with the happiest of Dome-
nichino's creations." Matteo particu-
larly excelled in fresco, and was a good
colourist; the style too of his figures
is grand. Lanzi states that as an in-
structor he had few equals ; he formed
a numerous school. At Florence, in
the church of Ognissanti, he painted
the Crucifixion of St. Andrew : in San
Gaetano, the Nativity : and in the Nun-
ziata, several works. In the Louvre,
is a picture of the Eepose in Egypt ;
and the Triumph of David over Go-
liath. (Baldinvcci.)
EOSSO, II, or Eosso de' Eossi,
known also as Giovambattista di
Jacopo, b. at Florence about 1496 ; d.
at Fontainebleau, 1541. Tuscan School.
He studied, says Vasari, the Cartoons of
Michelangelo, in his youth, but would
not attach himself to any master. He
EOSSO— EOTARI.
168
soon displayed an original boldness of
manner, vigorous, grand, and graceful
at the same time. Some of his earliest
works were the Assumption of the Vir-
gin at the Servi (1513), and the Sposa-
lizio at San Lorenzo, still preserved.
He painted also at Volterra; at Eome,
in Santa Maria della Pace, and while
here in 1527 was made prisoner by the
Germans; at Perugia; Borgo San
Sepolcro ; Arezzo ; Citta di Castello ;
and at Venice : but his works are un-
common in Italy, which he left when
comparatively young, although 1496
appears to be some years too late for
his birth. In 1530 Eosso entered the
service of Francis I. of France, with an
annual salary of 400 crowns, and a
house in Paris for his residence, but
he lived almost exclusively in Fontaine-
bleau, where he was employed by
Francis to decorate the new palace
with paintings and stuccoes : many of
these works were destroyed by his
rival Primaticcio, and replaced by him
with his own works : a few of Eosso's
frescoes, however, illustrating the life
of Francis, still remain : they were
lately restored by the orders of Louis
Philippe. His easel pictures are very
scarce. In the Louvre is a representa-
tion of the Entombment by Eosso, in
his later mannered style ; it is especial-
ly defective in colour, in which Eosso
never excelled; the carnations are
red, chalky and gray, and the heads
uniformly antique, cold, and mannered.
The " Eival Songs of the Muses and
the Pierides," in the Louvre, now attri-
buted upon good authority to Eosso, is
in his earlier and superior manner; it
is engraved by Enea Vico as Eosso's ;
Felibien had given it the name of
Perino del Vaga. In the Pitti palace
there is a Madonna and Saints ; and in
the Berlin Gallery a representation of
the four seasons by II Eosso. He exe-
cuted several miniatures for Francis
I., and prepared, says Vasari, a work
of anatomical drawings for publication.
Though Eosso's works are scarce,
prints after them are not uncommon,
though chiefly by himself and his own
scholars of the so-called Scliool of Fon-
tainebleau, of which Eosso was the
founder. Its peculiarly mannered
figures, especially in the proportions,
belong perhaps more to Eosso's succes-
sor, Primaticcio, who was an imitator
of Parmigiano. Eosso's end was
miserable ; living in the greatest favour
with the King, and more like a prince
than an artist, he poisoned himself in
the prime of life, in 1541, according to
one report, out of jealousy of Prima-
ticcio, but, according to Vasari, out of
remorse and despair, from having ac-
cused of theft and put to the torture
his friend and assistant Francesco
Pellegrini, who proved to be in-
nocent. Francis and the whole court
were greatly distressed at the event.
Eosso was a man of magnificent pre-
sence; he was called Eosso from his
red hair : he was architect as well as
painter, and had the whole superin-
tendence of the construction of the new
palace at Fontainebleau. {Vasari.)
EOTAEI, II CoNTE PiETEO, b. at Ve-
rona, 1707, d. at St. Petersburg, 1762.
Venetian School. He was the scholar
of Antonio Balestra at Verona, and
studied afterwards some time under
Trevisani in Eome, and with Solimena
in Naples. He is one of the examples
not very rare in the eighteenth century,
of a painter succeeding rather through
the deficiencies of others than by his
own absolute virtues. He was ex-
tremely mannered, but displayed con-
siderable grace and much general tech-
nical ability, except in the department
of colouring, in which he wholly failed.
He was much employed in Germany,
especially in Dresden, Vienna, and
Munich; and he settled finally in St.
Petersburg, where he was a great fa-
vourite with the Empress Catherine II.
154
EOTART— SABBATINI.
His works are not common in Italy.
He etched a few plates. (Lanzi.)
EUSTICI, Francesco, called Rtjs-
TiCHiNO, b. at Siena, about 1600, d.
1625. Sienese School. The son of
Cristoforo Eustici, a fresco and orna-
mental painter, an able follower of
Michelangelo da Caravaggio ; and a
student of the Caracci and of Guido.
He also excelled in torch lights in the
style of Honthorst, the Gherardo della
Notte of the Itahans. At Siena, in the
Madonna di Provenzano, the Annun-
ciation is one of his master-pieces :
some of his best works are also in the
collections of the grand Duke of Tus-
cany, as the Death of the Magdalen ;
and in the Palazzo Borghese at Eome,
St. Sebastian. (BaldinuccL)
SABBATINI, Andeea, called An-
drea. DA Salerno, b. at Salerno about
1480, d. at Naples about 1545. Neapo-
litan School. Though one of the prin-
cipal painters of Naples, little is known
of Sabbatini. He was first the scholar
of Eaimo Epifanio at Naples, where
he also studied the woi-ks of Silvestro
Buono ; his great guide was, however,
the Assumption of the Virgin by Pietro
Perugino in the cathedral of Naples.
He was so engrossed by this picture
that he determined about 1509-10 to
set out for Perugia, and become one of
Pietro's scholars. But in a road-side
inn on the way he fell among some
painters just arrived from Eome, and
they spoke with such extraordinary
praise]of the "divine" Eaphaelandhis
" School of Athens," that Sabbatini
changed his course and hastened to
see the great works of Raphael, which
at once dispelled all idea of seeking
out Pietro. He became the devoted
admirer and scholar of Eaphael, and it
is said a favourite, and an assistant of
that great painter: he aided him in
the Sibyls of the Ghiesa della Pace.
After, however, working with Eaphael
for some time, seven years, says Domi-
nici, Andrea was called home by the
illness of his father, who died shortly
after his arrival at Salerno, and from
this time he settled in Naples, notwith-
standing invitations from Eaphael to
return to Eome.
Sabbatini was an excellent fresco-
painter, and had acquired much of the
style of Eaphael, so much so, that the
Madonna of Santa Maria delle Grazie
at Naples was commonly supposed to
have been a work of the great Eoman
painter. True, however, to his first
impressions, Sabbatini mastered only
the style of Eaphael's Florentine pe-
riod. The Museo Borbonico, and the
churches at Naples possess many pic-
tures by him; highly-finished works,
evincing a refined feeling, and they
are distinguished by their beautiful
drawing and delicate but warm colour-
ing. The Adoration of the Kings, in the
Studj Gallery, is a good example. His
latest productions of his more influen-
tial time at Naples, are less careful,
more in the ordinary Eoman taste of
Eaphael's school, anatomically man-
nered; but they, too, are excellent in
some respects, especially in the heads.
Works. Naples, the Adoration of the
Kings ; the Baptism of Christ ; the
Deposition from the Cross; the As-
sumption of the Virgin ; subjects from
the Life of San Placido ; St. Martin
dividing his mantle with the Devil ; St.
Nicholas of Mira ; and others. Santa
Maria delle Grazie, the Madonna and
Child, with Saints adoring. (Dominici.)
SABBATINI, or SABADINI, Lo-
renzo, called also, from his small sta-
ture, LORENZINO DA BOLOGNA, also Lo-
eenzino di Tiziano, b. at Bologna^ about
1530, d. at Eome, 1577. Bolognese
School. He was the scholar of Titian,
and studied also in Florence, where he
assisted Vasari in 1566 ; and in his
second edition Vasari speaks in very
SABBATINI— SALAI.
m
high terms of Lorenzino, though young
and still living. After painting several
excellent works for the churches of
Bologna, in oil and in fresco, he went
to Piome, where he studied and imi-
tated with success the works of
Kaphael, especially his Holy Families.
In his smaller pictures he imitated
also the manner of Parmigiano and
Correggio in colouring and light and
shade. In Eome he painted in the
Cappella Paolina, and also in the Sala
Eegia in the Vatican, and he was
appointed in 1575, by Gregory XIII.,
superintendant of the decorations of
that palace ; an office he held at his
death. Lorenzino was one of the
painters held up as a model by the
Carracci. Agostino engraved some of
his works. His most celebrated pic-
tures in Bologna, are St. Michael, in
San Giacomo Maggiore; and in the
Academy, the Assumption of the Vir-
gin ; in which collection there are three
other works by Lorenzino. The Galle-
ries of Paris, Dresden, and Berlin,
possess also specimens of Lorenzino's
works. {Malvasia, BagUone.)
SACCHI, Andrea, b. near Eome,
1598, d. ]661. Eoman School. He
received his first instruction from his
father Benedetto Sacchi, and was after-
wards the most distinguished of the
scholars of Albani, whom he greatly
surpassed. Sacchi's master-piece is
considered his San Eomualdo relating
his Vision to five monks of his order,
now in the Gallery of the Vatican,
and it is reputed one of the four
finest works in Eome; it contains some
noble figures, and is extremely simple
in its arrangement ; the figures are all
in white drapery, but the shadow cast
by a large tree in the foreground breaks
the uniformity of the figures, and
admirably varies the sameness of tlie
colour. The Miracle of St. Gregory
in the same gallery, an early work,
painted in 1624, is also a simple and
grand composition, in a fine style of
design, and it has a luminous and
harmonious ' effect of colour. Tliis
piece was executed in 1771 in mosaic
for the altar of Gregory the Great in
St. Peter's. Sacchi was dilatory, his
works are comparatively rare, his exe-
cution was broad and slight, and his
colouring subdued but harmonious;
after Eaphael he was perhaps the best
colourist of the Eoman School. His
forms are grand and classical, yet per-
fectly natural. He was an enthusiastic
admirer of Eaphael, and endeavoured
to uphold his school in opposition to
the mannerism of the Macchimsti,
then prevailing in Eome through the
influence of Pietro da Cortona and
Bernini. Sacchi was distingiiished for
his taste and theoretical knowledge,
and formed a very popular school,
Nicolas Poussin and Carlo Maratta
were among his scholars; Sacchi re-
commended the Antinous as an ex-
ample of normal proportion.
Works. Eome, San Carlo a' Ca-
tenari, the Death of St. Anne ; San
Giovanni in Laterano, subjects from
the Life of John the Baptist; Barbe-
rini Palace, fresco of the Divine Wis-
dom ; Sciarra Palace, Drunkenness of
Noah ; Borghese Gallery, Portrait (the
so called school-master). Genoa, Pal.
Prignole, Daedalus and Icarus. London,
Grosvenor Gallery, St. Bruno ; Collec-
tion of Mr. Eogers, Christ bearing his
Cross. St. Petersburg, Venus leaving
the Bath, (fee. Vienna and Berlin,
Drunkenness of Noah, (fee. (Passeri.)
SALAI, Andrea, called also Andrea
Salaino, b. at Milan, about 1475. He
was the favourite scholar of Leonardo da
Vinci. He occasionally painted from
the cartoons of his master, who also
touched Salai's original works. He
accompanied Leonardo in the year
1514 to Eome. Leonardo used Salai
as a model as well as an assistant.
His pictures are very rare. One of
15d
SALAI— SALVI.
his principal works is in the Brera at
Milan, and represents the Madonna
and Christ, to whom St. Peter delivers
the keys. Tiiis picture is distinguished
by its unconstrained action. After the
manner of Leonardo da Vinci, Salai's
carnations have usually a red, warm,
and transparent tone, as in the picture
of St. Anne with the Virgin and Child
(the Virgin on the knees of St. Anne),
in the Leuchtenberg Gallery, painted
from the celebrated cartoon by Leo-
nardo. The Brera contains three
works by this painter. (Lanzi.) '
SALERNO, Andrea, da. [Sabba-
TINI.]
SALIMBENI, Cav. Ventura, called
Bevilacqua, from his patron the Car-
dinal of that name, h. at Siena, 1557,
d. 1613. Sienese School. The son
and pupil of Arcangelo Salimbeni of
Siena. He studied the works of Cor-
reggio at Parma; and he executed
several frescoes at Rome. His design
resembles Barocci's, with the same rich
colour and blended outline. Arcangelo
and his son Ventura are considered by
Lanzi as reformers of the Sienese
School. Ventura painted occasionally
with his reputed half-brother Francesco
Vanni; and Agostino Tassi painted
some of his backgrounds. He etched
a few plates. {Baldlnucci, Baglione.)
SALIS, Carlo, h. at Verona, 1680,
d. 1763. Venetian School. A scholar
of Alessandro Marchesini, of Gioseffo
dal Sole at Bologna, and afterwards of
Antonio Balestra at Venice, whom he
imitated. There is an excellent altar-
piece by Salis, at Bergamo, of San
Vincenzo di Paola heaUng the sick.
{Dal Pozzo, Lanzi.)
SALMEGGIA, Enea, called II Tal-
PINO, b. at Bergamo, d. Feb. 23, 1626.
Venetian School. He was first in-
structed in the school of the Campi
at Cremona, and afterwards in that of
the Procaccini at Milan, He resided
also some years at Rome, where he
devoted himself to the study of the
works of Raphael. Count Tassi speaks
of Salmeggia as one of the principal
painters of Bergamo and of his age.
His pictures are remarkable for their
simple dignity and beautiful remi-
niscences of Raphael. Salmeggia was
the author of a work on Human Pro-
portion, now lost.
Works. Milan, church of the Pas-
sion, Christ's Agony in the Garden ;
and the Flagellation. Brera, the De-
position ; the Virgin and Child, with
Saints Roch and others ; and another
similar subject. Bergamo, Santa Maria
Maggiore, the Adoration of the Magi,
1595. San Leonardo de' Padri Somas-
chi, the Deposition from the Cross.
Sant Alessandro in Colonna, in the
chapel of Santa Grata, Cardinal Cor-
naro, &c. Santa Marta, the Madonna
enthroned, with San Domenico and
other Saints. (Tassi.)
SALVI, GiAMBATTiSTA, Called II Sas-
soferrato after' his birth-place, b. July
11, 1605, d. at Rome, August 8, 1685.
Roman School. He was the son and
scholar of Tarquinio Salvi, and formed
his style from the Carracceschi, or the
scholars of the Carracci; more parti-
ticularly Domenichino. Sassoferrato
delighted especially in Madonnas,
whence his name " delle belle Ma-
donne," mostly simple heads or short
half-lengths, in which gentleness, hu-
mility, and simplicity predominate.
He also copied freely from the great
masters, and painted from their draw-
ings ; as Guide, Barocci, or Raphael.
His own pictures have no particular
depth or variety of character, but are
chiefly distinguished for their careful
finish, and uniform pious resignation,
combined with great sweetness, yet on
the whole they are seldom free from
sentimentality; their colouring, from a
want of harmony or tone, or too great
a mixture of white, though positive in
tint, is commonly cold. The pictures
SALVI— SANGALLO.
167
attributed to Sassoferrato are nume-
rous in the great European Galleries,
but some of them are probably by his
father Tarquinio Salvi, and more are
copies from his own works. His works
are generally small, the largest is the
altar-piece in the cathedral of Monte-
fiascone. The Madonna del Rosario,
in Santa Sabina at Rome, is considered
one of his master-pieces ; there are
also fine specimens in the Louvre, at
Berlin, at Dresden, and in Devonshire
Hou^e and Luton House in England.
{Lanzi.)
SALVIATI, Feancesco Rossi del,
called Cecchino del Salviati, from the
name of the Cardinal, his patron, b. at
Florence, 1510, d. at Rome, November
11, 1563. Tuscan School. He studied
under Giuliano Bugiardini, Rafiaello
da Brescia, and with Baccio Bandi-
nelli, when he contracted a lasting
friendship with his fellow scholar, Va-
sari. Salviati possessed the same fa-
cility of execution as his friend Yasari :
they studied also with Andrea del
Sarto ; and Michelangelo, that master's
great model, was also theirs : Salviati
belongs to the anatomical school of
Mannerists. He painted in many cities
of Italy, and in France, in the time of
Henry II., but chiefly in Rome and
Florence : in the former city chiefly for
Cardinal Salviati. Many of liis com-
positions were on a large scale, and his
friend Vasari considered them among
the best of their time; he decorated
also one of the great saloons of the
Palazzo Vecchio at Florence, with sub-
jects from ancient Roman history. He
was a good portrait-painter. The De-
position from the Cross was a favourite
subject with him ; and he painted
several Holy Families. He completed
the great altar-piece of the Ghigi
Chapel in Santa Maria del Popolo, |it
Rome, left unfinished by Sebastiano
del Piombo. In the Berlin Gallery is
a picture of Cupid and Psyche ; and
another of the Baptist in the Wilder-
ness. And in the Louvre is the Incre-
dulity of St. Thomas, by Salviati.
( Vasari.)
SAMACCHINI, Orazio, b. at Bo-
logna, 1532, d. 1577. Bolognese School.
He was a scholar of Pellegrino Tibaldi,
and an imitator of Correggio and Par-
migiano. He was one of those em-
ployed by Pius IV. to decorate the Sala
Regia, at Rome, but finding want of
harmony in the prevailing styles of
Rome and his own peculiar taste, he
returned soon to Bologna, where his
best works are chiefly to be found, as
in San Giacomo Maggiore, the Purifi-
cation of the Virgin, engraved by Agos-
tino Carracci: and others in the Aca-
demy, the Certosa, and the Trinita.
In the cathedral of Parma, he com-
pleted some unfinished works of Par-
migiano's. And among his best works
also is the ceiling of Sant' Abondio in
Cremona. {Lunzi.)
SAMMARTINO, Makco, living in
1680. Bolognese School. A Neapo-
litan, and one of the best Italian
painters of landscapes, which he also
ornamented with excellent and appro-
priate figures. His works are chiefly
in the galleries of Venice, Rimini, and
Bologna. Two of his principal pieces
are the Baptism of Constantine in the
cathedral at Rimini; and the Preach-
ing in the Wilderness, by San Vin-
cenzio, at SS. Giovanni e Paolo, at
Venice. Sammartino has also etched
many plates. He is the Sanmarchi
mentioned by Malvasia and others.
(Xanzi.)
SANGALLO, Bastiano di, called
Aristotele, b. at Florence, 1491, d. May
31, 1551. Florentine School. A scholar
for a short time of Pietro Perugino,
but he soon adopted the style of Michel-
angelo. He is mentioned by Vasari as
one of those who made a small copy of
the celebrated Cartoon of Pisa, exe-
cuted by Michelangelo at Florence in
158
SANGALLO— SANTACROCE.
1506. Sangallo acquired his name of
Aristotle from tlie learned manner in
which he spoke of the anatomy, &c., of
this great work. In 1542, by the ad-
vice of Vasari, he copied his drawing
in oils, in light and shade, and it was
sent by Paolo Giovio to Francis I,
Sangallo was an architect, and paid
great attention to perspective ; he was
also a good portrait-painter, but de-
voted his time chiefly to architecture
and decoration, for theatres, &c.
(^Vasari.)
SAN GIMIGNANO, Vincenzio da,
d. young at San Gimignano, about
1530. His family name was Tamagni.
Roman School. An assistant and imi-
tator of Raphael, who employed him
in the Loggie of the Vatican, and had
a high opinion of Vincenzio's abilities.
In 1527 he returned to his native place
and executed some altar-pieces for the
churches there. In Sant' Agostino,
and San Girolamo, are still some of his
works ; and the Gallery of Dresden
possesses a Madonna by him. {Fa-
sari.)
SAN GIORGIO, EusEBio di, 6.
about 1478, d. about 1550. Umbrian
School. The scholar of Pietro Peru-
gino. Few of the works of this painter
are known. According to Lanzi, he
resembled his master in design, but
his coloui-ing was feeble. There is an
altar-piece by him in the Franciscan
Church of Matelica, with various Saints,
painted in 1512, which displays his
powers successfully. He was more
fortunate in his colouring, says Lanzi,
in the Adoration of the Kings, in Sant'
Agostino at Perugia. Kugler mentions
two frescoes in the cloisters of San
Damiano at Assisi, an Annunciation,
and St. Francis receiving the Stigmata
(1507), as works " finely understood, and
full of life and grand effect." (PascolL)
SAN SEVERING, Lorenzo di,
painted in 1416. Umbrian School.
Lorenzo, of whom little is known, was
the contemporary of Gentile da Fa-
briano, and he and his brother Jacopo
executed some frescoes in the oratory
of John the Baptist in Urbino, which
are in part still preserved. These fres-
coes, notwithstanding the defects of
the quattrocento, have considerable me-
rit: they are inscribed Anno Domini^
MCCCCXVI. De XVIII. Jiilii. Lauren-
tins de Santo Severino et Jacobns Frater
ejus hoc opus fecerunt. The National
Gallery possesses a superior work of
this painter ; it was formerly the altar-
piece of Santa Lucia in Fabriano, and
represents the Madonna and Child
with St. Catherine of Siena receiving
the Ring, and St. Domenic and other
Saints, and a glory of Angels above.
The drawing is hard and incorrect, and
the figures are on a gold ground ; but
there is much fine expression, and
some good modelling in several of the
heads. It is marked Lanrentius II.
Severinas PUit. (Passuvant.)
SANTACROCE, Francesco Rizzo
DA, of the territory of Bergamo, living
from 1507 to 1541. Venetian School.
He went early to Venice, and became
the scholar of Giovanni Bellini, or,
according to Tassi, of Vittore Car-
paccio. His works are distinguished
by a delicate execution, and a pleasing
expression : they retain the better cha-
racteristics of the early Venetian
School, with some indications of its
completer development.
Works. Venice, Murano, Santa
Maria degli Angeli, the Madonna and
Saints : San Cristoforo, San Niccolo da
Tolentino : at the Dominicans, the Re-
surrection of Christ. Berlin Museum,
an Adoration of the Kings. {Tassi,
Zanetti.)
SANTACROCE, Girolamo da,
painted from 1520 to about 1548.
Venetian School. Scholar of Giovanni
Bellini. In his early works he followed
his master, and painted in a deUcate
and graceful manner; and at a later
SANTACROCE— SANTI.
15»
period he became an imitator of Gior-
gione and Titian ; but saj'S Lanzi, in
his small pictures generally, there is
more of the Koman than the Venetian
School. The works executed by this
painter in the early Venetian style are
so different from those executed in the
more modern manner, says Zanetti,
that they appear to be the works of
different artists. The Madonna and
Saints, in the Venetian Academy, is
among the best of his later produc-
tions. His cabinet pictures, with small
figures and landscapes, in which he
greatly excelled, are highly spoken of
by Lanzi. His Martyrdom of San
Lorenzo, in San Francesco della Vigna,
is taken chiefly from Marcantonio's
print after Baccio Bandinelli.
Works. Venice, San Geminiano, the
Last Supper: San Martino, the same
subject (1548) : San Francesco della
Vigna, Martyrdom of San Lorenzo:
Manfrini Gallery, an Adoration of the
Kings : Academy, a Madonna with
Saints. Naples, Studj Gallery, the
Martyrdom of San Lorenzo. Padua,
church of San Francesco, the History
of the Virgin. Berlin Gallery, the
Birth of Christ; the Martyrdom of St.
Sebastian; the Coronation of the Vir-
gin ; and two other sacred subjects.
{Zanetti.)
SANTATEDE, Fabrizio, b. at Na-
ples, about 1560, d. 1634. Neapolitan
School. He was the son and scholar
of Francesco Santafede, one of the
ablest followers of Andrea Sabbatini.
Fabrizio distinguished himself at the
age of thirteen, says Dominici; by a
visit to Lombardy and Venice, he
much improved himself in colour, and
he studied for two years in Eome, and
for some time in Florence, where he
was chiefly attracted by the works of
Andrea del Sarto. He was one of
those painters who obtained a great*
reputation rather by the absence of
any great defects than by any peculiar
merit ; his works were eclectic and
academic, and, as nearly all such chiefly
mechanical works must be, were con-
spicuous for their material quahties
only, being altogether wanting in sen-
timent or originality.
