Page:Biographical catalogue of the principal Italian painters.djvu/189

 158 SANGALLO-^ANTACROCE. 1506. Sangallo aoqaired his name of Aristotle from the learned manner in which he spoke of the anatomy, &c., of this great work. In 1542, hy the ad- vice of Vasari, he copied his drawing in oils, in light and shade, and it was sent hy 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, &o. {Veuari,) SAN GIMIGNANO, Vincenzio da, d. young at San Gimignano, about 1530. His family name was Tamagni. Boman 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, b. 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 colouring 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. Eugler 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." (Paacoli.) 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 Dominij MCCCCXVL De XVin. JuUi, Lauren- Uus de Santo Severino et Jacobus Frater ejus hoc opus fecerunt. The National Gallery possesses a superior work of this punter ; 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 Laurentius IL Severinas Pisit. {Passavant.) 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 Nicoolo da Tolentino : at the Dominicans, the Re- surrection of Christ. Berhn Masenmf an Adoration of the Kings. {Tatti, 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 delicate and graceful manner; and at a later