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 164 SCHIAVONE— SERVANDONI. War: San Bocco, the Etenial Father surrounded by Angels: San Sebas- tiano, Christ and the Disciples at Emmaus : the Academy, a Madonna, with Angels. Naples, Studj Gallery, Venus and Cupid. Florence, Pitti Palace, the Death of Abel. Vienna, Imperial Gallery, an Adoration of Shepherds ; his own Portrait. Louvre, Head of John the Baptist. England, Bridgewater Gallery, Christ before Pilate: Stafford House, a Pietii: Bur- leigh House, the Marriage of St. Cathe- rine; the Finding of Moses. {Bidolfi.) SCHIAVONE, Gregorio, painted about 1470. Paduan and Venetian Schools. A native also of Dalmatia, and a scholar of Francesco Squarcione. The pictures of Schiavone, says Lanzi, hold a middle place between those of Giovanni Bellini and his fellow-scholar Andrea Mantegna: they are orna- mented with architecture, with fruits, and with joyous little cherubs. He signed his pictures occasionally — optis Sclavonii Dalmaiici Squarzoni S, SEBASTIAN!, Lazzaro, lived about 1500-20. Venetian School. The scholar and imitator of Vittore Carpaccio. His works resemble in composition those of Carpaccio, but in his severer treatment of the subject, they display more re- semblance to the style of Gentile Bel- lini: he is one of those painters who adhered to the qvattrocentiamo. Yet in 1508, he was elected with his master Carpaccio, and a Vittore di Mattio, to value the frescoes of Giorgione on the facade of the Fondaco de' Tedeschi. In the Academy at Venice is a Depo- sition from the Cross ; and the picture, formerly in San Giovanni Evangelista, of the Miracle of the Holy Cross, in which a girl is restored to sight, &e. Vasari has made two of this painter, q)eaking of him as Lazzaro and Se- bastiano, and as brothers of Carpaccio. {Eidolfi,) SEMITECOLO, Nicoolo, painted 1867. Venetian School. In the Vene- tian Academy there is a great altar- piece, consisting of many compart- ments, representing the Coronation of the Virgin, and fourteen scenes from the Life of Christ. This work, says Eugler, corresponds most with the productions of Duccio, though without attaining his excellence ; while the gold hatchings, the olive-brown com- plexions, and many a motive are still directly Byzantine. In the chapter library at Padua, are six pictures on panel, of the Life of St. Sebastian ; the Virgin ; and the Trinity, one of which is marked Nicholetto SemUecolo da Veniexia impense. They are inferior, says Lanzi, to Giotto in form, but are equal to him in colour. SEMOLEI. [Franco.] SERMONETA, Gi»oi.amo Sicio- LANTE DAy Hvifig In 1572. Boman School. A scholar of Perino del Vaga; he endeavoured to adhere to the style of Baphael rather than that of his followers, and he was one of the ablest masters of the early degenerate period of the Roman School. He sncceeded better in oil than in frescoes. His master-piece, says Lanzi, is the Virgin enthroned, with Saints, in the church of San Bartolomeo atAncona. Among his better works at Rome are — ^tbe Martyrdom of Santa Lucia, in Santa Maria Maggiore; the Transfiguration, in Ara Caeli; and the Nativity, at Santa Maria della Pace. The frescoes in the Remigius Chapel, in San Lnigi de' Franoesi, are much mannered, says Eugler, who praises a Pieti by Ser- moneta, lately in the gallery of Coont A. Raczynski at Berlin. It was for- merly in the Muti Chapel, in the church of the Santi Apostoli, at Rome. Sermoneta was a good portrait-painter. (BagUoneJ) SERVANDONI, Gio. Geronhio, b. at Florence, May 22, 1695, d. at Paris, January 19, 1766. Roman School.