Naples abounded with the works of
Santafede, and his pictures were held
in the highest esteem even by the
populace ; the house of Niccola Bal-
samo was spared by the rioters of
1647, solely from the circumstance of
its containing some frescoes by Santa-
fede. One of his principal works, is
the Assumption and Coronation of the
Virgin, in Santa Maria la Nuova, some-
times attributed to Titian, on account
of the brilliancy of its colouring. San-
tafede was also a poet, an antiquary,
and well versed in history ; he formed
a distinguished collection of antiqui-
ties in his house in Naples. In the
Studj Gallery, are a Holy Family ; and
two pictures of the Virgin in glory,
and enthroned. (Dominici.)
SANTI, Giovanni, called also San-
zio, the father of Eaphael, b. at Urbino,
d. Aug. 1, 1494. Umbrian School.
His models, if not his masters, were
apparently Andrea Mantegna, Piero
della Francesca, and Melozzo da Forli.
He painted many works in Urbino, in
oil and in fresco, of which some still
remain; in 1489 he was employed on
the public decorations ordered to cele-
brate the marriage of the Duke Giudo-
baldo with Elizabeth Gonzaga. Gio-
vanni belonged to the better Quat-
troceniisti ; his compositions nearly
exclusively Madonnas, are sjTnmetrical,
and somewhat resemble in execution
the works of Francia and Perugino,
though dry and inferior in colour, and
indicate by no means an obscure
painter; his name has, however, been
almost unknown till of late years ;
the immortal fame of the son having
rendered that of the father compara-
tively obscure. Giovanni was also a
leo
SANTI— SAETO.
poet, a chronicle of the Gesta glo-
riose del Duca Federigo d'Urbino, in
rhyme, at great length, is preserved
in the Vatican Library : it is pub-
lished in part in Passavant's Life of
Raphael.
Works. Urbino, Oratorio di San
Sebastiano, the Martyrdom of that
Saint : in the church of the Francis-
cans, the Madonna and Child en-
throned, with various Saints, painted
for the Buffi family, in 1489, and pro-
bably Giovanni's master-piece. Con-
vent of Montefiorentino, the Madonna
and Child enthroned, with Saints
(1489). Cagli, church of the Domi-
nicans, also the Virgin enthroned and
crowned, with various Saints (fresco).
Fano, the Visitation of the Vu'gin,
several small figures, an early work,
marked — Johannes. Santis. Di. Urbino.
pinxlt : in Santa Croce, Virgin en-
throned, &c. Pesaro, San Bartolo, St.
Jerome {tempera). Montefiore, Hos-
pital, Virgin enthroned, &c., with
Saints adoring. Church of Gradara,
the Madonna enthroned, &c. (1484.)
Milan, Brera, the Annunciation. Ber-
lin Gallery, Virgin enthroned, with
Saints. (Piingileoni, Passavant.)
SANTI, Eaffaello. [Raphael.]
SARACENO, Carlo, called also
Carlo Veneziano, b. 1585, d. about
1625. Venetian School. He studied
under Mariani, but imitated afterwards
the works of Michelangelo da Cara-
vaggio ; the influence, however, of the
Venetian School was preserved in his
colouring, more than is common with
Caravaggio's followers. He painted
much in Eome, in oil and in fresco.
In the Sciarra Gallery is a copy of
Raphael's Transfiguration, by Sara-
ceno. He etched a few plates.
Works. Eome, Santa Maria dell'
Anima, the Miracle of San Bennone ;
the Martyrdom of San Lamberto : in
the hall of the Quirinal Palace, some
frescoes. Vienna, Judith with the
head of Holophernes. Castle Howard,
the Death of the Virgin.
SAETO, Andrea del, b. at Flo-
rence, 1488, d. 1530. Tuscan School.
His family name is said to have been
Vannucchi, he was called Del Sarto
from the occupation of his father,
Agnolo, who was a tailor. Andrea was
in his eighth year placed with a gold-
smith, but eventually decided on paint-
ing; and he became fii^st the scholar
of Gio. Barile, then of Piero di Cosimo,
and afterwards a follower of Michel-
angelo. His early works, as those of
the Scalzo, notwithstanding his pre-
cocity, are dry and severe, and display-
some of the peculiarities of Piero, and
the quattrocentismo ; as is the case in
his small pictures, with landscape
backgrounds. He studied the frescoes
of Masaccio and of Ghirlandajo ; and
the cartoons of Leonardo da Vinci and
Michelangelo, exhibited in Florence,
in 1506, when he became a decided
imitator of the last : indeed, says Va-
sari, he distinguished himself above
all the other students of these cele-
brated works. He now left Piero,
tired of his eccentricities, and took
apartments in partnership with Fran-
ciabigio ; tliey painted together, and
Andrea appears to have derived some
benefit from the partnership. Fran-
ciabigio was the scholar of Albertinelli,
the partner of II Frate ; and the works
of Fra Bartolomeo also seem in some
respects, as in the colouring and light
and shade, and in the breadth of the
draperies, to have been Andrea's mo-
dels ; but he remained greatly inferior
to that master in elevation of conception,
and spirituality of feeling. Having
earned a great reputation by his nume-
rous works in Florence, in the Annun-
ziata, and elsewhere, he was invited by
Francis I. to France, in 1518, whither
he went, with his scholar Andrea
Sguazzella, and one of his first works
in France was Henry IL, as an infant.
SARTO.
161
In the following year, however, leaving
his scholar, Andrea returned to Flo-
rence to fetch his wife, and Francis
entrusted him with a considerable sum
of money to purchase works of art
with. Whether from a want of prin-
ciple on his own part, or through the
inducement of his wife, a celebrated
beauty, of indifferent character, and
with whom he was not happy, Andrea
squandered the King's money and never
returned to France.
The pictures of Andrea are generally
characterised by a simple cheerfulness,
and indicate little of that resigned sen-
timent which constituted the chief ele-
ment of the style of some of his im-
mediate predecessors. The expression
of his female heads is natural and
graceful, of a purely individual cha-
racter, his wife, Lucrezia di Baccio del
Fede (a widow), being his model on
most occasions. Vasari complains
of her ill treatment of Andrea's scho-
lars ; he was himself one. Andrea's
draperies are ample and flowing, and
he displays great softness and de-
licacy in the modelling of his forms ;
his colouring is powerful, and many of
his pictures are enriched with land-
scape backgrounds. Those executed
by him at a later period are of unequal
merit, and not free from mannerism.
He copied and imitated the works of
other great masters with an extraordi-
nary accuracy ; Vasari relates, as an
instance, that GiuUo Eomano, who had
assisted Raphael in painting the Por-
trait of Leo X. and the two Cardinals,
when showing, at Mantua, the copy of
this work made by Andrea, pointed it
out with pride as the original picture ;
and he showed Vasari, in proof, " the
very touches of the pencil that he him-
self had made," and could not be
convinced that he was looking at • a
copy until Vasari pointed out to hiift
the private mark (the name) of An-
drea del Sarto behind the picture.
Giulio observed that he did not admire
the picture the less ; he thought it a
more interesting work, as showing that
one great master could so perfectly
imitate another.
Andrea was one of the most cele-
brated of the Italian painters of the
best period of the sixteenth century,
but is better known for his oil paint-
ings (especially his Holy FamiUes)
than his frescoes ; though the five
large frescoes representing the History
of San Filippo Benizi, the founder of
the order in the smallfer court of the
convent of the Servi, the Santissima
Annunziata, at Florence, are among
his finest works, they were executed
almost gratuitously in 1509-10. He
seems to have received remarkably
little for all his works, except when at
the Court of Francis ; those of the
Annunziata, however, are among his
earliest, and yet they acquired him the
name of Andrea senza errori.
Another very celebrated composition,
his best fresco, is the Holy Family in
Repose, known as the " Madonna del
Sacco " (from the circumstance of Jo-
seph leaning against a sack in it), in
the great court of the same convent,
in the lunette over the entrance, painted
in 1525. The Last Supper, in the
refectory of the old monastery of San
Salvi, near Florence, is also one of
Andrea's master-pieces, for colour, form,
and character.
Andrea was such a master of fresco,
that he obviated the necessity of re-
touching when dry, which gives his
works the appearance of having been
finished in a day. His easel pictures
are numerous, but are chiefly Holy
Families. An Annunciation in the
Pitti Palace displays more sentiment
than is usual in his works, and is some-
what in the style of Francia: and an
altar-piece, in the same palace, called
the Disputa della Santissima Trinita,
exhibits more the sensuous develop-
162
SARTO— SCAKCELLA.
ment of the Venetian School. Andrea
caught the peculiarities of most schools,
without being engrossed by any; he
gives indications of the lioraan, Vene-
tian, Lombard, and Florentine ; and
he has adopted figures from Albrecht
Diirer. He visited Rome for a short
time.
There are two biographies of him,
an Italian and a German, by Eiadi, and
by Reumont.
Works. Florence, frescoes in the
court of the Compagnia dello Scalzo,
representing the History of the Baptist
(1514); the Baptism of Christ, the
Preaching of John (1515), and the
Baptism of the People (1516), are
comparatively early works ; the others
were executed at a later period, after
his return from France, 1520-24; the
Birth of John the Baptist in 1526. In
the court of the Santissima Annunziata,
the five subjects from the History of
San Filippo Benizi ; the Birth of the
Virgin ; and an Adoration of the Kings :
in the great court of the same convent,
the celebrated Madonna del Sacco : in
the refectoiy of the convent of San
Salvi, the Last Supper: Pitti Palace,
two pictures of the Annunciation, and
the Disputa della Santissima Trinita:
Uflfizj, the Madonna di San Francesco,
or delle arpie, his most celebrated easel
picture (1517). Naples, Museo Bor-
bonico, the copy of Raphael's Leo X.
and the Cardinals (1524). Rome, the
Borghese Gallery, several works. Ber-
lin Gallery, the Madonna entlironed,
with Saints (1518); the Portrait of
Lucrezia del Fede (his wife), and two
other works. Louvre, La Carita (1518),
and two Holy Famihes. London, Na-
tional Gallery, a Holy Family. {Vasari.)
SASSOFERRATO. [Salvi.]
SAVOLDO, Giovanni Girolamo, of
Brescia, called sometimes Girolamo
Bresciano, living 154(;. Venetian
School. He was an imitator of Gior-
gione and Titian, and displays great
delicacy of execution and a rich colour-
ing. His paintings are rare: he was
of a noble family, and practised the
art solely for his pleasure; he pre-
sented his works to the churches and
convents of Venice.
Works. Florence, Uffizj, the Trans-
figuration. Venice, Manfrini Gallery,
an Adoration of the Shepherds, and
two Hermits: Pesaro, church of the
Dominicans, Christ in glory, with
Saints adoring. Berlin Gallery, a
female figure. Louvre, a man's Por-
trait. (Lanzi.)
SCARAMUCCIA, Luigi, called II
Perugino, 6. at Perugia, 1616 ; d. at
Milan, 1680. Roman School. He
was a scholar first of his father Gio.
Antonio, then of Guido Reni, and be-
came a successful imitator of that
master. He painted several pictures
for the public buildings in Perugia, in
Milan, and in Bologna, where in the
Palazzo Pubblico is a picture by him of
the Coronation of Charles the Fifth.
His master-piece is considered the Pre-
sentation in the Temple, in the church
of the Filippines at Penigia. There
are a few etchings by Scaramuccia;
and in 1674 he published in Pavia
a treatise on his art : Le Finezzc de
Pinelli Italiani ammirate e studiate da
Girupeno (Perugino), &c. {Pascoli,
Lanzi.)
SCARSELLA, Ippolito, called Lo
ScARSELLiNO, to distinguish him from
his father Sigismondo Scarsella, a
scholar of Paul Veronese, b. at Fer-
rara, 1551 ; d. 1621. Ferrarese School.
He studied first under liis father, then
with Giacomo Bassano, and spent six
years in Venice, studying the works of
Paul Veronese and other great Vene-
tians. His works are much esteemed,
and he is called the Paolo of Ferrara,
which city abounded with liis pictures in
public and private. Two of the prin-
cipal are the Assumption of the Virgin,
and the Marriage at Cana, at the Bene-
SCAESELLA— SCHIAVONE.
1C3
dictines: in San Giovanni Decollato,
John the Baptist; and a Noli me tan-
gere, in San Niccolo. The Brera at
Milan possesses a Virgin in glory, with
Saints ; and there is a Christ with the
Disciples at Emmaus, in the Bridge-
water Gallery, by Scarsellino. He was
also a good portrait-painter. {Banif-
faldi, Lanzi.)
SGHEDONE, Bartolomeo, b. at
Modena, about 1580; d. at Parma,
1615. Lombard School. Malvasia
includes him among the scholars of
the Carracci, but his pictures have little
affinity with the characteristics of that
school. The works of Correggio appear
to have been his engrossing models:
he was a most decided imitator of that
master ; but there are a shai-pness and
solidity pecuhar to Schedone which
form an unfavourable contrast with the
more delicate and refined style of Cor-
reggio. Schedone is more pleasing in
his naturalistic works or those which
are characterised by a more direct imi-
tation of natm-e, and which display less
of the influence of Correggio : he en-
joyed a great reputation during his hfe-
time, and was said by his admirers to
have combined Eaphael and Correggio.
The Studj Gallery at Naples contains
many good works by Schedone. He was
an excellent portrait- painter. Schedone
dwelt the latter part of his hfe at
Parma, where he was principal painter
to Duke Kanuccio : his early death is
said to have been caused by vexation
at his losses at play.
Works. Parma, in the Academy, a
Pieta : Modena, cathedral, San Gemi-
niano. Raising the Dead Child : in the
Palazzo Pubbhco, frescoes of the His-
tory of Coriolanus (1604). Naples,
Studj Gallery, two Holy Families ; the
Virgin in glory; the Tribute Money;
Christ presented to the people ; St.«
CeciUa ; other Saints ; and several por-
traits. Munich, a Repose ; the Mag-
dalen ; Lot and his daughters. Dresden,
Holy Family; the Repose in Egypt.
Berlin Gallery, a Madonna and Child.
Louvre, a Holy Family; Deposition
from the Cross ; the Entombment.
(^Tiraboschi.)
SCHIAVONE, Andrea, b. at Sebe-
nico in Dalmatia, 1522; d. 1582. His
family name, says Zanetti, was Medola :
Schiavone signifies the Sclave. Vene-
tian School. He studied the prints
from Parmigiano, and the works of
Giorgione and Titian ; and was a good
imitator of the last. His execution
displays great power and freedom, his
colouring is very fine, but his design,
though light and elegant, is often in-
correct, and his heads want expression.
He lived in great poverty, and was
compelled to work at a low price, for
the cabinet-makers and others, for a
mere sustenance, which led to a care-
less manner. Notwithstanding his
poverty, Schiavone was held in high
estimation in his time. Tintoretto is
said to have thought so well of Schia-
vone's colouring, that he hung up one
of his pictures in his own study as a
guide to himself; and he used to say
that every painter ought to do the
same. He also excelled in heads of
old men and females, though his draw-
ing is very feeble. Tintoretto con-
demned Schiavone's drawing as much
as he admired his colouring. Schiavone
was sometimes driven to such ex-
tremities as to court the patronage of
the Plasterers, who occasionally had
the decorations under their control,
and the painters were paid as ordinary
journeymen. Ridolfi says his rough
dress was against him. Though Schia-
vone could scarcely live by his labour,
his despised works enriched those who
possessed them after his death. He
etched a few plates.
Works. Venice, in the library of
St. Mark, or now Ducal Palace, the
Dignity of the Priesthood ; the Majesty
of the Dukedom ; and the Trophies of
164
SCHIAVONE— SERVANDONI.
War: San Rocco, the Eternal Father
surrounded by Angels : San Sebas-
tiano, Christ and the Disciples at
Emmaus : the Academy, a Madonna,
with Angels. Naples, Studj Gallery,
Venus and Cupid. Florence, Pitti
Palace, the Death of Abel. Vienna,
Imperial Gallery, an Adoration of
Shepherds; his own Portrait. Louvre,
Head of John the Baptist. England,
Bridgewater Gallery, Christ before
Pilate: Stafford House, a Pieta: Bur-
leigh House, the Marriage of St. Cathe-
rine ; the Finding of Moses. (Ridolji.)
SCHIAVONE, Gregorio, painted
about 1470. Paduan and Venetian
Schools. A native also of Dalmatia,
and a scholar of Francesco Squarcione.
The pictures of Schiavone, says Lanzi,
hold a middle place between those of
Giovanni Bellini and his fellow-scholar
Andrea Mantegna: they are orna-
mented with architecture, with fruits,
and with joyous little cherubs. He
signed his pictures occasionally —
opus Sclavonii Dalmatici Squarzoni S.
SEBASTIANI, Lazzaro, lived about
1500-20. Venetian School. The scholar
and imitator of Vittore Carpaccio. His
works resemble in composition those of
Carpaccio, but in his severer treatment
of the subject, they display more re-
semblance to the style of Gentile Bel-
lini: he is one of those painters who
adhered to the quattrocentismo. Yet in
1508, he was elected with his master
Carpaccio, and a Vittore di Mattio, to
value the frescoes of Giorgione on the
fa9ade of the Fondaco de' Tedeschi.
In the Academy at Venice is a Depo-
sition from the Cross ; and the picture,
formerly in San Giovanni Evangelista,
of the Miracle of the Holy Cross, in
which a girl is restored to sight, &c.
Vasari has made two of this painter,
speaking of him as Lazzaro and Se-
bastiano, and as brothers of Carpaccio.
{Ridolji.)
SEMITECOLO, Niccolo, painted
1367. Venetian School. In the Vene-
tian Academy there is a great altar-
piece, consisting of many compart-
ments, representing the Coronation of
the Virgin, and fourteen scenes from
the Life of Christ. This work, says
Kugler, corresponds most with the
productions of Duccio, though without
attaining his excellence ; while the
gold hatchings, the olive-brown com-
plexions, and many a motive are still
directly Byzantine. In the chapter
library at Padua, are six pictures on
panel, of the Life of St. Sebastian ; the
Virgin; and the Trinity, one of which
is marked Nicholetto Semitecolo da
Veniexia impense. They are inferior,
says Lanzi, to Giotto in form, but are
equal to him in colour.
SEMOLEI. [Franco.]
SERMONETA, Gieolamo Sicio-
I.ANTE DA, living in 1572. Roman
School. A scholar of Perino del Vaga;
he endeavoured to adhere to the style
of Raphael rather than that of his
followers, and he was one of the ablest
masters of the early degenerate period
of the Roman School. He succeeded
better in oil than in frescoes. His
master-piece, says Lanzi, is the Virgin
enthroned, with Saints, in the church
of San Bartolomeo atAncona. Among
his better works at Rome are — the
Martyrdom of Santa Lucia, in Santa
Maria Maggiore; the Transfiguration,
in Ara Caeli; and the Nativity, at
Santa Maria della Pace. The frescoes
in the Remigius Chapel, in San Luigi
de' Frances!, are much mannered, says
Kugler, who praises a Pieta by Ser-
moneta, lately in the gallery of Count
A. Raczynski at Berlin. It was for-
merly in the Muti Chapel, in the
chm-ch of the Santi Apostoli, at Rome.
Sermoneta was a good portrait-painter.
{Baglione.)
SERVANDONI, Gio. Geronimo, h.
at Florence, May 22, 1695, d. at Paris,
January 19, 1766. Roman School.
SERVANDONI— SIENA.
166
Scholar of P. Panini. He painted land-
scapes, architectural ruins, and decora-
tions for theatres. Servandoni was
much employed in Portugal, and in
France : he was one of the architects to
Louis XV., and was elected a member
of the French Academy. He also
visited this country and Germany. In
the Louvre is a picture of ancient ruins
by him, painted for the Academy in
1731 as his reception piece.
SESTO, Cesaee da, sometimes
called, from his birthplace near Milan,
Cesahe Milanese, d. about 1524.
Milanese School. Scholar of Leonardo
da Vinci. The early works of this
painter resemble those of his master ;
they are simply and beautifully painted,
and the expression of his heads, in
accordance with his school, is mild
and unaffected. He subsequently
studied under Eaphael at Rome, and
adopted some of the peculiarities of
the Roman School. One of the largest
pictures he executed at this period,
formerly in a church of Messina, now
in the Studj Gallery in the Museo
Borbonico at Naples, shows the com-
bined influences of the schools : it re-
presents an Adoration of the Kings;
the Madonna and Child are after
Leonardo, the other figures after Ea-
phael. Cesare was one of Lomazzo's
heroes, who says of him that he never
allowed a work to pass from his hands
that was not perfect. Like Gaudenzio
Ferrari, Cesare da Sesto was excellent in
cangianti, or shot-colours. His master-
piece is considered San Rocco, painted
for the church of that saint at Milan, but
now in the Melzi collection at Milan.
Works. Milan, Brera, Virgin and
Child; Virgin and Child, with Saints;
and a portrait : Ambrosian Library, the
Head of an old Man : in the Palazzo
Scotti, a Baptism of Christ (the land-
scape is by Bernazzano). Venice,
Manfrini Gallery, two Madonnas, one
painted in the Roman, the other in the
Milanese style. Naples, Museo Bor-
bonico, a Madonna, with Saints. {Lo-
mazzo, Lanzi.)
SGUAZZELLA, Andrea, painted in
1519-37. Tuscan School. A scholar
and imitator, and assistant of Andrea
del Sarto, with whom he visited France.
He remained some time in France after
Andrea's return, and was much pa-
tronised by the Court of Francis I. In
the Louvre there is an Entombment
by him. ( Vasari.)
SIENA, GuiDO da, painted 1221.
Sienese School. The oldest known
painter of this school. There is a
large picture of the Madonna by Guide
in the convent church of San Dome-
nico at Siena, with a Latin inscription
and the date 1221, and it is assumed
to be the oldest Sienese picture. Quite
Greek in its technical qualities, says
Rumohr, it is as much beyond the
meagre Byzantine types as it is infe-
rior to the full round forms of Cima-
bue. The attitude of the Virgin is
certainly dignified, that of the Child,
small but not without grace of expres-
sion, is purely conventional, with its
hand in the act of benediction, and
with the Latin position of the fingers,
a circumstance almostof itself sufficient
to show the absence of Greek influence.
The inscription is —
"Me Guido De Senis Diebus De-
pinxit Amenis
Quem Christus Lenis Nallis Velit
Angere Penis."
(Rumohr, Rosini.)
SIENA, Matteo di Giovanni da,
painted from 1462 to 1491. Sienese
School. According to Lanzi this pain-
ter was called the Masaccio of his
school, as his works form the transi-
tion from the old to the new manner
of the fifteenth century ; that is, from
convention to individuahty ; the same
transition that we see in the works of
Benozzo Gozzoli in the Campo Santo
at Pisa, as compared with those of his
166
SIENA— SIGNOEELLI.
immediate predecessors, Pietro di
Puccio, and others. The productions
of the Sienese painter are, however,
though superior to any Sienese works
of their time, very inferior to those of
the great Florentine master; nor did
he approach BeUini or Perugino, hoth
his contemporaries. The draperies of
Matteo are disposed with greater atten-
tion to natui^e than was customaiy at
that period ; and though his heads are
nut beautiful, says Lanzi, their expres-
sion is well varied ; and he was atten-
tive in indicating the muscles and
marking the veins in his figures. His
favourite subject seems to have been
the Massacre of the Innocents; and
this composition is his master-piece.
He has repeated it several times :
there are four such pictures now attri-
buted to him, two at Siena, one at
Naples, and one at Schleissheim.
Kugler describes the composition as
very mannered, with few features of
real power, and for the most part in
an exaggerated style. Matteo resided
some time at Naples, about 1468, and
was one of the first to lead the Nea-
politan School to attempt a less anti-
quated style. Dominici compares his
works with those of Lo Zingaro.
Lanzi remarks that Matteo really in-
vented the marble chiaroscuro or
painting, by using various coloured
marbles for the different portions of
the figures, &c. He thus executed a
portion of the pavement in the cathe-
dral at Siena, in which he again in-
troduced his favourite subject, the
Slaughter of the Innocents.
There was another Matteo da Siena,
called Matteino, who painted chiefly
landscapes, and died at Eome in the
Pontificate of Sisto V. about 1588.
Works. Naples, the Studj Gallery,
the Massacre of the Innocents, from
the church of Santa Caterina a Por-
mello. Siena, Sant' Agostino, the same
subject (1464); and again in Santa
Maria de' Servi (1491): San Domenico,
the Madonna and Child, with St. Bar-
bara and other Saints, and a Dead
Christ in a lunette above (1479) : La
Concezzione, the Coronation of the
Virgin. Berlin Gallery, two small pic-
tures in tempera, of the Virgin and
Child, with Saints.
