Page:Biographical catalogue of the principal Italian painters.djvu/123

 92 LUINI— MAGANZA. Viigin; the Adoration of the Magi; the Presentation in the Temple; and Christ disputing in the Temple. Ln- gano, Franciscan Convent, degli Angeli, firescoes, extensive and late works, damaged. Como, cathedral, altar- piece; the Adoration of the Shepherds and of the Kings. Naples, Studj, John the Baptist Florence, Uffi^, Holy Family. Vienna, Imperial Gallery, Herodias : Esterhazy Gallery, the Ma> donna, St. Catherine and St Barhara. Berlin, Gallery, Ecce Homo; and three other sacred snhjects. Louvre, Hero- dias; and two sacred subjects. {Lo- mazzo, Lanzi.) LUINI, ToMMASso, called II Caaa- VAaaiNO, d. at Rome, aged 35, during the pontificate of Urban VIIL, 102a-44. Eoman School. He was one of the last of the followers of Caravaggio. {Baglione.) LUTI, Cav. Benedbtto, b, at Flo- rence, in 1666, d. at Borne, 1724. Tus- can School. The scholar of Anton Domenico Gabbiani, and a follower of the style of Pietro da Cortona, and Ciro Ferri at Home, 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 Banieri, his master-piece. Borne, church of the Apostles, St Anthony of Padua; San Giovanni in Laterano, the Prophet Isaiah. {PascoU,) MACCHIETTI, GmoLAMO, called GiBOLAMO DEL Cbocifissajo, b, about 1535, living in 1564. Tuscan School. A pupil of Michele di Bidolfo Ghirlan- digo, and the assistant of Yasari in his works in the Ducal Palace at Flo- rence. He painted at Borne, in Spain, at Naples, Pisa, and at Benevento. Borghini speaks very highly of the beauty and modesty of the 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 Uffi2J, Medea restoring Aeson to Youth. MACRINO D'Alba, or Gio. Gia- GOHO 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 the cinquecento character in style. At Pavia, in the Certosa, in the chapel of Sant' Ugone, is the Besurrection, &c. ; other works at Alba, in the chttrdh of the Franciscans. {Lanzi,) MAFFEI, Francesco, &. 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 their 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 FiUppines, several works : the Paradise in San Francesco is defaced. (Brandolese,) MAGANZA, Alessandbo, 6. at ^^- 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