Page:Biographical catalogue of the principal Italian painters.djvu/186

 SABBATINI— SALAI. 165 high terms of LoreDzino, tbongh yotrng and still living. After painting several excellent works for the churches of Bologna, in oil and in fresco, he went to Rome, where he studied and imi- tated with success the works of Haphael, especially his Holy Families. In his smaller pictures he imitated also the manner of Parmigiano and Correggio in colouring and light and shade. In Rome he painted in the Cappella Paolina, and also in the Sala Regia in the Vatican, and he was appointed in 1575, hy Gregory XIII., snperintendant of the decorations of that palace; an office he held at his death. Lorenzino was one of the painters held up as a model hy 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 hy Lorenzino. The Galle- ries of Paris, Dresden, and Berlin, possess also specimens of Lorenzino's works. {Malvcaia^ Baglione.) SACCHI, Andbea, b. near Rome, 1598, d. 1661. Roman 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 Romualdo relating his Vision to five monks of his order, now in the Galleiy of the Vatican, and it is reputed one of the four finest works in Rome ; it contains some nohle 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 uniformitjy of the figures, and admirably varies the sameness of the 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 efi^ect of colour. This piece was executed in 1771 in mosaic for the altar of Gregory the Great in St. Peter's. Sacchi was dilatoiy, his works are comparatively rare, his exe- cution was broad and slight, and his colouring subdued but harmonious; after Raphael he was perhaps the best colourist of the Roman School. His forms are grand and classical, yet per- fectly natural. He was an enthusiastie admirer of Raphael, and endeavoured to uphold his school in opposition to the mannerism of the Macchiniiti, then prevailing in Rome through the influence of Pietro da Gortona and Bernini. Sacchi was distinguished 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. Rome, 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, Dsdalus and Icarus. London, Grosvenor Gallery, St Bruno ; Collec- tion of Mr. Rogers, Christ bearing his Cross. St. Petersburg, Venus leaving the Bath, &c. Vienna and Berlin, Drunkenness of Noah, &e, (Fasseri.) SALAI, Andrea, called also Andbea 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 Rome. Leonardo used Salai as a model as well as an assistant. His pictures are very rare. One of