SIENA, Ugolino da, d. old at Siena,
1339. Sienese School. One of the
earliest of the Tuscan painters, and
who adhered to the old Byzantine type.
Vasari does not mention his master,
but notices his celebrated work, the
large altar-piece of the cliurch of Santa
Croce, afterwards removed to tlie dor-
mitory of the convent, and eventually
sold, and it came in part into the posses-
sion of Young Ottley. This is the only
authentic work of Ugolino now known.
Waagen describes some of the com-
partments, in which are represented
half-length figures of saints, and seven
small scenes from the Passion, from
the Last Supper to the Eesurrection,
forming the Predella pictures. The
style of these portions constitutes
the transition between the severer
manner of Duccio, inclining to the
Byzantine, and the softer, more agree-
able manner of Simone Memmi: all
are on a gold ground. In the male
saints the Byzantine element is most
discernible, long and hard in features
and in drapery ; while, especially in
the scenes of the Passion, the forms
are fuller, there is freer action, and a
much gayer treatment of colour than
is common in Byzantine works, more
resembling the light tempera of Giotto.
On one of the compartments of the
Predella is inscribed Ugolinus de Senis
me pinxit.
SIGNOEELLI, Luca, called, also,
LucA DA CoRTONA, b. at Cortoua about
1441, d. at Ai'ezzo after 1524. Tuscan
School. This great painter, the most
distinguished of his time, was the son
of Egidio Signorelli, and a scholar of
SIGNOKELLT.
167
Piero della Francesca: his earliest
works are at Arezzo, and date from
1472 ; he then painted at Citta di Cas-
tello, in Perugia, and in 1484 in Rome,
in the Sistine Chapel. He gained rapid
distinction, was made a citizen of Citta
di Castello, and in 1488 became one of
the supreme magistrates of his native
place, Cortona, In 1499 he received
the commission for his greatest works,
the frescoes of the cathedral of Or-
vieto, completed about 1503. Loaded
with honours, he retired to Arezzo in
his old age, where, says Vasari, he
lived more after the manner of a noble-
man til an of an artist.
Luca Signorelli's works fill a very im-
portant place in the history of art ; he
was one of the first to apply a know-
ledge of anatomy to painting; and a
severe and noble drawing of the nude
distinguishes his greater works, those
especially at Orvieto, where he has had
recourse to foreshortening with an un-
precedented boldness and intelligence.
Whether in the representation of
vehement action and passion, or in
the scenes of beatitude and tranquil-
lity, he displays a powerful and dra-
matic conception of character. His
colouring was inferior. In his drape-
ries Signorelli exhibits great excel-
lence ; and in his single figures a
thorough appreciation of the antique.
His peculiar powers are best developed
in the extensive frescoes of the chapel
of the Madonna di San Brizzio, in the
cathedral at Orvieto. Here Luca
completed the works commenced by
Fra Giovanni da Fiesole, in 1447.
They represent the History of Anti-
christ, the Resurrection of the Dead,
Hell, and Paradise. On April 5, 1499,
Luca undertook the completion of the
ceihng for two hundred ducats, and the
painting on the walls for six hundred
ducats, besides free lodging, and two
measures of wine, with two quarters of
corn, every month. These works are of
surprising power, and already, Vasari
tells us, that Michelangelo imitated in
his own great work, in the Sistine Cha-
pel, the angels and demons, and the
mode of treatment here adopted by Luca
Signorelli in Oi-vieto. The style of form,
too, bears much resemblance to that of
Michelangelo, and these frescoes were
completed at least two years before
Michelangelo exhibited his celebrated
"Cartoon of Pisa" to the Florentines,
in 1506. The lower part of the walls
is occupied by decorative subjects, in
chiaroscuro, with circular pictures of
the great poets who have treated of
the life after death — Hesiod, Ovid,
Virgil, Claudian, and Dante ; and with
small representations of a mythological
and allegorical nature. These fine
works are engraved in Della Valle's
Cathedral of Orvieto. The great al-
tar-piece in the chape! of Sant' Ono-
frio, in the cathedral of Perugia, an
earlier work, painted in 1484, and re-
presenting the Madonna enthroned,
with Saints, combines, says Kugler,
in some portions a very harsh natu-
ralism, as, for instance, in the figure
of Sant' Onofrio, with a noble senti-
ment; as regards the whole execution,
however, and the glow of colour, it may
be considered a master-piece of this
painter.
Francesco Signorelli, Luca's nephew,
was also a distinguished painter; he
was living in 1560. In the Palazzo
Pubblico at Cortona, is a Madonna
and Child, with Saints, by him.
Works. Rome, Sistine Chapel, Jour-
ney of Moses with Zippora, and other
later events in the Life of Moses. Or-
vieto, the cathedral, frescoes in the
chapel of the Madonna di San Brizzio :
in the sacristy, a Magdalen, painted in
1504, and for which Signorelli received
nineteen florins, about twenty -two shil-
lings, but then worth perhaps nearly
twenty times as much. Volterra, San
Francesco, Virgin and Child, with
168
SIGNOEELLI— SIKANI.
Saints (1491) ; cathedral, Annunciation
(1491). Cortona, in the choir of the
Duomo, a Pieta, with four subjects
from the Life of Christ on the Pre-
della (1502): Compagnia di San Nic-
■colo, frescoes, the Virgin and Child,
with Saints : Clmrch of the Gesu, the
Last Supper (1512) : Citta di Castello
Sant' Agostino, Adoration of the Magi
(1493). Florence, the Uffizj, a Predella,
with the Annunciazion ; Adoration of
the Shepherds ; and Adoration of the
Magi : Pitti Palace, Virgin and Child :
Academy, the Virgin in glory, with
Saints ; and a Predella, with subjects
from the Passion. Perugia, cathedral,
in the chapel of Sant' Onofrio, the
Madonna enthroned. Milan, Brera,
the Virgin and Child; the Flagellation.
Berlin Galleiy, two side panels of an
altar-piece, with figures of St. Christo-
pher and other Saints, formerly in
Sant' Agostino of Siena. LouA-re, the
Birth of the Virgin. {Vasari, Delia
Valle.)
SILVESTEO, Don, a Camaldolese
monk of the convent of Santa Maria
degli Angeli, Florence, living in 1410.
Tuscan School. This artist was one of
the most celebrated illuminators or
miniature-painters of Italy. He was a
miaiatore, a red-letter writer, or illumi-
nator of missals, and with Don Lorenzo
he executed some remarkable decora-
tions for the choral books of his eon-
vent. Two of these, with the dates
1409 and 1410, are now, though much
damaged, preserved in the Laurentian
Library at Florence. A drawing of the
Birth of John the Baptist, in the Liver-
pool Institution, brought to England
by Young Ottley, is cut out of one of
these books. Dr. Waagen notices
several others hy Don Silvestro, from
these books, in Mr. Ottley's possession
in 1835, consisting of Lettres Historiees
and other decorations; especially a
large initial, with the Death of the
Virgin. They are superior to the
miniatures of their time; more beau-
tiful in colour even than those of the
school of the Van Eycks. Don Sil-
vestro was held in such esteem among
the brothers of his order, that his
hands were severed from his body after
death, and embalmed; they are now
exhibited to visitors in the sacristy of
the monastery. Vasari lias placed
these monks too early. {Vasari,
Waagen.)
SIMONE, Maesteo, d. at Naples
about 1346. Neapolitan School, a
scholar of Filippo Tesauro. He is
considered by the Neapohtans to have
been the rival of Giotto. Works
of his are in the church of San
Lorenzo ; and in Santa Maria Coronata
(or the Incoronata) is a Dead Christ.
He is said to have painted also with
Giotto in Santa Chiara, about 1325.
Some of the Italian accounts state that
Simone painted in oil ; this is an error.
Simone's son Francesco was the master
of Colantonio del Fiore; there is a
fresco of the Madonna enthroned, with
the Trinity, in Santa Chiara, by Fran-
cesco. (Dominid, D'Aloe.)
SIRANI, Elisabetta, h. at Bologna,
January 8, 1038; rf. August 28, 1665.
Bolognese School. The daughter of
Giovanni Andrea Sirani. According to
the list of her works, in her own hand,
published by Malvasia, she executed
upwards of one hundred and sixty pic-
tures and portraits, although she died
(as was supposed of poison) at the
early age of twenty-seven : the list ex-
tends over ten years only, from 1 655 to
1665. Like her father, she was one of
the most successful imitators of Guide's
second manner. Several of her pic-
tures are in the gallery of the Academy,
and in the Zampieri, Caprara, and
Zambeccari Palaces at Bologna; and
in tlie Corsini, and Bolognetti Palaces
at Rome. In the church of the Certosa
at Bologna, she represented the Bap-
tism of Christ. The picture, formerly
SIEANI— SOLARI.
169
in the church of San Leonardo, of St.
Anthony kneeling before the Infant
Christ, painted in 1662, and completely
in Guide's second manner, is now in
the Academy. Elisabetta's sisters,
Barbara and Anna Maria, were also
artists, and painted for the churches of
Bologna. She appears to have formed
a considerable female school; besides
her sisters, Veronica Franchi, Vin-
cenzia Fabri, Lucrezia Scarfaglia, and
Oenevra Cantofoli, were all scholars of
Elisabetta, and painted at Bologna.
She was buried in the church of San
Domenico in the same tomb as Guido
Eeni. She also etched a few plates.
Malvasia, who speaks with extreme
sorrow of the untimely death of this
lady, has inserted her Portrait in the
Felsina Pittrice. {Malvasia, Lanzi.)
SIRANI, Gio. Andrea, b. at Bo-
logna, Sept. 4, 1610, d. May 21, 1670.
Bolognese School. Scholar of Cave-
done and of Guido. He imitated the
second manner of Guido in his early
works : at a subsequent period, accord-
ing to Lanzi, he adopted a more
vigorous contrast in his lights and
shadows. Sirani completed the large
picture of St. Bruno, at the Certosa at
Bologna, which had been commenced
by Guido : he completed several other
of Guido's unfinished works. Sirani
etched a few plates.
Works. Bologna, sacristy of San
Benedetto, the Crucifixion : San
Giorgio, the Marriage of the Virgin :
Certosa, the Repast with the Pharisee :
Academy, the Presentation of the
Virgin in the Temple ; the Madonna
della Concezione; and Sant' Antonio.
Piacenza, in the cathedral, the twelve
crucified Martyrs. {Crespi.)
SOGLIANI, Giovanni Antonio, b.
at Florence about 1491, d. 1544. Tus-
can School. Many years the scholar,
and the successful imitator of Lorenzo
di Credi. He became also an imita-
tor of Fra Bartolomeoj especially in
colouring. Vasari commends the care-
ful execution, the animation of the
heads, and the excellent colouring dis-
played in Sogliani's Crucifixion of
Sant' Arcadio, 'painted in 1521, which
he has noticed as one of his best works :
it is now in the Medici Chapel in San
Lorenzo, at Florence. His master-
piece is now considered the Last Sup-
per, in Santa Maria del Fosso, in
Anghiari. He executed several works
for the cathedral of Pisa, which are
still there ; but owing to the dilatory
manner in which he proceeded with
his pictures for that cathedral, the
authorities engaged Vasari to complete
the series. Sogliani also completed an
unfinished work of Andrea del Sarto's,
at Pisa. In the Dominican convent
at Florence is a good fresco by Sog-
liani. And according to Waagen, the
Adoration of the Shepherds, at Apsley
House, attributed to Perugino, is also
a work of this painter. Sogliani was a
quiet and devout character, and gave
his countenances a mild and spiritual
expression; his talents were best
adapted to the representation of pleas-
ing and graceful subjects, such as his
Madonnas, in the Florentine Gallery.
In the Berlin Gallery is an excellent
copy of Lorenzo di Credi's Nativity by
him. (Vasari.)
SOLARI, or SOLARIO, Andrea,
called Del Gobbo, from the deformity
of his brother Cristoforo : he is called
also Andrea Milanese, b. about 1458,
living lb09. Lombard School. He was a
follower, and probably scholar, of Leo-
nardo da Vinci, and was an admirable
colourist : Vasari notices his Assump-
tion of the Virgin, at Pavia, which,
from what Vasari says of its comple-
tion being intemipted by Andrea's
death, must have been his last work,
and painted after his visit to France,
1507-9. Bottari attributed this pic-
ture to Correggio.
Lomazzo states that he was the
170
SOLAKI— SOLARIO.
scholar of Gaudenzio Ferrari; which
appears to be inconsistent with his
time and with his style, which has
little of the cinquecento character of
form, hut much of the school of Leo-
nardo of Milan. Andrea was engaged
at Gaillon, by Charles d'Amboise, in
1509, at the then high salary of 20 sous
per day, worth about a pound sterling
of our money.
Works. Pavia, in the new sacristy
of the Certosa, the Assumption of the
Virgin, with Saints, left unfinished by
Andrea, and completed by Bernardino
Campi. Paris, Louvre, Virgin and
Child (la Vierge au Coussin vert),
formerly attributed to Leonardo ; col-
lection of Count Pourtales, Virgin and
Child (1507). The Portrait of Charles
d'Amboise, Governor of Milan, to
Louis XIL, is also now attributed to
this painter. Berlin Gallery, Christ
bearing his Cross. (Vasari, Mundler,
Deville.)
SOLARIO, Antonio, called Lo Zin-
GARO, the Gipsy ; his father was a
travelling smith; h. at Solario, in the
Venetian State (?), or, according to Do-
minici, in Civita, in the Abruzzi, about
1383, d. at Naples, 1455. Neapolitan
School. The story of Solario is some-
what similar to that of Quinten Metsys,
the smith of Antwerp. He has been
generally considered, from the state-
ment of Dominici, to have been a
Neapolitan ; but Moschini discovered
a picture in the possession of the
Abbate Celotti, of Venice (engraved
by Rosini), inscribed Antonius de So-
lario, Venetus. He appears to have
been at first a smith, and worked in
the house of Colantonio del Fiore,
where he fell in love with the painter's
daughter, and eventually turned painter
himself in order to win her. He be-
came accordingly for some years the
scholar of Lippo Dalmasio, at Bo-
logna ; and he subsequently studied
the works of the Vivarini, at Venice ;
those of Galasso, in Ferrara ; those of
Lorenzo di Bicci, at Florence ; and
those of Vittore Pisanello and of Gen-
tile da Fabriano, at Rome. He soon
distinguished himself on his return to
Naples, from which he had been ab-
sent nine or ten years, and was accepted
with pride by Colantonio for a son-in-
law.
Colantonio's daughter is represented
in the picture of the Madonna en-
throned, and surrounded by Saints,
now in the Studj Gallery, at Naples.
Solario was of a naturalist tendency ;
adopting art for its own sake, the
traditionary influence would be less
in him than in the schoolmen ; and.
accordingly we find, in some respects,
much that is new in his treatment.
His heads are full of hfe, quite in-
dividual in character, modern in cos-
tume, and he paid more attention
probably to his landscape backgrounds
than any of his contemporaries ; there
is much of the Van Eyck school in his^
works.
His principal work was executed in
the court of the monastery of San
Severino, at Naples ; there are here
twenty large frescoes, representing
scenes from the Life of St. Benedict,
but now much damaged and much
painted over. They are " simple and
very clever compositions," says Kug-
ler, " with no very grand type of heads,
but of delicate modelling and good
colouring. They are particularly dis-
tinguished by the fine landscape back-
grounds, a very rare accompaniment to
Italian frescoes, and not to be found
in such perfection elsewhere, at this
early period." D'Aloe, who has lately
(1846) published a monograph on
these frescoes, illustrated with eighteen
plates, speaks of them as the most
beautiful and perfect works of their
class in Italy.
The Neapolitans are proud of Sola-
rio, and it is possible that several of
SOLAEIO— SOLIMENA.
171
the pictures now attributed to him are
of a later date, and belong to some of
his numerous scholars. In the Studj
Gallery, in the Museo Borbonico, there
are three pictures attributed to him ;
the most remarkable of them is the
Madonna and Child enthroned, be-
tween Saints. The heads are life-like,
and probably mostly portraits ; the
head of the Virgin is the Portrait of
the Queen, Jeanne II. of Anjou, the
figure behind St. Peter is the wife of
the painter, and he has represented
himself standing up behind the bishop,
St. Asprenus. There are also in this
gallery — the Virgin, with two Saints;
and the Descent of the Holy Ghost.
In San Lorenzo Maggiore, at Naples,
is a picture of St. Francis giving the
Kules of his Order. In the library
of the convent of San Filippo Neri is
a MS. of the Tragedies of Seneca, with
Illuminations, attributed to Lo Zin-
garo. Some of the Neapolitan writers
have assumed that he painted in oil,
but this appears to have been an error.
(^Dominicl.)
SOLE, Gio. GiosEFFO dal, b. at
Bologna, 1654, d. 1719. Son of Anto-
nio dal Sole, the landscape-painter,
called, because he painted with his left
hand, II Monchino, da' paesi. Bo-
lognese School. He studied under
Domenico Canuti and Lorenzo Pasi-
nelli. He has been called the modem
Guide, from a resemblance of his
second manner to that of that master.
He executed several great works in
fresco, and painted much for private
collections. He excelled in composi-
tion, in costume, in architecture, and
in landscape. Of his landscapes (says
Lanzi) the best specimens ai'e — Even-
ing, Night, and Morning, in the Casa
Zappi, in Imola. His master-piece is
a fresco in San Biagio, at Bologna :
he painted also at Parma, Verona,
Lucca, (fee. There are a few etchings
by Dal Sole.
SOLIMENA, Feakcesco, called
L'Abbate Ciccio, b. at Nocera de'
Pagani, Oct. 4, 1657, d. at Naples,
April 5, 1747. Neapolitan School. He
was the scholar of his father, Angelo
Solimena, then studied with Francesco
di Maria, and Giacomo del Po. After
the death of Luca Giordano, Sohmena
was considered the ablest painter of
his time. He possessed extraordinary
facility of execution both in oil and
fresco, and copied and imitated with
accuracy the works of various masters.
He sometimes imitated Pietro da Cor-
tona, to whose school he more entirely
belonged; sometimes Guide; and some-
times Carlo Maratta, Lanfranco, Luca
Giordano, or Preti Calabrese. He
painted not only historical subjects and
portraits, but also landscapes, animals,
and architecture. Solimena possessed
such considerable technical powers,
that these, with his love of imitation,
or rather rivalry, of masters of reputa-
tion, led him into a mechanical style ;
and he was one of the most successful
and influential of the Machinists of the
eighteenth century, who confirmed the
declining tendency of modem painting
in Italy, which was reduced to a state
of mere imitation and mechanical dis-
play, from which the purely technical
rules and practical routine of acade-
mies will not revive it. His scholars
were the last distinguished painters
of Naples. Solimena's style was orna-
mental, a play of forms and colours,
with which mind had little to do. He
lived to a great age, acquired an un-
rivalled name in his time, and amassed
an immense fortune. His works are
very numerous, especially in Naples
and at Monte Cassino, and are well
known in prints : a few etchings exist
by his own hand. The Last Supper,
in the refectory of the Conventual!, at
Assisi, is one of his greatest works.
Vienna possesses several of his better
works; and some are in the Dresden
ni
SOLIMENA— SPAGNA.
Gallery. In the Louvre, is a picture
of Adam and Eve in Paradise; and
another of Heliodorus expelled from
the Temple. {Dominici, LanzL)
SOKRI, PiETRO, b. in the Sienese,
1556, d. 1622. Sienese School. He
studied first under Arcangelo Salim-
beni, and afterwards at Florence, under
Passignano, whose daughter he mar-
ried. He also studied with success
the works of Paul Veronese, and ac-
quired many of the qualities of his
ornamental style. His pictures are in
the public buildings at Florence, in
Pavia, Genoa, and at Pisa, where, in
the cathedral, is the Consecration of
that Church ; and a Christ disputing
with the Doctors. (Baldinucci.)
SPADA, LiONELLO, b. at Bologna,
1576, d, at Parma, May 17, 1622. Bo-
lognese School. A scholar of the
Carracci, and one of the most distin-
guished both in fresco and in oil ; but
he studied afterwards with Baglione,
and contracted a friendship with Den-
tone. A rivalry with Guido led him to
study also under Michelangelo da Ca-
ravaggio at Kome, and he accompanied
that painter to Malta. He returned to
Bologna, having formed a completely
new style, comprehending much of the
force and brilliancy of Caravaggio,
without his coarseness of style ; yet he
was called by his rivals the " Scimia,"
or Ape of Caravaggio. Spada was,
however, much employed in Bologna,
Eeggio, Modena, and Parma, where he
was appointed Court painter by the
Duke Eanuccio. He superintended
the decorations of the Theatre of
Parma. Dissipation and disappoint-
ment, shortly after the death of his
patron, carried Spada also to the grave,
and in the prime of life. His master-
piece is considered San Domenico
burning the proscribed books of the
heretics in the church of that Saint
at Bologna : other superior works are —
the Miracle of St. Benedict, in San
Michele, in Bosco : Susannah at the
Bath, in Modena: several in the
Church of the Madonna, at Eeggio:
and St. Jerome ; and the Martyrdom
of Saint Catherine, at Parma: the
Eeturn of the Prodigal Son ; and three
other pictures in the Louvre. The
Gallery of Bologna possesses a single
work only, Melchisedec, by Spada.
{Malvasia.)
SPAGNA, Giovanni di Pieteo,
called Lo Spagna, and by Vasari, Spag-
NUOLO. Made citizen of Spoleto, in
1516 ; painted in 1507, living in 1530.
Umbrian School. This painter is con-
sidered the best colourist, and the
most distinguished of Perugino's scho-
lars, after Eaphael. So long as he
conformed with the character of the
school of Perugino, he developed a
peculiar beauty of form, by which his
works are distinguished above all those
of his fellow scholars : he latterly
gave himself up to the imitation of
Eaphael's later style. One of his best
pictures, his master-piece, says Eu-
mohr, is in the chapel of San Stefano,
in the lower church of San Francesco,
at Assisi (painted in 1516) ; it repre-
sents the Madonna enthroned, with
several Saints ; " these are grand and
severe figures," says Kugler, " full of
genuine feeling and purity : " the Ado-
ration of the Magi, also, of San Pietro
di Fereutillo, near Spoleto, long attri-
buted to Eaphael, is now, it appears
by some, justly restored to Lo Spagna.
The original picture, once the property
of the Ancajani family, is now in the
Berlin Gallery, still under Eaphael's
name ; it is on canvas, and in tem-
pera. Lo Spagna painted completely
in Eaphael's earlier manner ; it is
stronger in colour, and light and
shade, than his works generally are.
The same character, to a less degree,
is observable in Spagna's fresco of the
Madonna, with four Saints, in the
Sala del Consiglio, at Spoleto. The
SPAGNA— SPINELLO.
173
Entombment, in the Madonna delle
Lagrime, near Trevi ; the Coronation
of the Virgin, in the convent of San
Martino, at Trevi (1512) ; the frescoes
in the choir of tlie church of Sta,
Maria degli Angeli, at Assisi ; and the
Acts of St. James, in the church of San
Jacopo, between Spoleto and Fuligno
(1526), are all beautiful works. But
the later productions of Lo Spagna
are much inferior to his early pic-
tures, showing a feebleness of manner
through which his former excellence
is hardly recognisable. Some portions
of the frescoes in the church of San
Jacopo, between Spoleto and Fuligno
(executed between 1527 and 1530), are
examples of this degeneracy. The
small picture of the Virgin, Infant
Christ, and St. John, in the National
Galleiy, has been attributed to Lo
Spagna ; but Petrus Peruginus is in-
scribed in gold on the hem of the
mantle of the Virgin. {Vasarij Pas-
savant, Kvgler.)
SPAGNOLETTO. [Kibeea.]
SPINELLO Aretino, h. at Arezzo
about 1318, living in 1408. Tuscan
\ School. He was the son of Luca Spi-
I nelli, the scholar of Jacopo di Casen-
l tino. Vasari praises this painter for
; his design, for the simple grace and
holy expression of his figures, and
notices that he surpassed Giotto in
colouring. The works that have been
preserved, for most of them have pe-
rished, show great talent and powers
I of conception, but they are rather void
! of taste in form and composition, and
are very unequal and sometimes care-
less in execution ; the greater part
being extremely sketchy, as those of
San Miniato especially. So far from
surpassing Giotto, he compares rather
unfavourably with the works attributed
to him in the large compositions of the
Campo Santo, painted in 1386. Dr.
