Page:Biographical catalogue of the principal Italian painters.djvu/187

 156 SALAI— SALVI, his principal works is in the Brera at Milan, and represents the Madonna and Christ, to whom St. Peter delivers the keys. This 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.) SALEBNO, Andrea, da. [Sabba- TINI.] SALIMBENI, Cav. Vbntura, called Bevilacqua, from his patron the Car- dinal of that name, b. 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 Bome. 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. (Baldinuccif Baglione.) SALIS, Carlo, b. 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 healing the sick. (Dcd PozzOy Lanzi,) SALMEGGLA, Enea, called Ii. Tal- piNO, 6. 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 Bome, where he devoted himself to the study of the works of Baphael. 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 Baphael. 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 Boch 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, Sue, Santa Marta, the Madonna enthroned, with San Domenico and other Saints. [Tassi.) SALVI, GiAMBATTisTA, Called TlSas- soFEBRATO after his birth-place, b. July 11, 1605, d. at Bome, August 8, 1685. Boman 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 Baphael. 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 &om sentimentality; their colouring, firom a want of harmony or tone, or too great a mixture of white, though positive in tint, is commonly cold. The pictures