Page:Biographical catalogue of the principal Italian painters.djvu/137

 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 Sebastiano, both followed painting, but with little success: the elder assisted his father in ornamental work. {Vasari.) MIRADORI, LuiGi, called II Ge- KOTESE, 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 Damascene, 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, Lanzi.) MISCIBOLI, ToMMASO, called II PiTTOR VnjiANO, or the Peasant Pain- ter, b. at Faenza, 1686, d, 1690. Bo- lognese School. He studied more especially the works of Guide. 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, AoosTiNO, b, Mai-ch 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 futui'e companion Colonna. o 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 vezy popular by Mitelli. As the beautifial 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 archiepiscopal palace at Ravenna; and they were employed together at Parma, Modena, Florence, Home, and Genoa. Mitelli and Co- lonna also decorated some saloons of the palaces of Madrid in the time of Philip lY.: 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 — Freggi delT . architettura da Jgostino Mitelli. In his line Mitelli is one of the most dis- tinguished of the Italian painters. Agostino's son, Giuseppe Mab^ Mi- telli (5. 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 1357-48. Lombard School. Bamaba 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 Delia Valle, in his illus- trations of Yasari, as superior even to Giotto. There is also a similar pic- ture, the Yirgin and Child, in the Stadel Institut at Frankfort, marked Barnabas de Mutina pinsnt. Anno M.CCC.LXYII., in tempera^ with a gold ground, and on wood.' It is in the old Byzantine manner; some of the Hghts are hatched in gold. There is another similar in the Berlin Galleiy, also the Yirgin and Child, with the like gold I hatchings, and painted the year after,