Forster has, however, apparently dis-
covered from documents that these
wall-paintings of the history of Job are
by Francesco da Volterra. Spinello's
greatest excellence is in the draperies.
In the sacristy of San Miniato, at
Florence, he represented some scenes
from the Life of St. Benedict ; and some
of these subjects perhaps belong, in
point of conception, to the most spi-
rited productions of the school of
Giotto. They were carefully cleaned
in 1840, and are on the whole well
preserved. The Fall of the Kebel
Angels, in Santa Maria degli Angeli,
at Arezzo, has, with the chm'ch, only
lately been destroyed. This is the
work in which Spinello represents the
devil so hideous, that, indignant, he
appeared to the painter in a dream,
and asked him where he had seen him
so ugly, and why he had given him
so frightful a form ; a vision which is
said to have shortly afterwards caused
the painter's death.
Works. Florence, San Miniato, Life
of St. Benedict. Pisa, Campo Santo,
the Histories of San Polito and Sant'
Efeso, Spinello's master-pieces, com-
pleted in 1392. Siena, public palace
in the Sala de' Priori, the Struggle
between the Papacy and the Empire,
under Pope Alexander III. and the
Emperor Frederick II. (1408) ; San
Giusto, in the sacristy, Marriage of St.
Catherine, &c. In the Berlin Gallery
is a picture of the Madonna and Joseph
adoring the new-born Child; another of
the last Supper; and an Annunciation.
(Vasari, Buviohr, Forster.)
SPINELLO, or SPINELLI, Paeri,
(Gaspaeei), b. at Arezzo about 1386 (?).
Tuscan School. The son of Spinello
Aretino. He assisted his father in the
pictures of Sala dei Priori, at Siena ;
and he was some time the assistant of
Lorenzo Ghiberti, in the preparation
of the gates of the Baptistery of Flo-
rence, where he also became acquainted
with Masolino da Panicale. After his
father's death, says Vasari, he returned
174
SPINELLO— SQUAKCIONE.
to Arezzo ; but the dates would show
the contrary, — that his connection with
Ghiberti and Masohno must have taken
place after the death of his father. Ac-
cording to Vasari, his colouring was ex-
cellent, and he was the best practical
fresco-painter of bis time ; his figures
were, however, of extravagantly long
proportions. Vasari says some of them
measured as many as eleven and twelve
heads. He painted in the church of
San Domenico, at Florence : in San
Cristoforo, at Arezzo, is an altar-piece,
with the date 1444. {Vasari.)
SQUARCIONE, Francesco, b. at
Padua, 1394, d. 1474. Paduan and
Venetian School. He was the son of
Giovanni di Francesco, a notary, and
appears to have been rather a lover of,
than a practitioner in, the arts. His
education was pecuUar ; he made ex-
tensive journeys in Italy and in Greece,
taking drawings of all things that in-
terested him, and acquiring many,
which formed the nucleus of a remark-
able collection at Padua, which had
the distinction of being the earliest of
its kind in Italy. These journeys were
made between the years 1423 and 1439.
He afterwards opened a celebrated
school in Padua, which he appears to
have carried on between 1441 and 1463.
The works of Squarcione are few and
unimportant. His great distinguishing
claims consist in his peculiar ability as
a teacher, and his position as the
founder of the School of Padua.
The influence which this school ex-
erted in the north of Italy must have
been great. Squarcione had as many
as 137 scholars, who spread the germs
of a new epoch — the classic supersed-
ing the Byzantine ; though it was
chiefly at Mantua that this school was
established, through Mantegna and his
scholars. Jacopo Bellini carried Squar-
cione's influence to Venice, and Marco
Zoppo spread it in Bologna. In Padua
his house was one of the chief attrac-
tions ; his collection was not only the
earliest but the most extensive and cele-
brated of its time in Italy. He was called
the father and primo maestro of painters.
He lived in great afiluence, and divided
his commissions among his scholars.
This school, of which Andrea Man-
tegna is the great exponent, was chiefly
instrumental in introducing the study
of ancient sculpture to the modems^
from the ancient bassi-rilievi ; and it
adhered perhaps too exclusively to
these models. Squarcione's school was
distinguished from that of the Bellini
in that it made form its principal study.
" The peculiarity of the School of
Padua," says Kugler, " consists in a
style of conception and treatment more
plastic than pictorial. The forms are
severely and sharply defined. The
drapery is often ideally treated, accord-
ing to the antique costume — so much
so that, in order to allow the forms of
the body to appear more marked, it
seems to cling to the figure. The
general arrangement more frequently
resembles that of basso-relievo than
of rounded groups." The architecture
and ornamental accessories, as in the
frequent introduction of festoons of
fruit, display the same attention to
antique models. This imitation of
ancient sculpture, combined with the
realistic tendency of the period, led to
an exaggerated shai-pness in the mark-
ing of the forms. " In the drapery the
same imitation led to the introduction
of a multitude of small, sharp, and
oblique folds, which break the large
flowing lines, and sometimes even in-
jure the efl'ect of the leading forms."
The only public work of Squarcione's
known to Moschini is a St. Francis, in
the convent of San Francesco Grande,
at Padua ; the same writer mentions
four pictures in private collections.
The celebrated Book of Anthems, also,
in the church of the Misericordia, long
ascribed to Mantegna, is now consi-
SQUAECIONE— STEFANI.
175
dered to have been one of the commis-
sions of Squarcione, executed by his
numerous scholars. In the Manfrini
Gallery, at Venice, there is a Madonna
and Child, with a monk as donor — a
hard quattrocento work, marked with
name, and the date 1442. Squarcione
signed his name Mri. Squareioni Fran-
cisci opus. In the Palazzo del Consiglio,
at Verona, there is a picture of similar
character by Squarcione, of the Em-
peror Augustus and the Tiburtine
Sibyl. In the Casa Malvezzi, in Bo-
logna, was a picture of San Domenico,
seated- at table with some monks of his
order, signed — Francesco Squarcione,
1430. Squarcione left two sons, Gio-
vanni and Bernardino ; the latter be-
came an eminent painter in his time.
( Vasari, Moschini. )
STANZIONI, Cav. Massimo, b. at
Naples, 1585, d. 1656. Neapolitan
School. Scholar of Gio. Battista Ca-
racciolo : he commenced his career as
a portrait-painter. He studied the
works of Annibal Carracci, at Kome,
where he formed an intimacy with
Guido, whose colouring he attempted
to combine with the more vigorous
drawing of Annibal; hence he acquired
the appellation of II Guido di Napoli.
He also resembles Domenichino and
Santafede, in some of his better
works. On his return to Naples he
adopted the more forcible style pre-
vailing at the time, through the influ-
ence of the celebrated cabal of Carac-
ciolo, Corenzio, and Ribera, who had
adopted much of the style of Caravag-
gio. But Lanfranco also stimulated
the rivalry of Massimo; and in some
of his works, as in the paintings of
the chapel of San Bruno, in the Car-
thusian church of San Martino, on the
hill of Sant Elmo at Naples, Stanzioni
surpasses these masters in elevation of
style. Here, in the sacristy, is the
Descent from the Cross, which was
partly destroyed by Spagnoletto, who
persuaded the monks to clean it, and
mixed an acid with the water. Stan-
zioni declined to restore the picture ;
he preferred to leave it as a monument
of the invidious malice of the little
Spaniard. Though adhering to the
truth and force of the naturalistic style,
these works display a higher character
of beauty and repose, and a noble sim-
plicity and distinctness of form, com-
bined with an excellence of colour
rarely to be met with in this period of
decline. The Miracle of St. Januarius
in San Gennaro, the cathedral in the
Cappella del Tesoro, is by some ac-
counted his master-piece ; San Bruno
promulgating the Rules of his Order
in the already -mentioned chapel of that
saint, is also one of his principal works.
Many of his easel pictures are in the
Studj Gallery and other collections at
Naples. He painted in fresco the
vaults of the churches of San Paolo
and the Gesu Kuovo. In the Louvre
is a representation of St. Sebastian by
him. Stanzioni wrote a compendious
account of the painters of Naples,
which came afterwards into the hands
of Dominici, who has incorporated it
in his own work on the Neapolitan
artists. {Dominici.)
STARNINA, Gheeaedo, h. at Flo-
rence, 1354, living 1408. Tuscan School.
A scholar of Antonio Veneziano. He
spent some time in Spain, and exe-
cuted some works for the Spanish
Court; an Adoration of the Magi is
still in the Escurial. He returned rich
to Florence. There are still some re-
mains of frescoes by Stamina on the
vault of the Castellian Chapel in the
church of Santa Croce ; they are from
the Life of Sant' Antonio. ( Vasari.)
STEFANI, ToMMASO de', b. at Na-
ples, 1230, d. 1310. Neapolitan School.
He is the first Neapolitan painter men-
tioned, of the period of the restoration
of the art in Italy, and a contemporary
of Cimabue. He is supposed by some
1T6
STEFANI— TASSI.
Neapolitan writers to have painted in
oil. He executed some works in fresco
for the churches of San Francesco and
Santa Maria delle Grazie, and also for
the chapel of the Minutoli in the
cathedral. His brother Pietro was
distinguished as a sculptor. {Domi-
nici.)
STEFANO, ToMMASo di. [Giot-
TKJO.]
STROZZI, Bernaedo, called II
Cappuccino, and II Prete Genovese,
b, at Genoa 1581, d. at Venice, August 3,
1644:. Genoese School. The scholar
of Pietro Sorri. He became a Capu-
chin at the early age of seventeen, and
in his first works showed a strong reli-
gious tendency ; but the poverty of his
family induced him to leave the clois-
ter for a time ; he was, however, forced
to return to it, on the death of his mo-
tlier, by the monks of his order ; and
on account of his opposition was kept
in close confinement for three years,
when he escaped to Venice, and finally
established himself there.
Strozzi was a great colourist, and had
a ready invention ; was of a naturalist
tendency in his style, and on this ac-
count partly became an able portrait-
painter ; but his flesh tints are red, his
shadows dark, and his drawing infe-
rior; he painted commonly half figures.
He painted in fi-esco and in oil ; his
frescoes are limited to Genoa, and he
was considered one of the best masters
of his time : his pictures are numerous
in Genoa and Venice ; there are some
also at Novi, Voltri, and Milan ; and
they are not uncommon in picture gal-
leries in or out of Italy.
Works. Genoa, Palazzo Pubblico,
the Virgin and Child : San Domenico,
Paradise (fresco) ; Oratorio di San
Tommaso, the Last Supper : Palazzo
Prignole, Holy Family; John the Bap-
tist ; Incredulity of St. Thomas ; St.Paul ;
Charity, &c. : Palazzo Marcello Du-
razzo, Holy Family : Palazzo Pallavi-
cini, Madonna ; St. Francis : Palazzo
Doria, Triumph of David (fresco).
Venice, at the Teatini, St. Lawrence
distributing Alms ; San Benedetto ; St.
Sebastian, Dresden Gallery, David
with the Head of Goliath ; Rebecca at
the Well ; Esther before Ahasuerus ; a
Female playing the Bass Viol. Louvre,
Virgin and Child; St. Anthony. {So-
prani, Ratti.)
SUARDL [Br-^mantino.]
TASSI, Agostino, 6. at Perugia,
1566, d. at Rome, 1644. Roman School.
His own name was Buonamici, that of
Tassi he adopted, as that of his patron,
whom he served as a page. His youth
was remarkable for its dissipation and
its consequent misfortunes ; he was
condemned for some time to the Tus-
can galleys ; and during the period of
his successes at Rome he appears to
have led a uniformly scandalous life.
He was self-taught, and showed early
an ability in painting landscape and
architecture : after his release he prac-
tised some time at Leghorn, and here,
through his opportunities of seeing
vai-iety of costume and shipping, ac-
quired a taste for and skill in pro-
ducing such subjects, decorating his
compositions with small figures. He
returned to Rome in the commence-
ment of the Pontificate of Paul V.
(1605-21), and found a new patron in
Cardinal Lancellotti, whoso palace he
decorated, in fresco, with landscape,
marine views, and ornaments, in-
troducing also many appropriate
figures. Paul Bril was at the height
of his reputation at this time, and his
works may have had considerable in-
fluence on Tassi ; Passeri does not
state that Tassi was ever Bril's scholar.
He executed extensive works also in
the Palazzo Quirinale ; and in some of
the more important figures introduced,
he used to secm-e the aid of Lanfranco,
TASSI— TESAUEO.
177
Guercino, and Gentileschi. Tassi's
friezes and other works were held in
such esteem at Eome that Innocent X.
would not enlarge his family palace in
the Piazza Navona, in order that he
might preserve the decorations which
Tassi had executed for him while Car-
dinal.
The celehrated Claude Lorrain was
Tassi's cook and colour-grinder : this
would be at the time he was engaged
in the Quirinal Palace by Paul V., and
with Tassi Claude acquired the first
principles of the art by which his name
is immortalized. {Passeri, Sandrart.)
TAVARONE, Lazzako, b. at Genoa
1556, d. 1641. Genoese School. The
scholar of Luca Cambiaso, whom he
accompanied to Spain to aid in the
decoration of the Escurial. Tavarone
remained many years in Spain after the
death of Cambiaso, and returned to
Genoa in 1594, where he attained a
great reputation as a portrait-painter,
and for his historical subjects in oil and
in fresco : he excelled particularly as a
colourist, but painted much in the style
of Cambiaso. His works are numerous
at Genoa ; they are chiefly frescoes.
Works. Genoa, cathedral, Martyr-
dom of San Lorenzo ; Palazzo Saluzzi,
other frescoes; Palazzo Adomi, State
Services of that Family : Oratorio di
Bant' Ambrogio, the History of the
Titular, &c. {Soprani, Ratti.)
TAVELLA, Carlo Antonio, h. at
Milan, 1668, c?. at Genoa, 1738. Genoese
School. Of a Genoese family. The
scholar of Giuseppe Merati, and of a
German called Solfarolo; much later,
in 1695, he studied with Peter Molyn,
called Tempesta by the Italians, and
became an excellent landscape-painter.
The figures in his pictures were com-
monly inserted by Magnasco, and Do-
menico and Paolo Piola. Tavella's
works are numerous in Genoa, espe-
cially in the Palazzo Franchi. (Ratti.)
TEMPESTA, Antonio, b. at Flo-
rence in 1555, d. at Eome, 1630.
Tuscan School. The scholar of
John Stradanus, a Fleming, whom
he assisted for some time and then
went to Eome, where he was employed
by Gregory XIII. He painted for
that Pope, in the Vatican, the Trans-
lation of the Body of St. Gregory of
Nazianzus, and other works, by which
he acquired a great reputation. He
painted also for the Cai'dinal Ales-
sandro Farnese, at Caprarola. Tem-
pesta was distinguished as a battle,
animal, and landscape painter: horses
were his favourite subjects, and he
excelled in battles, processions, caval-
cades, hunts, and field sports. Some
of his principal works are the friezes
of the Bentivoglio Palace on Monte
Cavallo, painted for the Cardinal Sci-
pione Borghese; these have been
etched by himself. Tempesta's etch-
ings are extremely numerous, amount-
ing to upwards of 1500, and his repu-
tation now rests chiefly on his works
of this class; though bold, they are
heavy, and confused in composition :
the most valuable are hunts and field
sports, and studies of horses. He was,
according to Lanzi, the first Italian
who ever attained distinction in land-
scape or animal painting. (Baglione,
Gandellini.)
TESAUEO, Bernaedo, painted
1460-80. Neapolitan School. The
scholar of the elder Silvestro Buono,
and the best of the Neapolitan pain-
tei'S during the fifteenth century; he
excelled in colour, and approached
nearer to the cinquecento schools in
composition, and in the treatment of
his draperies, than any of his con-
temporaries. His principal remaining
works are the Seven Sacraments on the
ceiling of the church of San Giovanni
de' Pappacodi ; that of Marriage repre-
•sents the ceremony as performed on
the occasion of the marriage of Fer-
dinando II. with Ippolita Maria Sforza.
178
TESAURO— TIAKINI.
Luca Giordano confessed that he him-
self could not have done these things
better than they had been executed by
Tesauro two hundred years before.
A much earlier painter of this name,
Filippo Tesauro (1260-1320), was pro-
bably of the same family; as also
Kaimo (1194.-1501). By the former
ai-e some frescoes of the Life of San.
Niccola in Santa Restituta. The latter
was also a distinguished fresco-painter.
(^VominicL)
TEST, Mauko Antonio, b. at Mont-
albano, in the Modenese, Jan. 15, 1730,
d. at Bologna, July 18, 1766. Bo-
lognese School. Originally placed with
an heraldic painter. He studied the
works of Mitelli and Colonna, and be-
came the best ornamental and archi-
tectural painter of his time, owing
much of his success to the patronage
and advice of his friend the celebrated
Count Algarotti. The Zambeccari Gal-
lery in Bologna is his principal work ;
he left many designs and some pic-
tures, in the possession of the Algarotti
family at Venice. Tesi also etched a
few plates. He was buried in San Pe-
tronio in Bologna, where is the follow-
ing flattering inscription on his tomb :
— EleganticB veteris, in pingendo ornatu,
et Architectum, restUutori. {Tirahoschi.)
TESTA, PiETEO, called II Lucche-
siNO, 6. at Lucca 1611-1617, d. at
Rome, 1650. Tuscan School. He stu-
died first under Pietro Paolini at
Lucca, then with Domenichino, and
Pietro da Cortona at Rome. Testa's
few pictures show more influence of
the last master than any other. He is
chiefly distinguished for his engrav-
ings. He appears to have been of a
melancholy, dissatisfied character ; he
was not a courtier, and met with, ac-
cordingly, few patrons and fewer friends.
He chose frequently gloomy and un-
happy subjects for his pictures, as the
Martyrdom of St. Erasmus, and his
last work, the Death of Cato of Utica.
His figures are 'somewhat in the style
of Poussin, with whom Testa had con-
tracted a friendship; ;he excelled in
landscape and in the representation of
the ancient ruins of Rome; and was
generally distinguished for his fertile
and admirable invention. Passeri
speaks of his noble and elevated ge-
nius, and to this attributes his love of
solitude, and his misfortunes. He was
found drowned in the Tiber at Rome,
at the early age of less than forty,
whether by his own act or by accident
is unknown — both cases are asserted.
His principal pictures are, in Rome, in
San Martino a' Monte, the Death of
the Carmelite Beato Angelo : Capitol,
Gallery, Joseph sold by his Brethren,
according to some his master-piece :
Palazzo Spada, the Slaughter of the
Innocents. For Santa Croce de' Luc-
chesi he painted the Presentation of
the Virgin in the Temple, now in St.
Petersburg (?). He executed a few works
also for Lucca, for San Romano, San
Paolino, and the Buonvisi Gallery ; of
his frescoes there Lanzi mentions a
Liberty, in the Palazzo Pubblico, and
the cupola of the oratory of the Casa
Lippi. In galleries his pictures are
uncommon. {Baldinucci, Passeri,
Lanzi.)
TIARINI, Alessandro, b. at Bo-
logna, March 20, 1577, d. in Bologna,
Feb. 8, 1668. Bolognese School. He
was the scholar of Prospero Fontana
and Bartolomeo Cesi ; but owing to a
quarrel he fled from Bologna, and en-
tered the school of Passignano at
Florence, in which he remained seven
years ; when he returned by invitation
to Bologna. He now acquired a great
reputation, and he eventually adopted
the style of Ludovico Carracci. Tia-
rini's works, chiefly in oil, are very
numerous in Bologna, Mantua, Mo-
dena, Reggio, Parma, Cremona, and
Pavia. He is one of the most distin-
guished masters of his school, and is
TIABINI— TIBALDI.
179
one of those able painters who have
greatly suffered in reputation, owing to
their best works being attributed to the
Caposcuola, or head of the school.
There was a picture in the Doria Gal-
lery by Tiarini, attributed to Paul Ve-
ronese, and some of his best in other
galleries, says Giordani, are attributed
to Ludovico Carracci and other of his
more celebrated contemporaries. Lu-
dovico Carracci greatly admired the
works of Tiarini. The colour of his
pictures has somewhat suffered ; their
tone is sombre and grey ; he used little
red, a defect he had in common with
Ludovico Carracci ; he sometimes sim-
ply glazed over a grey underpainting ;
but his works are distinguished for
invention and earnestness of character,
too often of a gloomy nature, and for
their correctness of design and bold-
ness of foreshortening.
Works. In the Gallery of Bologna
are twelve pictures by Tiarini, includ-
ing the celebrated Deposition from the
Cross, attributed long to L. Carracci ;
others of his master-pieces are, the
Marriage of St. Catherine, in the same
collection ; the Miracle of San Dome-
nico, the Eaising the Dead Child to
Life, in the Cappella del Eosario, in
the chm-ch of that saint (it was painted
in competition with Lionello Spada) ;
a similar subject in San Bernardo: in
San Salvatore, a Nativity : in Santa
Maria Maggiore, St. Jerome in the
Wilderness : in San Leonardo, the An-
nunciation : in San Petronio, the Mar-
tyrdom of Santa Barbara: in the
convent of San Micnele, in Bosco, the
Exhumation of a Dead Monk: the
Assumption of the Virgin, and others,
in San Domenico at Budrio : the Ee-
morse of Peter after the Denial of
Christ, in the Gallery at Modena. At
Florence, Pitti Palace, the Death of
the Magdalen ; and Adam and Eve
deploring the Death of Abel: besides
many others in Sant' Alessandro at
Parma; Santa Maria Coronata at
Pavia ; and San Frediano at Pisa. In
the Louvre is the celebrated picture of
the Eepentance of St. Joseph, from the
church of the Mendicanti at Bologna.
{Malvasia.)
TIBALDI, Pellegkino, called also
Pellegeino Tibaldi de' Pellegeini,
and Pellegeino da Bologna, b. at Bo-
logna, 1527 (•?), d. about 1600. Bolognese
School. His father, Tibaldo Pellegrini,
was a native of Valdelsainthe Milanese,
but was settled as a bricklayer or mason
in Bologna, and known as Maestro Ti-
baldo Muratore. Pellegrino early dis-
tinguished himself as a fresco-painter,
he executed very few works in oH; by
whom he was first instructed is not
known, but probably by Bartolomeo
Eamenghi, commonly called Bagna-
cavallo. In 1547 he went to Eome, to
study the works of Michelangelo, who
had not many years completed the
Last Judgment in the Sistine Chapel,
and was then at the height of his re-
putation. Tibaldi soon attracted the
notice of the Eoman artists and patrons,
and here he made the acquaintance of
the Cardinal Giovanni Poggi, who sent
him back to Bologna, after a three
years' residence in Eome, to paint his
family palace in that city. There is a
picture in the Borghese Gallery, painted
at this time, which is the only clue to
the date of Pellegrino's birth ; it is in-
scribed Peregrinus - Tibaldi Bono-
niensis faciebat. Anno (Btatis sucb
XXII. M.D.XLVIIII.; but this cannot
be reconciled with an entry in the
baptismal books of the cathedral of
Bologna, under the date of April 18,
1541 : — Dominicus Jilius Peregrini Ti-
baldi, &c., unless this entry may refer
to the father, Tibaldo. On his return
to Bologna, Pellegrino painted some
%xtensive frescoes in the palace of the
Cardinal, now the Institute of Bologna ;
and also in the chapel of San Jacopo,
built by Tibaldi himself for the same
N 2
180
TIBALDL
prelate. These are remarkable works,
and are those held up by the Carracci,
in their Sonnet, half a century later,
for the emulation of their scholars : —
'■'■Del Tibaldi il decoro e ilfondamento."
They called him " Michelangelo Eifor-
mato." He has been fi-equently called
the scholar of Michelangelo, a report
arising, however, solely from the simi-
larity of style: the Bolognese was an
imitator of the great Florentine, with
less vigour and dignity, but, at the same
time, with less exaggerated forms, and
more delicate execution. With regard
to the title of " Michelangelo Cor-
rected," Fuseli (Lect. xi.) remarks: —
" I will not do that injustice to the
Carracci, to suppose, that for one mo-
ment they could allude by this verdict
to the ceiling, and the prophets and
sibyls of the Cappella Sistina: they
glanced, perhaps, at the technic exuber-
ance of the Last Judgment, and the
senile caprices of the Cappella Paolina."
The paintings of the Institute, both by
Tibaldi and Niccolo Abati, have been
finely engraved, and were published
with lives of the two painters by Za-
notti, in Venice in 1756: — Deserizione
ed illustrazione delle pitture di Pellcgrino
Tibaldi e Niccolo Ahbaii esistenti nelV
Istiiiito di Bologna. Tibaldi painted
also a chapel in Loreto, for the Car-
dinal D'Augusta; and at Ancona, the
Loggia de' Mercanti, completely in the
style of Michelangelo. He was em-
ployed also as an architect at Ancona,
both civil and military. In 1562, he
was called to Pavia by the celebrated
Carlo Borromeo (afterwards Saint),
and built for him there the Palazzo
della Sapienza. At Milan he built the
church of San Fedele; and in 1570
was appointed architect to the cathe-
dral there, and chief engineer to the
State. In ] 586 he was invited to Spain
by Philip IL, to decorate the Escurial
with frescoes, in which Luca Cambiaso,
and Federico Zucchero, had already
been employed, but Tibaldi's works
gave such satisfaction to the king, that
those of Cambiaso and Zucchero were
destroyed in order to make place for
others by Tibaldi. Cumberland speaks
with raptures of these works, though
they were already much damaged in
his time. Tibaldi remained in Spain
nine years, and then returned to Milan,
richly rewarded by Philip; he pre-
sented him with 100,000 scudi, nearly
i62l,000 sterling, and created him Mar-
quis of Valdelsa. In Milan he again
undertook the superintendence of the
building of the cathedral: the fa9ade
was completed from his design.
Pellegrino's son, or younger brother,
Domenico (1511-83), was an excellent
engraver, in which art he appears to
have been the master of Agostino
Carracci. The inscription on his tomb,
in the Annunziata at Bologna, also
gives him credit as a painter.
Works. Rome, castle of Sant' An-
gelo, the Archangel Michael. Bologna,
Istituto, subjects from Homer's Odys-
sey : Chapel Poggi in San Jacopo
Maggiore, John the Baptist preaching
in the Wilderness ; and the Last Judg-
ment: Academy, the Marriage of St.
Catherine. Ancona, Loggia dei Mer-
canti, Feats of Hercules: Sant' Agos-
tino, the Baj)tism of Christ: San
Ciriaco, the Eesurrection of Christ.
Spain, Escurial, sacristy, the ,Israelites
gathering the Manna; the Feast of the
Passover; Abraham and Melchisedech ;
and Elijah visited by the Angel in the
Wilderness : lower cloister, Purifica
tion; Flight into B^ypt; Slaughter of
the Innocents ; Christ in the Temple ;
the Ptaising of Lazarus; and others:
in the church, St. Michael and the
Fallen Angels ; the Martyrdom of Saint
Lawrence ; the Nativity of Christ ; and
the Adoration: in the library, on the
ceiling, the Arts and Sciences. {Va-
sari, Baglioncy Malvasia, Zanotti, Gua-
landi, Cean Bermudez.)
TIEPOLO— TINTOEETTO.
181
TIEPOLO, Giovanni Battista, b.
at Venice in 1693, d. at Madrid, March
25, 1769. Venetian School. He stu-
died under Gregorio Lazzarini, then
imitated Piazzetta, but eventually
adopted Paul Veronese for his model.
Tiepolo became a great fresco-painter,
acquiring great renown in Italy, Ger-
many, and in Spain. His style was
slight and brilliant, his drawing grace-
ful but feeble ; in his colour and in his
treatment of drapery he resembles
Paul Veronese; and he had remark-
able facility of execution. Zanetti re-
marks on the peculiar brilliancy of
Tiepolo's colouring, attained not by
gay colours but by his power of con-
trast ; he kept the masses of the pic-
ture low, and then, by the judicious
application of more positive colour,
effected, almost wholly by contrast, an
unusually brilliant effect. He spent
the last eight years of his life in Spain,
in the service of Charles III. He
etched several plates in a free and
spirited manner. He left two sons,
Giovanni Domenico, and Lorenzo ; the
elder etched some of his father's de-
signs.
Works. Venice, church of the Spe-
dale della Pieta, the ceiling, in fresco :
at the Domenicani alle Zattere, the
ceiling in fresco; and an altar-piece,
the Madonna and Saints : Santa Maria
della Fava, St. Anne and the Virgin :
Scuola del Carmine, the Virgin in
Glory, fresco : at the Cappuchins, aCas-
tello, the Discovery of the Cross.
Milan, St. Ambrose, Shipwreck of San
Satiro. Padua, Sant' Antonio, Martyr-
dom of St. Agatha. •{Zanetti, LanzL)
TINELLI, Cav. Tibeeio, b. at
Venice, 1586, d. 1638. Venetian
School. The scholar of Giovanni Con-
tarino, and an imitator of Leandro
Bassano : he became a distinguished
portrait-painter, his pictures being
executed in a careful and vigorous
manner, well coloured, and combining
natural grace with dignity of character.
Historical subjects by Tinelli are
scarce. He was decorated with the
Order of St. Michael by Louis XIII. of
France. He painted many of the
principal Venetians of his time, which
pictures are dispersed in various pri-
vate collections. He painted occa-
sionally fancy portraits ; many Vene-
tian ladies ; but he frequently left his
portraits unfinished. There is a por-
trait in the Venetian Academy ; and a
head by him in the Uffizj Gallery at
Florence. ( RidGlft. )
TINTOEETTO, Jacopo Eobusti,
commonly called II Tintoretto, &.
1512, d. May 31, 1594. Venetian SchooL Bl '/-
This painter acquired the name of
11 Tintoretto from the trade of his
father, who was a dyer (tintore).
Titian was for a few days only his
instructor; he may accordingly be said
to have been self-taught. Eidolfi re-
lates that Titian sent Tintoretto home
after he had been with him only ten
days, on account of some spirited
drawings which he had made : the
reason of the dismissal must be in-
ferred. Tintoretto subsequently de-
voted himself with ardour to the study
of casts from the antique, and the
works of Michelangelo. His great
ambition was now to design like
Michelangelo, and to colour like Ti-
tian. II disegno di Michelangelo ed il
colori di Tiziano, — such was the as-
piration he wrote on the wall of his
studio. He devoted the day to paint-
ing, and the night to drawing from his
casts. By these means he united great
strength of shadow with Venetian
colouring. He also made himself
master of foreshortening, an art less
studied by the Venetians generally
than by the Lombards : Tintoretto
, made express studies from the living
model. He applied himself likewise
to the actual dissection of the dead
subject, and thus attained a superior
182
TINTORETTO.
acquaintance with the structure and
anatomy of the human form. He was
unquestionably one of the most power-
ful and original of painters ; his fa-
cility was so great that Sebastiano del
Piombo said, that Tintoretto could
paint as much in two days as would
occupy him two years : his great rapi-
dity of execution acquired him the
nickname of II Furioso. Though his
pictures exhibit none of the religious
feeling or simple reverence peculiar
to the earlier masters of the quattro-
cento, they are conceived with a force
of thought, a grandeur and vigour of
imagination, and rendered with so
powerful an application of light and
shade and colour, that they bring a
new element of delight before the
mind, the infinite skill of the artist
when impelled by a determined will,
far more worthy of our admiration than
a paralysed asceticism. Tintoretto sur-
passed Titian in effects of hght and
shade, and in an occasional purity or
ideality of form, but his drawing was
very often sketchy and incorrect, and
extremely mannered. His early works,
though generally slight in treatment,
are in some instances elaborately
finished, and are more glowing in
colour than some of his later produc-
tions, which, owing to his habitual im-
petuosity of execution, are dead in
colour, and in form careless, incorrect,
and mannered. The Venetians used
to say he had three pencils — one of
gold, one of silver, and a third of, iron.
His style is generally purely sensuous,
and vast masses of figures are fre-
quently grouped for the mere sake of
such material surfaces or contrasts:
" he fails," says Kugler, " to fairly dis-
tribute the interest of the subject, so
as to make all the figures duly parti-
cipate in the spirit of the action as a
whole." The Crucifixion in the Scuola
^,J..,j. di San Rocco, engraved by Agostino
Carracci; the Miracolo dello Schiavo,
in the Academy; and the Marriage at
Cana, in the church of Santa Maria
dell a Salute, are three of the finest
examples of Tintoretto's powers at
Venice, and the only pictures to which
he put his name. The Scuola di San
Eocco still' possesses a complete gal-
lery of Tintoretto's, including several
of his best works. He was very great
as a portrait-painter: his facility and
force give surprising life to his pic-
tures of this class ; he was the favourite
of the Venetians : Vasari says he exe-
cuted the greater part of the portraits
painted at Venice in his time. Vasari
states that Tintoretto was in the habit
of painting at once on the canvas,
without making any drawing or other
preparation : on one occasion of a com-
petition, with the chief painters of
Venice, when the day was fixed for the
sketches, Tintoretto sent in his finished
picture, while the others sent only
sketches. His rapidity and low prices
were a frequent cause of complaint
with his fellow-painters. He was so
ambitious, and at the same time liberal,
that on occasions of difiiculty, he has
presented his works rather than not
see them in their destined places.
His son, Domenico, h. 1562, d. 1637,
followed the steps of his father, in style
and subjects ; but says Lanzi, as As-
canivis did those of .^neas, non passibus
cequis. His daughter. Marietta, b. 1560,
d. 1590, painted some excellent por-
traits.
Works. Venice, at the close of the
last century, contained about 200 oil-
pictures in the public buildings by
Tintoretto; his frescoes have nearly
all perished; his earliest works were
those in the Scuola dei Sartori, and
Santa Caterina; and the latest, those
in Santa Maria Maggiore; the most
extraordinary display is still afibrded by
the Scuola di San Eocco : in the Aca-
demy are, the Miracle of St. Mark;
Christ on the Cross ; the Eesurrection
TINTOBETTO— TITIAN.
183
of Christ; the Virgin and Child; the
Assumption of the Virgin; the Death
of Abel ; and several portraits : in San
Giovanni e Paolo, a Madonna, with
Saints: in the Scuola di San Marco,
several works relating to that Saint : in
the Scuola di San Rocco, the Cruci-
fixion; the Eesurrection ; the Slaughter
of the Innocents; the Miracle of the
Loaves and Fishes ; and upwards of
fifty other of Tintoretto's works : Doge's
Palace, in the library, the immense
picture of Paradise (seventy-four feet
by thirty-four), in which his son Do-
menico assisted him: in the council
hall, the Coronation of Frederic Bar-
barossa by Pope Adrian IV. ; and that
Emperor's excommunication by Alex-
ander III. ; the Siege of Zara ; and
many others : Santa Maria dell' Orto,
the Last Judgment; and the Adoration
of the Golden Calf; also immense works :
Santa Maria della Salute, the Marriage
at Cana: San Trovaso, the Last Sup-
per: Santa Zaccaria, in the sacristy,
the Birth of the Virgin: the Padri
Crociferi, the Assumption of the Virgin ;
and a Circumcision. Florence, Pitti
Palace, Vulcan, Venus, and Cupid.
Berlin Museum, three portraits, and
two historical subjects. Schleissheim,
near Munich, in the chapel, the Cruci-
fixion ; and many others in the gallery.
Louvre, a sketch of the Paradise at
Venice; a Portrait of the painter; an-
other of a bald-headed man ; Susannah
at the Bath ; and a Dead Christ. Eng-
land, National Gallery, St. George and
the Dragon: Stafford House, a party
of Musicians : Bridgewater Gallery, the
Entombment : Castle Howard, the
Adoration of the Shepherds; the
Temptation of Christ; and the Sacri-*
fice of Isaac. ( Vasari, Ridolfi, Za-
netfi.)
TITIAN, or Tiziano Vecellio, 4.
at Capo del Cadore, 1477, d. at Venice,
Aug. 27, 1576. Venetian School. This
great master takes precedence of all
other painters of his school, on ac-
count of the universality of his powers,
which his longevity afibrded him un-
usual opportunities of displaying. He
was equally great as an historical, a
portrait, and a landscape painter. His
first master was Sebastiano Zuccati ;
he then studied under Gentile, and
afterwards with Giovanni Bellini ; and
his earliest works, such as the Tribute
Money, at Dresden, or the Adoration
of the Kings, in the Manfrini Gallery,
at Venice, show something of the cha-
racteristics of his master, a certain dry-
ness and minute finish, although even
at that period he already manifested a
peculiar power of his own. About
1512, owing to the great age of Gio-
vanni Bellini, Titian was selected to
finish the incomplete works of Gio-
vanni, in the Sala del Gran Consiglio,
and the Senate rewarded him with the
ofiice of La Sejiseria, with a salary of
300 crowns per annum • the chief obli-
gation of this office was that of paint-
ing the portraits of the Doges, during
the whole period of its tenure.
Titian's great patrons were Charles V.
and his son Philip II. The emperor
sat twice to Titian, at Bologna, in 1530
and 1532. Titian is supposed to have
visited Spain with the emperor on his
return from his visit to Italy, and to
have left Spain again in 1535, when
the emperor created him a Count Pala-
tine, and a Knight of the Order of St.
Jago ; the patent of nobility was dated
at Barcelona, 1535. Charles granted
Titian a pension of 400 crowns, which
was continued by Philip.
The works of his fellow-scholar,
Giorgione, seem also to have influ-
enced him ; some of Titian's portraits
executed at this time (says Vasari), are
hardly to be distinguished from those
of Giorgione. They worked together,
about 1507, on the exterior of the Fon-
daco dei Tedeschi, and their works
were so simil£ir, that these frescoes
lU
TITIAN.
were supposed by bis friends to have
been all by the hand of Gioi-gione.
Titian, however, developed a style of
his own, in which the peculiarities of
the Venetian School are seen in their
greatest perfection ; and besides high
technical qualities, his solid impasto
and glowing colour, he is distinguished
for a pleasing and noble representa-
tion of the human character ; but the
creatures of his pencil are beautiful,
independent of spiritual conceptions ;
they rather indicate the glorification of
the life in the body; a thoroughly
material beauty.
When Titian was in Eome, in 154G,
Michelangelo visited him in company
with Vasari, in the Belvedere, where he
was painting a picture of Jupiter and
Danaa3 ; and Vasari relates that Michel-
angelo praised the picture, and ob-
served that had Titian's power of
drawing been as great as his natural
gifts, he would have produced works
which none could have surpassed.
Titian's portraits entitle him to hold
the highest rank in that branch of the
art ; such is their amazing reality,
they seem to be a pictorial and ele-
vated biography of the individual; as
pictures, they have a breadth and
grandeur unrivalled.
Titian was great also as a landscape-
painter, although he properly treated
this department as subsidiary to his
historical subjects ; yet in some of his
pictures tbe great excellence of his
backgrounds makes it diflBcult to give
to his figures that primary importance
which they require, as in that remark-
able picture, in SS. Giovanni e Paolo,
the Death of St, Peter Martyr (painted
in 1528), where the dreary wood and
the subdued atmosphere contribute to
the horrors of the scene: or in the
picture of Jupiter and Antiope, in
which the grand and beautiful land-
scape harmonizes equally with the
subject. Titian's early and later works
show the same contrast that we find
in the works of many other great
painters ; ranging from excessive finish
to excessive negligence of execution.
The most finished, perhaps, and beau-
tiful of his early works is the Cristo
della Moneta, or Tribute-money, in
the Dresden Gallery, painted at Fer-
rara, in 1514. The mild expression in
the Saviour's reproving glance con-
trasts finely with the subtle craftiness
of the Pharisee holding the coin ; the
harmony of the flesh-tints, and the
extreme delicacy with which the beard
and hair are treated, are very remark-
able; but the draperies are not so
successful, the folds are minute and
hard ; the red robe of Christ is espe-
cially so, it appears to have been
painted from wetted paper. This pic-
ture contrasts strikingly v/ith the
Deposition from the Cross, in the
Academy at Venice ; an example of
the opposite extreme of his execution.
The best pictures, executed at his riper
period, show a happy medium of style
between these two ; the Entombment,
in the Manfrini Galleiy (repeated in
the Louvre), says Kugler, " displays
the highest beauty of form, and the
most dignified expression in gesture,
combined with the liveliest emotion,
and the deepest and most earnest feel-
ing." The Assumption of the Virgin,
in the Academy at Venice, painted in
1516, is likewise a work of great ex-
cellence, the e£fect of the upper por-
tion, as a whole, is extremely imposing,
and the glow of colour is magnificent;
but in the group of the Apostles below
there is something heavy in the pro-
portions of the figures, and constrained
•in their attitude. Perhaps the most
celebrated historical works of Titian,
are the Death of St. Peter Martyr,
already mentioned ; the Entombment,
of the Manfrini Gallery, or the Louvre ;
and the Martyrdom of San Lorenzo,
painted for Philip II. of Spain. In
TITIAN.
185
this last picture, Titian has displayed
a power in composition and design
equal to his colouring : the effect of
light is very beautiful ; it is a night
scene, and the whole light of the pic-
ture is from the fire beneath the Saint,
the raised torches, and the super-
natural light above, which appears
to fall upon the martyr. There is a
repetition of this composition in Ve-
nice. Of that simple grandeur, or
" Senatorial dignity," -which charac-
terises many of Titian's works, the
Presentation of the Virgin in the
Temple, in the Venetian Academy, is
a fine example. His drawing has been
much criticised; but as regards pro-
priety of design, there can be no com-
parison between the better works of
Titian, and those of the contemporary
Anatomical School of Florence. In
the works of Titian there is no osten-
tation, no artifice ; he sought truth
only. For the pictorial representation
of Nature, without addition or selec-
tion, Titian has surpassed all other
great painters of Italy ; though he was
inferior to the greatest masters of
Home and Florence in invention, in
composition, and in style and quality
of design.
Sir Charles Eastlake remarks, that
a certain imitation of Michelangelo is
observable at the most vigorous period
of Titian's career, but confined to qua-
lities which were analogous to his own
characteristic excellences, as contrast
in action, and grandeur of line. Ari-
osto was the personal friend of Titian ;
they became acquainted at the Court
of Alfonso I., of Ferrara, in 1514.
The poet has celebrated the painter's
powers in the Orlando Furioso : —
" Bastiano, Kafael, Tizian ch' onora,
Non men Cadore, che quel Venezia e
Urbino."
And the celebrated Peter Aretin was his
constant companion. Titian died of
the plague, which carried off his son
Orazio at the same time, aged about
sixty. Orazio was a good portrait-
painter, and the constant companion
and assistant of his father.
Works. Venice, Ducal Palace, the
Doge Grimani kneeling before Faith :
in the chapel, St. Christopher (fresco) :
Manfrini Palace, an Adoration of the
Kings (an early picture) ; the Entomb-
ment of Christ ; the Three Ages ; the
Portrait of Ariosto : Academy, the Visit
of Mary to Elizabeth (an early work) ;
the Presentation of the Virgin in the
Temple ; the Assumption of the Vir-
gin ; John the Baptist in the Wilder-
ness ; the Descent from the Cross
(formerly in the church of Sant' An-
gelo) : SS. Giovanni e Paolo, the Death
of St. Peter ^lartyr: in the Jesuits'
Church, the Martyrdom of San Lo-
renzo : Barbarigo Palace, a Penitent
Magdalen ; Venus and Cupid ; Venus
trying to keep Adonis from the Chase ;
the Portrait of Pope Paul III.; the
Nymph and the Satyr: church of the
Smo. Salvatore, the Annunciation ; and
the Transfiguration : Sta. Maria de'
Frari, Madonna, with Saints. Florence,
Uffizj, a Madonna, with Angels (an
early work) ; the Two Venuses ; and
the Portrait of Beccadelh, in the tri-
bune ; a Head of Flora : Pitti' Palace,
a Portrait of La Bella di Tiziano ; a
Portrait of Pietro Aretino. Kome,
SciaiTa Palace, a Madonna (an early
work); La Bella di Tiziano: Doria
Palace, a Penitent Magdalen: Borg-
hese Gallery, Equipment of Cupid;
Sacred and Profane Love : Corsini
Palace, a Portrait of Philip II. : Vati-
can Gallery, the Portrait of a Doge;
and the Martyrdom of St. Sebastian.
Naples, Studj Gallery, Daniie. Berlin
Gallery, the Portrait of Titian's daugh-
ter, Lavinia ; a Portrait of the Venetian
Admiral, Jo. Mauro(1538); the Por-
trait of Titian, when old ; and several
other sacred and profane works. Mu-
186
TITIAN— TORBIDO.
nich Gallery, Portrait of the Emperor
Charles V.; Venus initiating a Bac-
chante into the mysteries of Bacchus ;
the Madonna enthroned; &c. Dres-
den Gallery, Venus ; Philip and his
Mistress; the Cristo della Moneta;
&c. Madrid, Prado Gallery: this col-
lection contains forty-three of Titian's
pictures, including several of his best
works — the Arrival of Bacchus in the
Isle of Naxos ; Diana and Action ;
Diana and Cahsto ; a Sacrifice to
the Goddess of Fertility, a Baccha-
nalian scene ; Prometheus ; Sisiphus ;
Charles V., on horseback; the same,
full length ; Venus and Adonis ; the
Original Sin ; Deposition from the
Cross ; the Trinity ; the Holy Family ;
Adoration of the Magi. Louvre, Jupi-
ter and Antiope, called " La Venus del
Pardo ; " St. Jerome kneeling before a
Crucifix ; Christ crowned with Thorns ;
the Entombment ; the Supper at Em-
maus ; La Vierge au Lapin ; and a
Madonna and Child, with three Saints
(both early works) ; a Portrait of
Titian and his Mistress, or Alfonso I.
of Ferrara, and Laura de' Dianti ; a
Portrait of Francis I. ; L' homme au
Gant ; &c. London, National Gallery,
Bacchus and Ariadne; the Eape of
Ganymede (by Damiano Mazza ?) ;
Venus and Adonis ; a Concert ; a Holy
Family. Bridgewater Gallery, the
Three Ages. Stafibrd Gallery, two
pictures of Diana and her Nymphs;
Action and Calisto; Venus rising
from the Sea. Northumberland House,
the Comaro Family : Holford Collec-
tion, Holy Family. Dulwich, Venus.
Windsor, Titian and Aretin (?). Cam-
bridge, Fitzwilliam Museum, repetition
of Dresden Venus. {Vasari, Bidolfi,
Zanetti, Ticozzi, Mater, Cean Bermu-
dez, Northcote, Cadorin.)
TITO, Santi di, b. at Citta San
Sepolcro, in 1538, d. at Florence, 1603.
Tuscan School. The scholar first of
Bastiano da Monte Carlo, then of An-
gelo Bronzino at Florence; and of
Benven\ito Cellini at Piome, where he
studied likewise ornament and archi-
tecture ; he derived also some instruc-
tion from Baccio Bandinelli. Santi di
Tito was distinguished for his fine draw-
ing and suitable expression, but his
colouring was inferior and feeble. His
excellences were, however, according to
Lanzi, sufficient to secure him^ the re-
putation of the best painter of his
time at Florence, and he had a nume-
rous school ; among his scholars were
his own son, Tiberio Titi, a good por-
trait-painter, and Gregorio Pagani.
Works. Florence, Santa Croce,
Christ at Emmaus : San Giuseppe,
Nativity : San Marco, Last Supper :
Academy, Entrance of Christ into Je-
rusalem ; a Pieta ; and a Holy Family.
Volterra Cathedral, Eaising of Lazarus.
Citta di Castello, the Descent on the
faithful of the Holy Spirit. Arezzo
Cathedral, altar-piece. {Bald'mucci.)
TORBIDO, Francesco, called II
MoEO, b. at Verona, about 1490, painted
in 1535. Venetian School. He was
a scholar of Giorgione in his youth,
but studied afterwards under Liberale
at Verona, and painted in the manner
of both masters, combining the colour-
ing and softness of Giorgione with the
style of Liberale, who became greatly
attached to Torbido, and made him
his heir. Torbido painted both in oil
and in fresco, and excelled greatly in
portraits.
Works. Vasari mentions as his
greatest work, the frescoes of the Ma-
donna in a chapel of the Cathedral of
Verona, painted in 1534 for the Bishop
Giovan Matteo Giberti, from drawings
by Giulio Eomano; they are still in
good preservation. Torbido painted
for the same prelate a chapel of the
Abbey of Eosazzo in the Friuli, also
with frescoes from the Life of Christ
and of the Virgin, &c. ; the picture of
the Transfiguration is signed Fran-
TORBIDO— TREVISANI.
187
ciscus Turhidns Fadebat, 1535. Torbido
executed other works in oil and fresco
at Verona, in Santa Maria in Organo,
and in the chapel of the Bomhardieri,
in Sant' Euphemia, Saint Barbara with
St. Anthony and St. Eoch, one of his
finest pictures : in San Fermo Mag-
giore, the Assumption of the Virgin :
in the Sambonifacio Gallery is the Por-
trait of Zenovello Giusti. There are
altar-pieces by Torbido in the churches
of Costi, (near Montebello,) and of
Mestre : in the Studj Gallery at Naples,
is a portrait signed Francs Turhidus
ditto el Moro Ve. Faciebat : in the Gal-
lery at Munich is his own portrait.
( Vasari.)
TRAINI, Feancesco, b. at Florence,
painted 1345, living 1378 (?). Tuscan
School. The scholar of Andrea Or-
cagua. In the chapel of St. Thomas
Aquinas, in the church of Santa Cate-
rina at Pisa, is the Beatification of
St. Thomas, his principal work : in the
Academy of Pisa is San Domenico by
Traini. Vasari remarks that Orcagna
was far surpassed by his scholar in
colouring and in invention ; but Traini
is in no way free from the defects of
the quattrocento. {Vasari^ Bonaini.)
TREVIGI, GiEOLAMO DA, b. at
Trevigi, 1508, d. near Boulogne, 1544.
Venetian School. He was apparently
the son, and probably the scholar, of
Piermaria Pennacchi; but he became
an imitator of Eaphael. He spent
some time in Bologna, and visited
Genoa, which place he soon left on
account of the too powerful rivalry of
Perino del Vaga; from Bologna he
went to Venice and Trent, and he
finally came to this countrj' and en-
tered the service of Henry VIII. He
was employed chiefly as architect and
engineer, \\dth a fixed salary of about
100/. per annum ; it was while acting
as engineer in the King's service, be-
fore Boulogne in 1544, that Girolamo
was killed by a cannon-ball, in his 36th
year. There was a Girolamo Aviano
da Trevigi, of whom there are still
works, from 1470 to 1492.
Works. His pictures are scarce, but
there are some excellent portraits by
him in an elaborate but broad manner,
resembhng the portraits by Ptaphael ;
as the half length of a man holding a
ring or signet in his hand in the Colonna
Gallery at Eome. The picture of the
Madonna and Saints, noticed by Vasari
as Girolamo's master-piece, and for-
merly in San Domenico in Bologna,
formed part of Mr. SoUy's collection :
the Adoration of the Kings, painted
for Giovanni Battista Bentivogli, from
a drawing by Baldassare Peruzzi, is
now with the drawing in the National
Gallery. The chiaroscuri from the Life
of St. Anthony in the chapel of that
saint in San Petronio at Bologna are
still preserved; there are a Madonna
and Saints, and a Presentation, in the
church of the Smo. Salvatore in Bo-
logna. {Vasari, Federici.)
TEEVISANI, Cav. Francesco, b.
at Capo d'Istria, near Triest, April 10,
1656, d. at Eome, July 30, 1746. Eo-
man School. Studied under Antonio
Zanchi at Venice, and executed several
fine works in imitation of the great
Venetians; but having eloped with a
young Venetian lady of high family,
he fled to Eome, where he settled and
acquired a great reputation. He found
valuable patrons in the Cai-dinal Flavio
Ghigi, nephew of Pope Alexander
VII., and in the Duke of Modena,
then Spanish Ambassador at the Court
of Eome. He forsook the Venetian
manner after his amval in Eome, and
adopted that of Guido, Domenichino,
and other Carracceschi, and Carlo
Maratta, then in fashion there. His
composition is grand, and his chiaros-
curo forcible, his execution free and
bold, his drawing correct and graceful,
and his colouring brilhant. He had
the power of imitating the style of any
188
TEEVISANI— UBEKTINI.
master, and he painted almost every
subject — figure, portrait, animal, land-
scape, architecture, flowers, &c. He
is sometimes called Eoman Trevisani
to distinguish him from Angelo Trevi-
sani of Venice {living 1753), who was
also a good portrait- painter.
Works. Eome, San Silvestro in
Capite, the Crucifixion : San Fran-
cesco delle Sagre Stimate, the Titular:
church of the Collegio Eomano, Death
of St. Joseph : San Giovanni Laterano,
the Propliet Baruch. Urbino, cathe-
dral, cupola. Forli, Casa Albicini,
Crucifixion, and other works. Venice,
San Eocco, St. Anthony of Padua.
Louvre, Madonna and Child; another
with the Child sleeping. Dresden
Gallery, Murder of the Innocents ; a
Eepose ; and several others. Many
af his works have been engraved.
(Lanzi.)
TEOTTI, Cav. Gio. Battista, called
II Malosso, b. at Cremona, 1555,
living 1607. Lombard School. The
scholar of Bernardino Campi, whose
niece he married; he became an imi-
tator of Correggio and Soiaro. His
nickname of Malosso is said to have
been given him at Parma by Agostino
Carracci, who, with reference to his
rivalry, found Trotti a hard bone to
pick, 31al osso. He executed some
celebrated frescoes in the Palazzo del
Giardino at Parma, and others from
the designs of Giulio Campi in the
cupola of Sant' Abondio. A favourite
subject with him was the Beheading of
John the Baptist, which he has repeated
in San Domenico at Cremona, in San
Francesco, and Sant' Agostino at Pia-
cenza. In the cathedral at Cremona,
is the Crucifixion : in San Pietro,
Santa Maria Egiziaca ; and in Sant'
Abondio, a Pieta. {Zaist, Lanzi.)
TUECHI, Alessandeo, called Ales-
SANDRO Veronese, and L'Orbetto,
from his occupation of leading his
blind father, b. at Verona, in 1582,
d. at Eome, in 1618. Venetian School,
He was first the colour-grinder, and
then the scholar of Felice Eiccio, called
Brusasorci ; he studied afterwards under
Carlo Saracino at Venice ; he spent
also some time at Eome, and studied
the works generally of the great Italian
masters on the eclectic principle of
the Carracci; he was, however, a de-
cided mannerist. His chief excellence
was his colouring. He painted fre-
quently small pictures on mai'ble, stone,
and slate.
Works. Eome, church of the Con-
ception, St. FeUx : San Eomualdo,
FHght into Egypt: Colonna Palace,
Sisera. Verona, San Stefano, the
Forty Martyrs : San Niccolo, the Na-
tivity : at the Misericordia, a Pieta :
Sant' Anastasia, the Ascension : Santa
Maria in Organo, the Virgin in glory,
with Saints : Casa Girardini, Adora-
tion of the Kings ; and other works.
Louvre, the Deluge ; Samson and Da-
lilah; the Death of Cleopatra; and
others. Dresden Gallery, Da\id with
the Head of GoUath ; the Judgment of
Paris ; and several small and careful
religious pictures on slate. London,
Bridgewater Gallery, Joseph and Po-
tiphar's Wife. (Dal PozzOj Passeri,
Lanzi.)
UBEETINI, Francesco, called Bac-
CHiACCA, b. about 1490, d. at Florence,
1557. Tuscan School. The scholar
of Pietro Perugino, and the friend of
Andrea del Sai'to. He painted in oil and
in fresco, and was distinguished for his
small figure pieces, which he painted
sometimes upon furniture. Several
of his works, which Vasari praises for
their diligent execution, are still ex-
tant ; as the two pictures executed for
Giovan Maiia Benintendi; one, tlie
Baptism of Christ, now apparently in
the Berlin Gallery, and the other in
the Dresden Gallery, representing a
UBEETINI— UDINE.
189
Scythian tradition, in which several
claimed to be the son and heir of a
Scythian prince who had just died, and
the test of the genuine heir was to he
the best shot with an arrow through
the heart of the deceased; when the
youngest competitor declined on the
plea that his father's heart was too dear
to him, even in death, to be made a
mark for his bow. In San Lorenzo at
Florence are two other works by Uber-
tini. And Vasari remarks that many of
his pictures were sent to France and to
this country. He excelled also in paint-
ing animals of all kinds, and was a dis-
tinguished decorator. He died in the
service of the Grand-Duke Cosmo I.
when engaged on some designs for the
curtains of the state bed being pre-
pared for the marriage of the Prince
Francesco de' Medici with Joanna of
Austria, which was completed by Ya-
sari. The embroidery was executed
by Francesco's brother Antonio Uber-
tini. Angelo Bronzino introduced the
Portrait of Bacchiacca, with that of
Jacopo da Pontormo and others in his
picture of Limbo, in the Florentine
Gallery. {Vasari, Baldimicci.)
UCCELLO, Paolo, called also Paolo
Di DoNO, h. at Florence, 1396-7, d.
about 1479. Tuscan School. Nothing
is known of his education ; he was the
companion of Ghiberti and Donatello,
and was the first Italian artist who re-
duced the principles of perspective to
rule : he was acquainted with geome-
try, which he read with Giovanni
Manetti. His love of perspective made
him comparatively skilful in foreshort-
ening. Vasari remarks, that Uccello
would have proved one of the ablest
painters of Italy, from Giotto down to
his own time, had he paid as much
attention to men and animals as he
did to perspective. He was fond of
introducing animals and birds into hi^
pictures, and was called Uccello, from
his predilection for birds. He painted
in fresco and in distemper, but most of
his works have perished ; his principal
were some pictures, in green earth, in
Santa Maria Novella, where he illus-
trated the history of Adam and Eve,
and of Noah and the Deluge. He ex-
celled in landscape.
Works. Santa Maria Novella, the
Sacrifice of Noah ; cathedral. Eques-
trian portrait of John Hawkwood, an
English military adventurer who died
in 1393 : Santa Maria Maggiore, the
Annunciation: Uffizj, a Battle-piece,
marked Paoli Uceli opus ; two other
similar pieces in the collection of SS.
Lombard! and Baldi ; these are three
of the four battles mentioned by Vasari
as at Gualfonda. Louvre, Bust-Por-
traits of Giotto, Uccello, Don ateUo, Bru-
nelleschi, and Giovanni Manetti, as
representing painting, perspective and
animal painting, sculpture, architec-
ture, and mathematics. ( Vasari, Gaye.)
UDINE, Giovanni da, b. October
27, 1487, d. at Kome, 1504. Koman
School. His family name was Eicama-
tori, from the occupation of embroi-
dering. He was at first the scholar of
Giorgione, and subsequently studied
under Eaphael at Eome, where he exe-
cuted an important portion of the
decorations of the Vatican Loggie. An
excellent picture, attributed to Gio-
vanni, in the Academy at Venice,
proves that he was an able disciple of
the Venetian School previous to his
Eoman visit; it represents Christ
among the Doctors, and is a calm and
beautiful composition. Giovanni was,
however, chiefly a decorative painter,
and was in his time unrivalled in his
representations of animals, birds, fruit,
flowers, and objects of still hfe of all
kinds. Vasari especially mentions a
book of birds, which delighted Eaphael,
who employed him to make copies and
studies from the beautiful grotesque
ornaments in the apartments of the
ancient baths of Titus at Eome, which
190
UDINE— VAGA.
had just then been discovered; and,
under the direction of his master, Gio-
vanni, assisted by these remains, con-
stituting the chief type of the cinque-
cento revival in painting, executed the
greater portion of the arabesque and
grotesque decorations of the Loggie,
and apartments of the Vatican. He
assisted Eaphael in other works, as in
the famous St. Cecilia at Bologna, and
the Cartoons at Hampton Court, in
this case chiefly the frame-work : also
in the ornamental portions of the de-
corations of the Farnesina. He exe-
cuted stuccoes as well as paintings;
the decorations in the first arcade of
the lower story of the Loggie, and the
frieze with Children playing in the
Villa Madama, containing the best ex-
amples of this decorative work at
Kome, are among his own more inde-
pendent works. There are some of
his decorations in the Grimani Palace
at Venice; and the palace of the Arch-
bishop at Udine is also decorated in
the same style. The works in Santa
Maria in Ci^ddale, and in Santa Maria
di Castello in Udine, mentioned by
Vasari, have long since perished. {Va-
sari.)
VACCAKO, Andrea, b. at Naples,
1598, d. 1670. Neapolitan School.
Scholar of Girolamo Imparato and of
Massimo Stanzioni. He was first an
imitator of Michelangelo da Caravaggio,
and executed some excellent copies of
that master. Through the influence
of Stanzioni, Andrea subsequently
abandoned the manner of Caravaggio,
and imitated the style of Guido, and
in this taste his principal works are
executed. The Studj Gallery at Na-
ples contains a Holy Family and se-
veral pictures by Vaccaro. His most
reputed works are the Presentation of
tlie Virgin in the Temple, in the Pieta
de' Turchini; and the Pwesurrection,
and the Coronation and the Assump-
tion of the Virgin, in the church del
Smo. Kosario : others in the church of
the Theatiaes. Vaccaro was the first
Neapolitan painter who established a
life school; and, after the death of
Stanzioni, was the best master of the
Neapolitan School. {Dominici.)
VAGA, Perino del, called also
BuoNACcoRSi, his family name, b. at
Florence, June 28, 1500, d. at Eome,
Oct. 19, 1547. Eoman School. He
was early instructed by Eidolfo Ghir-
landajo, at Florence. He subsequently
went, with a painter of the name of
Vaga, to Eome, where he studied the
works of Michelangelo and the antique,
and became the scholar of Eaphael.
He assisted Giovanni da Udine in the
stucco and arabesque decorations of
the Loggie of the Vatican, where he
also executed some of the biblical
subjects from the designs of Eaphael.
Perino painted likewise the figures of
the planets in the great hall of the
Appaitamento Borgia, in the Vatican,
from the drawings of Eaphael. After
the sack of Eome, in 1527, this painter
established himself for some time at
Genoa, where he introduced the Eoman
style, and founded a new school. With
the assistance of his scholars he orna-
mented the Doria Palace at Genoa,
in the style of the decorations of the
Palazzo del Te, by Giulio Eomano, at
Mantua. The designs of the staircase
display the most fanciful beauty of the
cinquecento arabesque, and the stucco
work is of the most varied and graceful
character. In the apartments are his-
torical and mythological representa-
tions; some are by Perino himself,
others were executed from his designs :
owing, however, to the comparative in-
capacity of his assistants, these works
are of very unequal merit. In this
master's pictures of Madonnas and
other subjects of the kind, we find a
more or less successful imitation of
VAGA— VANNUCCHI.
191
iphael, but without the depth, vigour,
and beauty of that great master. Pe-
rino's faciUty of execution betrayed
him latterly into a neghgent and me-
chanical manner; but there is much
of Eaphael, and more of Andrea del
Sarto, in his smaller oil pictures. The
picture known as the Parnassus, for-
merly in the collection of Charles I. of
England, and attributed to Perino del
Vaga, is now in the Louvre, and is in
the catalogue restored to II Kosso, to
whom, from the evidence of an old
print, it belongs ; it is now called " The
Defiance of the Pierides." Perino del
Vaga painted some excellent portraits ;
that of the aged Cardinal Polo, in Eng-
land, at Althorp, is full of character, but
brown in colour.
Works. Eome, in the Loggie of
the Vatican, as part of the so-called
Eaphael's Bible, the Hebrews cross-
ing the Jordan; tlie Taking of Je-
richo ; the Fall of Jericho ; Joshua in
conflict with the Amorites ; Abraham
preparing to sacrifice Isaac; Jacob
Wrestling with the Angel; Joseph and
his Brethren ; the Birth, Baptism, and
Last Supper, of our Lord : Castell'
Sant' Angelo, frescoes : San Stefano
del Cacco, Pieta, fresco : San Marcello,
frescoes: Borghese Gallery, Holy Fa-
mily ; a Madonna : Palazzo Doria Pam-
fi!i, Galatea. Genoa, Doria Palace, fres-
coes. Naples, Studj GaUery, two Holy
Families: Palazzo Salerno,Holy Family.
Pisa, cathedral. Death of the Virgin,
completed by Sogliani. In the Berlin
Gallery are two pictures, one repre-
senting Paul preaching at Athens ; the
other, the Baptist preaching; they are
of the school of Eaphael, and are con-
sidered by Waagen to be possibly by
Perino del Vaga. (Vasari.)
VANNI, Cflv. Francesco, b. at Siena,
1563, d, Oct. 25, 1609. Sienese School.
Scholar of his father and Archangelo
Salimbeni, at Siena, and of Giovanni
de' Vecchi, at Eome. He studied also
and copied the works of Correggio and
Parmigiano, at Parma, but became
eventually a decided follower of Ba-
rocci. He was invited to Eome by
Clement VIIL, and painted the altar-
piece of Simon Magus rebuked by-
Peter, for one of the chapels of St.
Peter's, for which he was created Ca-
valiere of the Abito di Cristo. Vanni
painted so much in the style of Barocci
that their works may be mistaken ; but,
though equal to Barocci in colouring,
he had less vigour of conception and
less energy of execution : his drawing
is correct, but less full than that of
Barocci. He belonged to a distin-
guished family of painters of Siena.
Andrea di Vanni (1372-81) was pro-
bably of the same family. His two
sons, Michelangelo and Eaphael Vanni,
both attained the rank of Cavaliere ;
the younger was the superior : he imi-
tated Pietro da Cortona, and executed
several meritorious works in Eome,
where, in 1655, he was elected a member
of the Academy of St. Luke. Francesco
etched a few plates.
Works. Eome, Santa Maria in Val-
licella, a Pieta : Santa Cecilia, in Tras-
tevere, the Flagellation of Christ; and
the Death of St. Cecilia. Siena, church
•of the Dominicans, San Eaimondo
walking on the sea. Others in Santa
Maria del? Umilta, at Pistoja : at Pisa,
&c. LomTe, two pictures of the Eepose
in Egypt, and the Martyrdom of St.
L'ene. (Baldlnucci, Gaye, Milanesi.)
VANNI, Giovanni Battista, b. in
1599, d. 1660. Tuscan School. The
scholar of Jacopo da Empoli and
Christofano AUori. He was a good
copyist, especially of the Avorks of
Correggio, Titian, and Paul Veronese.
He was a good colourist. His master-
piece is St. Lawrence, in the church
of San Simone, at Florence. {Baldi-
niicci.)
VANNUCCHI. [Saeto, Andrea
DEL.]
192
VANNUCCI— VASARI.
VANNUCCI. [Peeugino, Pieteo.]
VAEOTARI, Alessandeo, called II
Padovanino, b. at Padua, in 1590, d.
1650. Paduan and Venetian Schools.
He was the son of Dario Varotari, a
distinguished painter and architect,
and from him Alessandro received the
earliest instruction in this art. He
visited Venice in 1614, and studied and
copied, with the greatest assiduity, the
works of Titian, and is considered one
of the most successful followers and
imitators of that great master, in
freedom of touch, in mellowness and
gradation of tints, and in simplicity of
composition. His figures are beautiful
and graceful, and have sometimes a
noble expression ; as, for instance, in
his picture of a Saint in deacon's or-
ders, in the Academy at Venice. He
excelled chiefly in women and children,
in which his rich curvations produce
a charming effect; his outlines are not
sufficiently pronounced for subjects of
a sterner class. Zanetti described
Varotari's style by quoting a line of
Ariosto : —
" Le Donne, i Cavalier, I'arme, gli
Amori."
His Marriage of Can a, in the Academy
at Venice, is generally considered his
principal work ; it was formerly in the
monastery of San Giovanni di Verdara,
at Padua. His pictures are rarely found
out of Venice or Padua. Varotari ex-
celled in portraits, and was altogether
the most distinguished Venetian painter
of his time. Varotari's scholars copied
his works with so much ability, that
some of these imitations have been
mistaken for originals. Bartolomeo
Scaligeri was his principal follower.
His sister, Chiara Varotari (1582-1639),
excelled in portraits ; her own, by her-
self, is among the painters' portraits of
the Florentine Gallery.
Works. Venice, Santa Maria Mag-
giore, a Miracle of the Virgin ; a Battle ;
and other works : San Pantaleone, a
Pieta : Academy, the Marriage of Cana ;
a Saint in deacon's orders. Bergamo,
church of Sant' Andrea, a ceiling.
Berlin Gallery, an Ecce Homo.
Louvre, Venus and Love. (Bidolfi,
Zanetti.)
VASARI, Cav. Gioegio, b. at Arezzo
in 1512, d. at Florence, June 27, 1574.
Tuscan School. He studied under his
father Antonio Vasari, Guglielmo da
Marcillat, Michelangelo, and Andrea
del Sarto. He visited Florence in 1 524 ;
lost his father in 1528 ; and already,
in 1529, he was of considerable assist-
ance to his family: he accompanied
Cardinal Ippolito de' Medici to Rome,
who introduced him to Pope Clement
VII. He was an architect and jeweller,
as well as painter, historical and orna-
mental ; he superintended the decora-
tion of several public buildings in Flo-
rence. He undertook a great number
of extensive works, and executed them
with extraordinary rapidity, and his
compositions are accordingly in gene-
ral very unsatisfactory paintings; his
design is mannered, and his colouring
is cold and feeble. " ^\e paint," says
Vasari, " six pictures in a year, while
the earlier masters took six years to
paint one picture." In his Life of
Baj^hacI, Vasari censures his fellow
students for contenting themselvA
with being mere imitators of Michel-
angelo, and for having acquired a hard,
laboured manner, destitute of beauty,
and possessed neither of originality of
conception nor attraction of colouring.
This censure is well applicable to Va-
sari himself, and applies to most of his
works. He painted, however, some
excellent portraits; as that of Lorenzo
de' Medici in the Uffizj Gallery. Few
painters have been more successful in
point of patronage, or have executed
more works than Vasari. His pictures
have no remarkable excellence, but his
figures are generally well drawn, and
YASAKI— VECCHI.
198
occasionally conspicuous for a certain
dignity of character.
Vasari's chief claim on posterity con-
sists in his celebrated biographical
series of the Lives of the most dis-
tinguished painters, sculptors, and
architects, from the period of Cimabue
do\vn to his own time, extending over
four centuries — Le Vite de' plu Eccel-
lenti Pittori, Scultori, e Architetti, pub-
lished by Vasari himself in 1550, and
again, with considerable alterations, in
1568. There have been many editions
since, all of which are surpassed by
the work now in course of publication
by, a society of "Amateurs," at Flo-
rence, 12mo, 1846-54, seq. There is
also an admirable German translation
by Schom and Forster, Stuttgart, 1832-
49. Without this very important work,
our knowledge of the different masters,
and of the development of the Schools
of Italy, would have been most inade-
quate and fragmentary ; added to this,
the beauty and simplicity of the style,
the liveliness of the narrative, both
powerful and eloquent, the graphic
anecdotes of men and manners inter-
spersed throughout the Lives, invest
the work with an interest which never
flags. Vasari describes it as originating
in a suggestion by Paolo Giovio ; and
he undertook it at the request of the
Cardinal Farnese. It is a vast compi-
lation and a work of great labour, whe-
ther the production of one or more
persons, and remains even now unri-
valled by any work of its kind, notwith-
standing its numerous inaccuracies,
and his partiality for the Florentines.
Works. Eome, the Sala Eegia in
the Vatican, representations of the
Triumphs of the Church : San Gio-
vanni Decollato, the Martyrdom of St.
John : Borghese Gallery, Lucretia and
Leda. Florence, the Badia, Assump-
tion of the Virgin : Santa Croce, the
Crucifixion, and others : cathedral,
cupola : Santa Maria Novella, the Re-
surrection : Academy, several sub-
jects: Pitti and Uffizj Galleries, ex-
amples. Pisa, San Stefano ai Caval-
lieri, works. Bologna, in the refectory
of San Michele in Bosco, three sacred
subjects: Academy, Madonna and
Saints : Arezzo, and Camaldoli, Val di
Chiana, several works. Berlin Gallery,
a Portrait of Cosimo I., and Peter and
John blessing four kneeling Converts.
Louvre, the Salutation, and three other
sacred subjects.
VASILACCHT, Antonio, called
L'Aliense da Milo, b. 1556, d. 1629.
Venetian School. He was a Greek by
birth, of Milo, but studied at Venice for
a short time under Paul Veronese : the
abilities that he displayed excited the
jealousy of his instructor, who is said
to have dismissed him from his studio,
recommending him to hmit himself to
cabinet pieces. Vasilacchi followed a
very different course, he devoted him-
self to large pictures in Paolo's manner,
but he subsequently became the imi-
tator of Tintoretto, and he transplanted
the style of that master to Perugia,
where he executed some extensive
works in the church of San Pietro.
He was a good imitator of Paul Ve-
ronese, and his works are numerous
at Venice, but bold, careless, and man-
nered. {Bidolji, Zanetti.)
VECCHI, Giovanni de', b. atBorgo
San Sepolcro, 1536, d. 1614. Roman
School. He studied first under Eaf-
faello del Colle, and afterwards under
Taddeo Zucchero. He assisted the
latter, or painted in competition with
him, in the decorations of the Farnese
Villa at Caprarola. Several of his pic-
tures are in the churches at Eome ; in
Sta. Maria d' Ara Celi he painted some
subjects from the Life of St. Jerome ;
J and in the cupola of the Gesu, he re-
presented in fresco the four doctors of
tlie church, Gregory, Ambrose, Jerome,
194
VECCHI— VENEZIANO.
and Augustine. The mosaics of the
tribune of St. Peter's, St. John and
St. Luke, are from bis cartoons. {Bag-
lione.)
VEGCHIA, PiETRO, h. at Venice,
1605, d. 1678. Venetian School. The
scholar of Alessandro Varotari, called
Padovanino. He studied and copied
with great skill the works of Giorgione
and Pordenone. His real name ap-
pears to have been Mattoni; Vecchia
was a nickname he got from his ability
in imitating and restoring old pictures.
He executed many original imitations
of Giorgione and others, which Zanetti
states have found their places in cele-
brated galleries as originals. His sacred
subjects, as some representations of
the Passion by him, completely failed,
from a want of appropriate elevation of
feeling for the subject : his talent was
more for the ludicrous than the serious.
His easel pictures were generally of
inferior subjects. His touch was bold,
his drawing and colouring excellent,
and his light and shade powerful and
effective. He made the designs of
many of the mosaics in the church of
St. Mark's, at Venice; several of his
pictures are still in the churches there.
{Zanetti, Lanzi.)
VECELLIO. [Titian.]
VECELLIO, Maeco, called also
Marco di Tiziano, 6. at Venice, 1545,
d. 1611. Venetian School. He was
the nephew, scholar, and assistant of
Titian, with whom he was a favourite,
and also his travelling companion. In
simple composition and the mechanism
of the art he was a good follower of
his great master ; but his works, like
those of most imitators, are deficient
in originahty and in animation. In
the Ducal Palace, in San Jacopo di
Kialto, and in San Giovanni Elemosi-
nario, at Venice, there ai'e some good
pictures by this painter. Zanetti no-
tices the Annunciation, in San Jacopo,
as his master-piece. Marco's son,
Tizianello, was also distinguished in
his time, but belongs to the manner-
ists of the Venetian School. {Za-
netti.)
VENEZIANO, Antonio, *. at Ve-
nice, about 1.320, living in 1388. Ve-
netian School. He studied with Angelo
Gaddi, at Florence, and painted in his
style. He is much praised by Vasari,
who considered Antonio the greatest
master of chiaroscuro of his time ; he
praises also his colouring, drawing,
composition, and expression. Towards
the close of his life he turned physi-
cian; and Vasari says he was as dis-
tinguished in one capacity as the other,
and that he died at Florence, of the
plague, in 1384 ; he was, however, still
living in Pisa in 1388. He painted
three of the subjects from the Life of
San Ranieri, in the Campo Santo, at
Pisa — the three which occupy the lower
half of the wall. They display a better
taste than those which fill the upper
compartment, though, in their present
state, they scarcely justify Vasari's
praises. Antonio executed, also, some
works for the Signory of Venice, and
for Santo Spirito at Florence.
VENEZIANO, DoMENico, b. at Ve-
nice, about 1410, d. about 1460-4.
Tuscan School. The scholar of Anto-
nello da Messina, who is recorded to
have imparted to this painter, about
1450, the secret of the new method
of oil-painting, which he had himself
acquired (probably from Lambert Van
Eyck) at Bruges, about 1442-5. About
the year 1460, Domenico Veneziano
and Andrea del Castagno were em-
ployed to execute some paintings in
the Portinari Chapel, in Santa Maria
Nuova, when the greater sensation
caused by the pictures of Domenico
excited the envy of Andrea, who, ac-
cording to Vasari, insinuated himself
into the confidence of Domenico, ac-
VENEZIANO— A^EEIO.
195
quired his secret from him, and then
waylaid him on returning from his
work in the evening, struck him on
the head with a piece of lead, and re-
turned to his own work in the chapel,
whence he was called out to his wounded
friend Domenico, who died in the arms
of his treacherous companion. This
story rests entirely on the recorded
confession of Andrea, afterwards called
the Infamous ; but the story was never
contradicted. The paintings of the
Portinari Chapel have perished; and
it is not yet ascertained whether the
one authentic picture by Domenico, in
Santa Lucia de' Magnoli, at Florence,
beyond the Amo, be painted in oil or
in distemper : this work displays a
good feeling for form, and has an
agreeable expression. Vasari says Do-
menico excelled in colouring and in
perspective, which he applied also skil-
fully in his foreshortenings. ( Vasari^
Carton.)
VENEZIANO, Lorenzo, painted in
1358-68. Venetian School. There is
an altar-piece by this eaiiy master in
the Academy at Venice, representing
the Annunciation to the Virgin in the
centre, with Saints around ; it was for-
merly in the church of Sant' Antonio
di Castello. Lorenzo was one of the
earliest of the Venetian artists, and
was of great reputation in his day.
His style, hard and formal, shows a
fine feeling and a study of nature, with
a judicious arrangement and variation
of attitude; and was superior in the
expression of the heads. {Zanetti.)
VENUSTI, Maecello, 6. at Mantua,
in the early pai't of the sixteenth cen-
tury, d. at Florence before 1585. Tus-
can School. Scholar of Peiino del
Vaga and of Michelangelo. He exe-
cuted several works from his masters'
drawings and compositions, among
which is conspicuous the admirable
copy in oils, of the great Last Judg-
ment, now in the Studj Gallery at
Naples ; it was copied for the Cardinal
Farnese, under Michelangelo's supe-
rintendence, and, owing to the now
defaced state of the original, has an
extreme interest : there was a copy of
this picture in the Aguado collection
at Paris. Marcello is distinguished by
a delicate and careful execution. In
the Colonna Galleiy is a representa-
tion of Christ in Limbo, by him; an
original work, which, though as a com-
position, feeble and deficient in general
efiect, possesses many well-executed
parts. He excelled in works on a small
scale and portraits, which he preferred
to larger pictures. He painted Paul
III. several times, and Vasari observes,
with great success.
Works. Rome, Sant' Agostino, the
Martyrdom of St. Catherine : San Gio-
vanni in Laterano, in the sacristy,
the Annunciation, after a drawing by
Michelangelo : Capitol, Portrait of Mi-
chelangelo : Palazzo Borghese, Christ
bearing the Cross. Berhn Gallery,
Christ on the Mount of Olives. i^Bag-
lione.)
VEREIO, Antonio, b. at Lecce,
about 1639, d. at Hampton Court,
1707. Neapolitan School. The scho-
lar, in the first instance, of an obscure
painter of his native town; he then
studied at Venice, and acquired a gay
and showy colouring. After distin-
guishing himself at Lecce, he tried his
fortunes at Naples, where he painted
in the Gesu Vecchio, in 1061. He
then went to the south of France, and,
says Dominici, he turned Huguenot,
and was drowned there. This is, how-
ever, so far from being the fact, that
he had yet an extraordinary career of
success in France and England for
nearly half a century. He painted
some extensive frescoes at Windsor,
for Charles IL, between 1676 and
1681; and others at Hampton Court
and Burleigh, for all of which he was
enormously paid. For the paintings
o 3
19fi
VERPJO— VEKEOCCHIO.
at Burleigh House alone, saj'S Dr.
Waagen, Verrio received more money
than Raphael or Michelangelo were paid
for all their paintings put together: he
received 18,000/., besides his keep,
and a carriage at his disposal. Verrio,
says Walpole, though he possessed
little invention and less taste, was an
excellent painter for the sort of sub-
jects on which he was employed —
gods, goddesses, kings, emperors, and
triumphs ; which he poured over those
public surfaces on which the eye never
rests long enough to criticise — ceilings
and staircases. The New Testament
or the Roman History cost him no-
thing but ultramarine ; that, and mar-
ble columns and mai-ble steps, he never
spai'ed. The staircase at Hampton
Court is one of his last and worst
works ; an altar-piece of the Incredu-
lity of St. Thomas, at Chatsworth, is
one of his best. {Dominici, Walpole.)
VERROCCHIO, Andrea del, b. at
Morence, 1432, d. at Venice, 1488.
Tuscan School. He was the scholar
of Donatello, and was painter, sculptor,
goldsmith, and architect. He was
much more distinguished as a sculptor
than as a painter: in the former branch
he was already an artist of reputation
in 1472, when he completed the bronze
sepulchre of Giovanni and Piero de'
Medici, in San Lorenzo, at Florence.
In 1474 he made the bronze bell, en-
riched with figures and ornaments, of
the abbey of Montescalari ; in 1476,
the David, in the gallery of the
Uffizj ; and in 1479 he was invited
to Venice, to make the equestrian
statue of Bartolomeo Colleoni. He
executed also some works at Rome for
Sixtus IV.
Verrocchio caught cold when casting
the Colleoni statue, and died before
it was finished; it was completed by
Alessandro Leopardi, and fixed in its
place in 1495. Leopardi has inscribed
his own name on the saddle girth.
When Verrocchio had completed the
horse, he was surprised to hear that
Vellano, of Padua, was to make the
figure of Colleoni ; this so exasperated
him that he destroyed the head of the
horse and fled, and the Venetian Sig-
nory sent him an intimation that he
had better not return to Venice if he
valued his head. He replied, that he
would treasure their admonition; for
they were as incapable of restoring him
his head as they were of finding another
fit for his horse. The Signer}', how-
ever, substituted persuasion for threats,
and induced him to return and under-
take the completion of the work.
The anatomical knowledge of the
form which his profession as a sculp-
tor demanded and developed, Ver-
rocchio applied to x>ainting; but his
pictures are extremely scarce. He is
said, by Vasari, to have been the first,
or, according to Bottari, only one of
the first, who took plaster casts from
the limbs, living and dead, to serve
as models for art studies : it was a
practice familiar to the ancient Greeks.
There is a picture of the Baptism of
Christ, by Andrea, in the Academy at
Florence, in which tlie figure of an
angel, according to Vasari, is the work
of Verrocchio's scholar, Leonardo da
Vinci, which, the story says, so far sur-
passed the other parts of the picture,
that Andrea resolved never again to
undertake any commissions in paint-
ing; the figure in question, however,
shows no marked superiority, and the
story, like many similar traditions, has
doubtless less fact than fiction. Ver-
rocchio was then at the summit of his
reputation as a sculptor in bronze, and
was so completely occupied that he can
have had little time for painting. Like
his eminent scholar, he was a skilful
musician. His principal work is, per-
haps, the great group of the Incredulity
of St. Thomas, in the church of Or
San Michele, at Florence, finished in
VEKKOCCHIO— VINCI.
197
1483, and weighing 3981 lbs. His
style, as a painter, is in no way exempt
from the rigid forms of the quattrocento.
Though lie died at Venice, his remains
were brought to Florence, by another
of his distinguished scholars, Lorenzo
di Credi, and deposited in the church
of Sant' Ambrogio.
VICENTINO, Andeea, h. at Venice,
1539, d. 1614. Venetian School. He
is called also Andrea Michieli. He
painted history in the style of the elder
Palma, by whom he was instructed ;
and was a bold and effective mannerist,
fertile in invention. He was employed
in many works in the Ducal Palace,
in the Sala dello Scrutinio, and the
Sala del Maggior Consiglio, &c. ; the
churches of Venice also possess seve-
ral of his works : some of the best are
in the Frari and Ognissanti : in the
Academy is a Deposition from the
Cross. In the Uffizj, at Florence, is
Solomon anointed King of Israel.
[Ridolji, Zanettl, LanzL)
VINCI, Leonardo da, h. at Vinci,
near Empoli, in the Val d' Arno, below
Florence, in 1452, d. at Cloux, near
Amboise, in France, May 2nd, 1519.
Tuscan School. He was the natural
son of Pietro da Vinci, a notary, and
in 1484 notary to the Signory of Flo-
rence ; by whom Leonardo was placed
with the celebrated sculptor and painter
Andrea Verrocchio, also the master of
Pietro Perugino : and it is related by
Vasari that Verrocchio gave up paint-
ing in disgust, finding himself sur-
passed by his young scholar. The
inadequate cause of so much chagrin
is still preserved in the figure of an
Angel, in the picture of the Baptism
of Christ, by Verrocchio, in the Flo-
rentine Academy.
Leonardo appears to have been a
universal genius ; painting was but
one, and apparently not the principal,
of his accomplishments, in his own
estimation, as he lays no particular
stress upon his qualifications in this
respect in his letter to Ludovico II
Moro, about the year 1480, when he
offered his services to that prince : he
states — " I will also undertake any work
in sculpture ; in marble, in bronze, or
in terra-cotta : likewise in painting, I
can do what can be done, as well as
any man, be he who he may." He
appears to have excelled in sculpture,
architecture, painting, music, engineer-
ing, and mechanics generally ; mathe-
matics, astronomy, botany, and ana-
tomy. The duke took Leonardo into
his service with a salary of 500 crowns
a year, and about 1485 he established
an Academy of the Arts, at Milan, un-
der Leonardo's direction. It was his
zeal in the service of the students of
this Academy, that appears to have led
Leonardo into his laborious anatomical
studies, of which very valuable memo-
randa are preserved at Windsor. Some
portions of the human body, supposed
in the history of Anatomy not to have
been known even to anatomists till
near a century later, are well defined
in Leonardo's drawings ; they are, how-
ever, though so careful and minute,
not always correct, and they were made
evidently more for his own guidance
than for the inspection of others ; very
few could be made serviceable as stu-
dies for artists.* He is supposed to
have made these studies, chiefly minute
pen-and-ink drawings, while attending
the lectures and dissections of Marc-
antonio della Torre, at Pavia, about
the year 1490.
Minute observation is demonstrated
as one of Leonai-do's faculties in his
style of painting, and in the majority
of his sketches of character; he ap-
pears to have been singularly precise
* A volume from these, and" other
studies, by Leonardo, at Windsor, was
pubhshed by Chamberlain in 1812.
198
VINCI.
in all things, not excepting his dress ;
and apparently very dilatoiy : most of
his works occupied him a long time,
and many of them were left unfinished at
last. His laborious execution, and his
anxiety about vehicles or media, made
him a slow painter ; his works do not ap-
pear to have been numerous at any time,
and they are now necessarily scarce.
His great work, the Last Supper, in
the refectoiy of the Dominican Con-
vent of Santa Maria delle Grazie, at
Milan, finished in 1497, had all but
perished within half a century of its
execution ; but a good copy of it by
Marco d'Oggione, made not many years
after its completion, is fortunately pre-
served in the Royal Academy of Lon-
don : the modern copy by Bossi, in
the Brera, at Milan, is too arbitrary to
bear comparison with the older work,
as a reproduction of Leonardo's great
painting.
In this celebrated painting of the
Last Supper, executed in oils, &c., on
the wall, Leonardo has shown himself
not only a curious and scientific mani-
pulator, but a great painter in the
grandeur of his style. Luca Signorelli,
of Gorton a, is probably the only other
Italian painter, Avho had by his own
comprehensive observation, succeeded
in emancipating himself from tradi-
tionary forms, and generalizing directly
from nature : Michelangelo by no
means took the lead in that greatness
of style of form which distinguishes
the cinquecenio from the quattrocento ;
in painting, Michelangelo was for years
anticipated by Leonardo and Luca Sig-
norelli. And of these three great
Tuscan masters, Leonardo seems to
have the title of precedence, as the
Cenacolo of Milan was finished before
any of the great works of the others
were even commenced, while Leonardo's
work was begun some twenty years
before the frescoes of the cathedral of
Orvieto, or the famous cartoon of Pisa,
were even contemplated. This work
is remarkable for propriety of subject
and arrangement, for its comprehen-
sive, and, at the same time, minute
details of character, and for the sim-
plicity of the composition, and the
largeness of the style of form ; and it
was probably one of the first, if not
the first oil-painting, executed in Milan.
It is now nearly defaced, but is suflGi-
ciently preserved in the copies, and the
numerous prints after them.
In colour Leonardo was not conspi-
cuous, but in chiaroscuro he achieved
great excellence, and was the first
who made it a prominent object of
ambition with painters : the Lombard
light and shade, distinguished for its
harmonious tone, subsequently pro-
verbial, was one of the immediate
results of the efforts of Leonardo da
Vinci, at Milan. //,//. *vAt
Leonardo left Milan abblit the year
1500, and returned to Florence, having
served the Duke Ludovico for nearly
twenty years, not only in the capacity of
painter, but as sculptor, engineer, and
architect. In 1491-3, he made the
model of the equestrian statue of Fran-
cesco Sforza, which was aftei'wards de-
stroyed by the French ; and at the
same time he was employed in the
building of the cathedral, and other
works ; and he also composed several
books on the Arts, and some scientific
subjects. ' ■ :}■,
In Florence, his chief works in
painting were the Portrait of Mona
Lisa del Giocondo, now in the Louvre,
and the celebrated cartoon of the Bat-
tle of Anghiari, for the council hall
of the Palazzo Vecchio, ordered by the
Gonfaloniere Soderini, as a companion
to the better-known " Cartoon of
Pisa," by Michelangelo, intended for
a painting in the same hall. Leo-
nardo painted on this work in 1504-5,
but left it incomplete ; a small portion,
of horsemen fighting for a standard,
VINCI.
199
called the " Battle of the Standard,"
is well known, from the print made
by Edelinck, from a sketch by Eu-
bens : it is extremely ill-drawn and
full of grimace, and can give us only
the vigorous composition of Leonardo's
group.
In 1507-9 Leonardo was again in
Milan, and was in the first year ap-
pointed painter to Louis XIL, of
France, a patron of the Arts. Until
1514 his time seems to have been
divided between Florence and Milan ;
in that year, Sept. 24, he visited Rome-
for the first time, and in company with
Giuliano de' Medici, brother of Leo X.
That pontiff employed Leonardo to
execute some work in the Vatican ; this
the painter proposed to do in oil
colours, then little understood in
Home, and when Leo, on the occasion
of a visit to the painter, saw oils and
varnishes, but no picture, he exclaimed,
*' Dear me ! this man will never do
anything, for he thinks of the end
before the beginning of his work,"
— assuming that he was already pre-
paring his varnishes. This want of
courtesy, and a disagreement with
Michelangelo, caused him to leave
Rome in disgust. He returned to the
north, was introduced to Francis L, at
Pavia, and entered into that king's
service, with a salary of 700 crowns a
year. Leonardo accompanied Francis
to France in 1517, but though he sur-
vived more than two years, he executed
no new work in France ; the king could
not even persuade him to paint a pic-
ture from his cartoon of St. Anne and
the Virgin (now in the Royal Academy,
London), which he had brought vnth
him from Florence. He already felt
the effects of age and a laborious life :
on the 18th of April he made his will
at Cloux, near Amboise, and he died
there on the 2nd of May following ;
but not, it seems, in the arms of Fran-
cis L, as Vasari has reported, for the
/*-;.
court was on that day at St. Germain. "^ ,. ^
The recorded date, however, of Leo- xX "^
nardo's death, is not so certain as "V^'m
positively to refute Vasari's story, for -* •
it has been found exclusively endorsed ^.^
on a copy of his will, in the possession v^iS
of his heirs, thus — Morse in Ambosa,'^^
2 Mag. 1519. He appears to have ^ >
bequeathed all his personal effects, . j ^
writings, books, pictures, drawings, &c, ^ *i
and clothes, to his favourite pupil, ^< ;^
Francesco Melzi, a Milanese gentle- ^ ^
man, who followed painting as an '=?y^'^
amusement only. '/.'-a. u ./•' ric<'L'.t^
Authentic works of this great painter s^
are extremely scarce, and several of *,^
those attributed to him are doubtless /^
by some of his numerous scholars and
imitators. He had three manners; ^
the first, that of Verrocchio, his mas- „ ^^
ter ; the second, that of Milan, in which ^^^
the majority of his works are executed;
and the third, that of Florence, in ^
which he suffered a re-action, appa- |^
rently from the rising masters of the
cinquecento — Michelangelo, Fra Bar-
tolomeo, and Raphael. The Portrait
of Mona Lisa, in the Louvre, and his
own magnificent Portrait, in the Flo-
rentine Gallery, as also the cartoon '^ ^
of the " Battle of the Standard," are i>^ S
examples of this style: in execution, . <!
his own Portrait is his finest work.
Leonardo da Vinci was in every
sense an extraordinary man: if he
had been only an imitator instead of
an originator, he would still have been
a great painter. His writings are as
remarkable as his paintings ; his trea-
tise on painting, Trattato della Piitura,
existing in many editions, and in many
languages, is well known ; but there
are still many unpublislied scientific
manuscripts in the library at Milan,
These were carried by Napoleon to
Paris, and a selection from them was
published by M. Venturi — Ussai siir
les Ouvrages Physico-Mathematiques de
Leonard da Vinci^ avec des Fragmens
200
VINCI— VITE.
tires de ses Manmcriis apportes de
VTtalie. Paris, 1797. These writings,
in which many important modern dis-
coveries are anticipated, have drawn
the following high eulogy from Mr,
Hallam — "If any doubt could be har-
boured, not as to the right of Leonardo
da Vinci to stand as the first name of
the fifteenth century, which is beyond
all doubt, but as to his originality in so
many discoveries, which probably no
one man, especially in such circum-
stances, has ever made, it must be on
an hypothesis, not very untenable,
that some parts of physical science
had already attained a height which
mere books do not record." — Literature
of Europe.
Works. Florence, Uffizj, his own
Portrait; the Head of Medusa; Adora-
tion of the Magi : Pitti Palace, female
Portrait (Ginevra Benci?). Ptome,
Palazzo Barberini, Modesty and Va-
nity ; Sant' Onofrio, the Virgin and
Child (fresco). Parma, Sanvitali col-
lection, Virgin, marked Leonardo Vinci
Fece, 1492. Milan, Santa Maria delle
Grazie, the Last Supper (defaced) :
Brera, the Virgin and Child, with a
Lamb; Head of Christ (drawing):
Biblioteca Ambrosiana, Portraits of
Lodovico II Moro, and the Duchess
Beatrice; six Portraits in crayon:
Palazzo Litta Visconti Aresi, Virgin
and Child: Palazzo Belgiojoso, Virgin
and Child : San Francesco, the Con-
ception : Sant' Eustorgio, the Baptist.
Paris, Louvre, St. John the Baptist;
the Virgin in the lap of St. Anne; the
Infant Christ fondling a Lamb (very
similar to the London cartoon, and
other pictures in different European
collections, attributed to Leonai-do or
his scholars); Virgin and Child; St.
John and an Angel (La Vierge aux
Rochers) ; Mona Lisa, or La Joconde
(a Florentine lady, the third wife of
Francesco del Giocondo, painted about
1500-5): Vasari says it occupied Leo-
nardo, occasionally, during four years r
there are several old copies of this pic-
ture generally all attributed to Leonar-
do; a female Portrait (La Belle Feron-
niere, mistress of Francis I. ?) ; Bac-
chus. Madrid, Prado, Holy Family.
Several pictures in the Gallery of
Vienna were formerly attributed to
Leonardo, but are now described as of
his school only. Gallery Esterhazy,
three Saints. Dresden Gallery, Lodo-
vico Sforza? Munich, Pinacothek, St.
Cecilia ; the Virgin and Child. Augs-
burg, female Portrait. Pommersfelden,
Virgin and Child. Hanover, Leda?
St. Petersburgh, Holy Family ? Eng-
land, National Gallery, Christ dis-
puting with the Doctors ; a similar pic-
ture is in the Palazzo Spada at Rome :
Pioyal Academy, cartoon of St. Anne ;
Last Supper: Windsor, Royal Library,
three volumes of drawings, anatomical
and general studies. In the private
collections of England are many works
attributed to this great painter, some
probably genuine, others of his school
only. ( Vasari, Lomazzo, Amoretti,
Gaye, De Laborde, Rigollot, Mixndler^
Waagen.y
VITE, ToiOTEO BELLA, or de' Viti,
called also Timoteo da Urbino, 6.
14G9, d. October 10, 1523. Umbrian
School. He was originally a jeweller,
and the scholar for nearly five years of
Francia, at Bologna, but he returned to
Urbino in 1495. He appears first as a
painter at Urbino in 1503, when he
painted the arms of Cesare Borgia on
the gates of the town. He executed
several works at Urbino, some in the
cathedral in conjunction with Barto-
lomeo Genga and others, together with
Maestro Evangelista. He is said also
to have assisted Raphael in the frescoes
of the Sibyls, or rather the Prophets,
in the Chiesa della Pace at Rome,
painted about 1519. He returned,
however, very shortly to Urbino, much,
says Vasari, to Raphael's displeasure.
VITE— VIVAEINI.
201
In some of his latest works Timoteo
displays the influence of Eaphael ; his
earlier works are in the more re-
stricted style of Francia, hut unequal
to that master. Timoteo was also a
miniature-painter. His brother Pietro,
also a painter, is probably the Prete di
Urbino, who was one of Raphael's
heirs, according to Baldinucci.
Works. Milan, the Brera, in tem-
pera, the Annunciation, with John the
Baptist and St. Jerome. Ptome, Santa
Caterina da Siena, frescoes. Urbino,
Sma. Trinita, Sant' Appolonia: the
cathedral (in the sacristy), St. Martin
Pope and St. Martin Bishop (1504) :
in the oratory of San Giuseppe, a Holy
Family. Bologna Gallery, the Mag-
dalen (vj. 1508). Cagli, Sant' Angelo ;
tbtj risen Saviour, with the Magdalen
(noli me tangere). Berlin Museum, a
Madonna, enthroned; and a St. Jerome.
{Vasari, Pungileoni, Lazari.)
VIVARINI, Antonio, called also
Antonio da Mtjrano, painted 1444-51.
Venetian School. Scholar of Andrea
da Murano, and probably of the family
of Luigi Vivarini of Murano. He
painted several works in company with
Joannes de Alemania, and with his
own brother Bartolomeo Vivarini. His
paintings are distinguished by a pecu-
liar softness, and are well drawn for
their time ; the tints are rich and
well blended ; there is an excellence in
the colouring of the flesh hitherto un-
known, says Kugler. This is assum-
ing him to be older than Bartolomeo.
The Berlin Gallery contains an En-
tombment, and an Adoration of the
Kings by Antonio ; and in the Venetian
Academy is a work painted in conjunc-
tion with Joannes de Alemania ; it is
inscribed Gio. di Ale.magna e Antonio da
Murano ; the subject is the Virgin,
enthroned, surrounded by the four
doctors of the church. Giovanni is the
Giovanni Vivarino of Zanetti ; another
picture is signed Giovanni ed Antonio
da Murano, and represents a Corona-
tion of the Virgin ; it was formerly in
the church of San Stefano at Venice.
{Lanzi.)
VIVARINI, Baetolomeo, painted in
1464-98. Venetian School. He is
distinguished as having painted the
first so called oil-picture publicly exhi-
bited in Venice ; that is, after the in-
troduction of the Van Eyck method
into Italy by Antonello of Messina. It
was painted in the year 1473, shortly
after Antonello estabhshed himself in
Venice. The works of Bartolomeo in
the Venetian Academy, display great
ability for their time, in the old
quattrocento taste: his figures are
dignified and devout in expression,
and display considerable individuality.
Zanetti suggests that Bartolomeo got
Antonello's secret from Gian Bellini;
as the date is comparatively early, he
had it more probably from Antonello
himself; but though the picture al-
luded to is the earliest exhibited work
in oil, it is not necessarily the earliest
picture painted in that method in
Venice.
Works. Venice, Academy, the Ma-
donna and ChUd ; and pictures of the
Baptist; Santa Chiara; SanDomenico;
Sant' Andrea; and San Pietro: Santi
Giovanni e Paolo, a large altar-piece
consisting of nine divisions or pictures,
representing Sant' Agostino and other
Saints (1473) : Sta Maria de' Frari, an
altar-piece ; the Madonna and Saints
(1487). Berhn Gallery, the Descent
of the Holy Spirit; a Bishop; St.
George and the Dragon; and a Ma-
donna and Child; all, according to
Dr. Waagen, in tempera. {Ridolfi,
Zanetti, Lanzi).
VIVARINI, Luigi, painted in 1490.
Venetian School. There appear to
have been two painters of this name,
but this is doubted by Lanzi. The
Vivarini were the scholars of Andrea
da Murano, and the two Luigis are
202
VIVARINI— ZAMPIERI.
assumed from the fact of a picture of
Christ bearing his cross, in Santi Gio-
vanni e Paolo, being dated 1414 ; while
another picture, in the Scuola de'
Milanesi ai Frari, bore the following
signature, Alolsiiis Vivarinus de Miirano
P. 1490. The works of Luigi are some
advance upon those of Bartolomeo ;
they are in that elaborate and rich
style of the fourteenth century, though
still hard, which was carried to perfec-
tion by Marco Basaiti and John Bellini.
St. Jerome caressing a Lion, from
which some monks ai'e flying in fear,
in the Scuola di San Girolamo, is
noticed by Zanetti as Luigi Vivarini's
master-piece ; the architectural acces-
sories and the perspective generally
are superior to their time. In the
Academy there are by Luigi a St. John
the Baptist; Sant' Antonio Abbate ; a
San Lorenzo ; and a St. Sebastian ;
also an altar-piece which was finished
by Marco Basaiti, representing St. Am-
brose enthroned, with Saints. In the
Berlin Gallery is a Virgin and Child,
enthroned, with various Saints and
Angels, raoxkeA Aloivixe Vivarin; and
another Madonna, enthroned, with four
Saints. (liidolji, Zanetti, LanzL)
VOLTERRA, Daniele da. [Ric-
CIAEELLI.]
VOLTERRA, Francesco da, paint-
ed, 1371. Tuscan School. The sub-
jects from the history of Job on the
south wall of the Campo Santo at Pisa,
and long ascribed to Giotto, are now
shown by Dr. Forster to have been
executed by Francesco da VolteiTa,
otherwise unknown. These early fres-
coes are now much injured; but the
Job receiving the consolations of his
Friends, still shows a great character;
the destruction or carrying off of his
property is inferior, though the animals
are well executed. Francesco was pro-
bably of the school of Giotto; these
works display much of Giotto's style in
form : the execution is easy, and the
composition and attitudes of the
figures natural and expressive, with a
remarkable attention to the individual
accessories of costume, and other in-
cidents. The expression is powerfully
rendered, and the distribution of the
parts good. The colouring is red and
inferior, and the perspective of the
groups defective. {Forster.)
ZAMBONO, or GIAMBONO,
MicHELE, living about 1500. Vene-
tian School. A painter and worker in
mosaic. In the Cappella de' Mascoli,
in St. Mark at Venice, is a ceiling in
mosaic, representing the Life of the
Madonna, in which Zambono, says
Zanetti, showed himself the first to
completely forsake the old Byzantine
types. His style resembles that of the
Vivarini, of whom he was probably a
scholar or imitator. His forms have a
softness and elegance at that time
quite strange to mosaic, and only
equalled in the best works of the Viva-
rini. His pictures are very scarce.
The Venetian Academy possesses a
picture by this painter, an altar-piece,
representing Christ and four Saints:
it was formerly in the Scuola del Cristo
alia Guidecca. In the Berlin Gallery,
there is a picture of the Magdalen car-
ried to Heaven by six Angels; a Nun
in the foreground: on a gold ground
in tempera.
ZAMPIERI, DoMENico, called Do-
MENiCHiNO, h. at Bologna, October 21,
1581, d. at Naples, April 15, 1641.
Bolognese School. The scholar first
of Denis Calvart, he then studied
under the CaiTacci, and is accounted
the most distinguished of their school.
He went to Rome early in the seven-
teenth century by the invitation of
Albani, and resided in his house for
some time. By his fresco of the Fla-
gellation of St. Andrew, in the church
of San Gregorio, painted in competition
with Guido, Domenichino acquired the
ZAMPIERT.
203
reputation of one of the principal
masters in Rome. Although he never
wholly cast aside the conventionalities
of execution of his school, Domeni-
chino surpassed the painters of his
time in the simplicity of conception,
which is one of the great characteristics
of the original school of Raphael. This
natural simplicity, and a fine colouring,
added to the ordinary technical excel-
lences of his school in a high degree,
constitute the chief merits of his works.
Neither originality nor greatness form
any part of the elements of the pro-
ductions of the Carracceschi ; and Do-
menichino has frequently adopted
figiures and compositions from other
masters, which was a great injury to
him in his time, and was, through his
rivals, the chief cause of his want of
success at Rome, and of his removal to
Naples. Even in his celebrated Com-
munion of St. Jerome in the church of
Bethlehem, now in the Vatican, Do-
menichino has taken the treatment of
the subject adopted by Agostino Car-
racci, in his picture in the Bolognese
Gallery : the imitation is in the general
composition only ; the details are
varied, and several of the lieads have
an interesting individuality of expres-
sion; the colouring is verj' superior.
The Flagellation of St. Andrew, how-
ever, is great in its simplicity, and the
style of form is admirable, and worthy
of the best time of Annibal Carracci.
The St. Jerome, considered by Andrea
Sacchi and Poussin inferior only to
Raphael's Transfiguration, of all the
altar-pieces in Rome, was painted by
Domenichino for 50 scudi, or about ten
guineas. In the Martyrdom of St. Se-
bastian in Sta. Maria degli Angeli at
Rome, and executed in mosaic in St.
Peter's, another of Domenichino's mas-
ter-pieces, he is also greater in the
treatment of the accessories, and indi-
vidual parts, than in the conception
and arrangement of the whole : in in-
dividual expression he is often admi-
rable. The Martyrdom of St. Agnes,
at Bologna, another of his master-
pieces, is defective as a composition.
The groups and subordinate persons
constantly engross the interest, they
are full of dramatic life and charac-
teristic expression, and frequently ex-
hibit much grace and beauty, both in
form and attitude. The two frescoes
from the Life of St. Cecilia, in the
church of San Luigi, at Rome, are
also examples of this peculiarity of
Domenichino's works. In the repre-
sentation of the four Evangelists, in
Sant' Andrea della Yalle, Domenichino
has succeeded in a higher class of art ;
these are noble compositions : the
group of the St. John is especially im-
posing. His scenes from the Life of
the Virgin, in the Duomo, at Fano,
partly destroyed by fire, are also among
his finest productions: others are at
Grotta Ferrata, near Rome. One of
his most celebrated easel pictures is
Diana and her Nymphs, in the Bor-
ghese Gallery. He painted excellent
landscapes; they are remarkable for
their cheerfulness and warmth of
colour. Many compositions of this
Idnd are in the Villa Ludovisi, in the
Doria Gallery at Rome, in the Louvre,
and in the British National Gallerj'.
Domenichino executed some of his
most important works at Naples, from
the life of St. Januarius, in the chapel
of the Tesoro, in the Duomo : he did
not live to complete them. He is said
to have been poisoned or worried to
death by the persecutions of the no-
torious cabal of Naples — Carracciolo,
Corenzio, and Ribera, who were un-
compromising enemies of all painters
of reputation who visited Naples for
the purposes of their art. Domeni-
chino was also an architect; he was
created papal architect by Gregory V.,
but it was an appointment apparently
without results.
204
ZAMPIEBI— ZELOTTI.
Works. Eorne, the Vatican Gallery,
the Communion of St. Jerome, in
mosaic in St. Peter's : San Gregorio,
Flagellation of St. Andrew : Sant'
Andrea della Yalle, in the cupola, the
Oj^ four Evangelists : San Luigi dei Fran-
fy^^ cesi, frescoes from the Life of St.
Cecilia: Santa Maria in Trastevere,
Ascension of the Virgin : Santa Maria
della Vittoria, frescoes : Sant' Onofrio,
frescoes: San Pietro in Vinculis, sa-
cristy, Liberation of St. Peter: San
Silvestro di Monte Cavallo, frescoes,
David before the Ark, &c. : San Carlo
a' Catinari, the Cardinal Virtues (fres-
coes) ; Sta. Maria degli Angeli, the
Martyrdom of St. Sebastian (fresco) :
Borghese Gallery, Diana and her
Nymphs ; St. Cecilia, &c. : Palazzo Mat-
tei, Jacob and Piachel : Palazzo Eospig-
liosi, the Fall ; the Triumph of David.
Grotta Ferrata, near Eome, early
frescoes (1610), from the Life of St.
Nilus, and among the most admirable
of Domenichino's works. Fano, in a
chapel of the Duomo, frescoes from
the Life of the Virgin. Bologna, Gal-
lery of the Academy, M?irtyrdom of
St. Agnes; Madonna del Rosario; St.
Peter Martyr : Zambeccari Palace, the
Cardinal de Medici : Palazzo Tanara.
Florence, Academy, St. John the Evan-
gelist ; Samson : Pitti Palace, Magda-
len : Uffizj, tribune, Cardinal Agucchia.
Genoa, Palazzo Prignole, San Rocco :
Palazzo Durazzo, Christ risen, appear-
ing to Mai-y ; St. Sebastian ; the Death
of Adonis : Palazzo Spinola, family of
Tobias. Milan, Brera, the Madonna
and Child, with Saints. Volterra, cathe-
dral, the Conversion of Saul. Naples,
Studj Gallery, the Guardian Angel de-
fending a Child : San Gennaro, the Mi-
racles and Death of that Saint, &c. (fres-
coes). Frankfort, Stadel Institution, St.
Sebastian, with holy women dressing his
wounds. Berlin Gallery, the Portrait
of an Architect; and some sacred sub-
jects. Paris, Louvre, thirteen pictures
by Domenichino, Adanl and Eve re-
proached for their disobedience; a
Holy Family ; David playing the Harp ;
a Vision of St. Anthony ; and other
sacred pieces, some profane subjects,
and four landscapes. England, Castle
Howard, the half-length figure of St.
John : London, National Gallery, two
landscapes ; the Stoning of St. Stephen ;
St. Jerome and the Angel. {Bellori^
Passeri, Dominici, Lanzi.)
ZANCHI, Antonio, h. in Este, in
1639 ; d. about 1722. Venetian School.
A scholar of Francesco Piuschi. He
also imitated Tintoretto; but is more
known at Venice, says Lanzi, for the
number than for the excellence of his
works. He belongs to the school of
the Naturalisti. He was distinguished
for facility of execution and for general
eifect, especially in chiaroscuro. His
master-piece is the Plague of Venice in
1630, in the Scuola di San Rocco at
Venice, painted in 1666 : in the Scuola
di San Girolamo is the Prodigal Son".
(Zanetti, Lanzi.)
ZELOTTI, Battista, b. in Verona,
1532 ; d. about 1592. Venetian SchooL
The friend and fellow scholar with
Badile of Paul Veronese, and he is
enumerated by Vasari among the scho-
lars of Titian also. He was the rival
of Paul Veronese at Verona, and his
assistant and imitator. He possessed
great facility of execution, and some of
his larger works, as, for example, the
Presentation of the Infant Christ in
the Temple, which is now in the Berlin
Gallery, and has been attributed to
him, resemble similar pictures by Paul
Veronese. Zelotti is considered by
some to have been superior to Paul in
style, in the warmth of his colour, and
the correctness of his drawing. His
figures are, however, less graceful, and
his heads have less variety and beauty
of expression. While Paul Veronese ex-
celled in oil, Zelotti was most success-
ful in fresco ; yet some of the oil-pic-
ZELOTTI— ZUCCHEEO.
205
tures by Zelotti, in the Sala del Con-
siglio de' Dieci, in the Ducal Palace at
"Venice, have been engraved by Valen-
tine Le Febre as the works of Paul.
In the cathedral at Vicenza he repre-
sented the Conversion of St. Paul, and
Christ in the Fishing Barque, much in
the style of Paul Veronese; but his
principal work is the series commemo-
rating the history of the Obizzi family,
in the former villa of that count at
Cataio, painted in 1570. Zelotti's re-
putation is less than he deserves,
owing to his compositions for the
most part having been executed for
small provincial places and private
families. He is one of the most dis-
tinguished of the native painters of
Verona. ( Vasari, Midolji, Dal Pozzo,
Zanetti.)
ZEVIO, Aldighieri da, of the
Veronese, living 1376-9. Paduan
School. This painter, in conjunction
with D'Avanzo Veronese, decorated
the chapel of San Giorgio de' Lupi, and
the chapel of San Felice in the church
of Sant' Antonio, at Padua, for which
Aldighieri was paid 792 ducats. The
seven first frescoes are probably by
Aldighieri, and represent scenes from
the Life of St. James the Elder. The
works of San Giorgio were first dis-
covered by Dr. Forster in 1837 ; they
are all described as compositions full
of life and expression, of powerful and
decided draAving, and rich in cha-
racteristic motives; they have the
force and truth of the works of
Giotto, with even a more defined indi-
viduality, and a well-expressed drama-
tic power of representaion.
A Stefano da Zevio, the scholar of
Angelo Gaddi, also distinguished him-
self at Verona in the commencement
of the fifteenth century. There are
some works by Stefano at Verona, in
San Niccolo, Santa Maria Consola-
trice, and in Sant' Euphemia. (Va-
sarif Fijrster.)
ZOPPO, Marco, painted 1468-98.
Bolognese School. He was the scholar
first of Lippo Dalmasio, then of
Squarcione, and is considered the
founder of the School of Bologna.
His works are very inferior to those of
his fellow-scholar Mantegna, but dis-
play all the peculiarities of the School
of Padua or Squarcione in a deterio-
rated degree. His figures are unrefined,
harsh, and heavy ; and his drapery in
coarse, ill-arranged folds. On the other
hand, the accessories are finished with
great care. His principal picture is
the Virgin enthroned, with the Infant
Christ and four Saints, marked Opera
del Zopjjo da Bologna; it is now in the
sacristy of the church of the Collegio
degli Spagnoli, San Clemente, at Bo-
logna. Another principal work, formerly
in the church of San Giovanni Evange-
lista at Pesaro, a Madonna enthroned,
with Saints, is now in the Berlin Gal-
lery ; it is inscribed, Marco Zoppo da
Bologna pinxit MCCCCLXXI. in Ve-
nexia. At Venice, in the Manfrini
Gallery, is a Madonna and Child, with
Cherubs, marked Opera del Zoppo di
Squarcione. The Gallery of Bologna
also possesses an altar-piece attributed
to Zoppo. Two other pictures, a Ma-
donna and Child ; and Christ praying
in the Garden, are in private collections
in Bologna; and also a Sant' Appol-
lonia in San Guiseppe de' Cappuccini.
Zoppo is said by Malvasia to have de-
corated the facades of houses in Bo-
logna. He was the master of Francia.
In the Berlin Gallery is a picture, the
Adoration of the Kings, by Eocoo
Zoppo, a scholar of Pietro Perugino, at
Florence, who painted in his manner,
{Vasari, Schorn.)
ZUCCHEEO, or Zuccaeo, Taddeo,
h. at Sant' Angelo in Vado, in 1529 ; d. at
Eome, Sept. 2, 1566. Eoman School.
He was the son of Ottaviano Zuccaro,
and the scholar of Pompeo daFano, and
Giacopone daFaenza, He settled early
206
ZUCCHERO.
in Rome, and suffered, according to
Vasari, extreme privations at the com-
mencement of his cai-eer, until, in 1548,
the painter Daniello da Parma, en-
gaged Taddeo to assist him in some
frescoes at Alvito near Sora, after the
completion of which he found constant
employment at Rome and elsewhere;
and though patronised by two Popes,
Julius III. and Paul IV., his chief
patron was the Cardinal Alessandro
Farnese, for whom he executed exten-
sive works at Caprarola, illustrating
the glories of the Farnese family (they
have been engraved in 45 plates by
Prenner, Rome, 1748-50). The produc-
tions of this popular painter with his
.contemporaries, are simple portrait com-
positions, in the costume of his time ;
they are frequently incorrect in design,
and display generally great simplicity
in their dispositions, and very little
variety of character. He excelled espe-
cially in pictures in which portraits
are introduced ; he seldom ventured to
paint the naked figure. According to
Lanzi his earliest pictures are the best.
He painted also some extensive works
in fresco at Rome, of which the best
are those of the church of the Conso-
lazione. Taddeo Hved thirty seven
years and a day, and was buried by
the side of Raphael, in the Pantheon.
ZUCCHERO, or Zuccaeo, Fede-
RiGO, h. at Sant' Angelo in Vado, in
1543 ; d. at Ancona in 1609. Roman
School. The brother, scholar, and as-
sistant of Taddeo Zucchero, whose un-
finished works at his death Federigo
completed; but he was an inferior
painter to his brother, crowded in his
composition, and mannered in his exe-
cution. He was invited to Florence by
the Grand Duke Francesco I., and
continued for that prince the frescoes
of the cupola of the cathedral, which
had been commenced by Vasari. He
here painted more than three hundred
figures forty feet high, with a Lucifer
so large, that the others (as Federigo
writes) appeared mere babes in com-
parison ; he boasted that these were
the largest figures in existence, but
their vastness, says Bottari, was their
only merit. They, however, secured
their painter an unrivalled reputation
in his own day, and he was invited
back to Rome by Gregory XIIL, to
paint the ceiling of the Cappella Pao-
lina of the Vatican ; which work was
interrupted on account of offence he
took at the treatment he received from
the Pope's servants. He paid a visit
to England in 1574, and painted two
portraits of Queen Elizabeth, and
several distinguished persons of her
court, including her gigantic porter:
he remained only a short time in this
country, and then returned to Rome,
and after the completion of the Paolina,
proceeded to Spain, where he arrived
in 1586, and worked for the King
Philip II,, at a salary of 2000 scudi
per annum : he was occupied three
years in the Escurial ; but the works
he executed were shortly afterwards
destroyed to make room for others by
Pellegrino Tibaldi. He wrote a work
on the principles of painting, sculp-
ture, and architecture, entitled L'Idea
de' Pittori, Sciiltori, e Architetti, printed
at Turin, 1607 ; and by Bottari, in the
Leitere Pittoriche, vol. vi. pp. 35-199.
It is a singular work, but Lanzi terms
Zucchero's writings bombastic and
pedantic, presenting a mere tissue of
sterile and undigested speculations, and
says that one page of Vasari is worth
more than all Zucchero ever wrote.
Yet Mariette advised Bottari to reprint
his Idea on account of the many inter-
esting facts it contained. The abstruse
and inflated style of Fedei'igo, however,
contrasts most strikingly with the
graphic simple manner of the Floren-
tine biographer. Federigo was the
chief instrument in the foundation of
the Academy of St. Luke at Rome, and
ZUCCHERO— ZUCCHI.
207
^i^ elected its first President, or Prin-
cipe, in 1595.
.'Works. Florence, cupola of Santa
fiaria del Fiore, the cathedral : Uflazj
Gallery, the Golden and Silver Ages ;
an Allegory. Rome, Borghese Palace,
Dead Christ with Angels: Sta. Pras-
sede, works. Caprarola, frescoes.
Orvieto, cathedral, works. Lucca, San
Martino, Adoration of the Bangs.
England, Chatsworth, Mary Queen of
Scots. Hampton Court, Queen Eliza-
beth ; that Queen's giant porter. {Bag-
lione, Cean Berniudez.)
ZUCCHERELLI, or Zuccaeelij,
Feancesco, b. at Pitigliano, near Flo-
rence, 1702; d. 1788. Tuscan School.
He first painted history, but afterwards
landscapes, which he studied under
Paolo Anesi, at Florence, then at
Rome with Giovanni Maria Morandi,
and Pietro Nelli. He established him-
self in Venice, and visited England in
1752 ; and here in 1768 he became
one of the original members of the
Royal Academy. He was more excel-
lent in his early works ; latterly success
made him careless : his later works are
cold, unharmonious, and artificial in
composition. He returned to Florence
in 1773, where he was still indebted to
the patronage of English gentlemen.
Though an inferior painter, Zucche-
relli was so fashionable in London,
that Wilson could barely earn a living.
Zuccherelli etched some plates.
Works, at Windsor Castle and Hamp-
ton Court. {Lanzi, Edwards.)
ZUCCHI, Antonio, b. at Venice, in
1726; d. at Rome, 1795. He was the
scholar of F. Fontebasso, and J.
Amigoni, and was much employed by
Robert Adam as a decorator in this
country. He lived here several years,
was elected an associate of the Royal
Academy, but left England in company
with Angelica Kauffmann, and settled
in Rome. {Longhi, Edwards.)
ZUCCHI, Jacopo, b. at Florence"
about 1541, d. about 1590. Tuscan
School. He was a scholar of Vasari,
whom he assisted with great ability ;
and he was a good portrait-painter.
There are several altar-pieces by him
at Rome, particularly in San Giovanni
Decollato, and in Santo Spirito in
Borgo. He was much employed at
Rome in the time of Gregory XIV.,
and by Sixtus V. {Baglione.)
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