Page:Biographical catalogue of the principal Italian painters.djvu/211

 ISO TIBALDL prelate. These are remarkable. works, and are those held up by the Garracci, in their Sonnet, half a century later, for the emulation of their scholars : — '* Del Tibaidi il decoro e il fondamento" They called him ** Michelangelo Bifor- mato." He has been frequently called the scholar of Michelangelo, a report aiising, however, solely from the simi- larity of style: the Bolognese was an imitator of the great Florentine, with less vigour and dignity, but, at the same time, with less exaggerated forms, and more delicate execution. With regard to the title of ** Michelangelo Cor- rected," Fuseli (Lect xi.) remarks: — "I will not do that injustice to the Garracci, to suppose, that for one mo- ment they could allude by this verdict to the ceiling, and the prophets and sibyls of the Cappella Sistina: they glanced, perhaps, at the technic exuber- ance of the Last Judgment, and the senile caprices of the Cappella Paolina." The paintings of the Institute, both by Tibaldi and Niccolo Abati, have been * finely engraved, and were published with lives of the two painters by Za- notti, in Venice in 1756 : — Descrizione ed illustrazione delle pitture di Pellegrino Tibaldi e Niccolo Abbaii esistenti nelV Istituto di Bologna. Tibaldi painted also a chapel in Loreto, for the Car- dinal D' Augusta; and at Ancona, the Loggia de* Mercanti, completely in the style of Michelangelo. He was em- ployed also as an architect at Ancona, both civil and military. In 1562, he was called to Pavia by the celebrated Carlo Borromeo (afterwards Saint), and built for him there the Palazzo della Sapienza. At Milan he built the church of San Fedele; and in 1570 was appointed architect to the cathe- dral there, and chief engineer to the State. In 1 586 he was invited to Spain by .Philip II., to decorate the Escurial with frescoes, in which Luca Cambiaso, and Federico Zucchero, had already been employed, but Tibaldi*d works gave such satisfaction to the king, that those of Cambiaso and Zucchero were destroyed in order to make place for others by Tibaldi. Cumberland speaks with raptures of these works, though they were already much damaged in his time. Tibaldi remained in Spain nine years, and then returned to Milan, richly rewarded by Philip; he pre- sented him with 100,000 scudi, nearly £21,000 sterling, and created him Mar- quis of Yaldelsa. In Milan he again undertook the superintendence of the building of the cathedral: the facade was completed from his design. Pellegrino's son, or younger brother, Domenico (1541-83), was an excellent engraver, in which art he appears to have been the master of Agostino Garracci. The inscription on his tomb, in the Annunziata at Bologna, also gives him cre4it as a painter. Works, Home, castle of Sant* An- gelo, the Archangel Michael. Bologna, Istituto, subjects from Homer's Odys- sey: Chapel Poggi in San Jacopo Maggiore, John the Baptist preaching in the Wilderness ; and the Last Judg- ment: Academy, the Marriage of St Catherine. Ancona, Loggia dei Mer- canti, Feats of Hercules: Sant' Agos- tino, the Baptism of Christ: San Ciriaco, the Besurrection of Christ. 'Spain, Escurial, sacristy, the ^Israelites gathering the Manna; the Feast of the Passover; Abraham and Melchisedech; and El^ah visited by the Angel in the Wilderness : lower cloister, Pniifica tion; Flight into Eg}'pt; Slaughter of the Innocents; Christ in the Temple; the Baising of Lazarus; and others: in the church, St. Michael and the Fallen Angels ; the Martyrdom of Saint Lawrence; the Nativity of Christ; and the Adoration: in the libraxy, on the ceiling, the Arts and Sciences. {Va- sari, Baglione, Malvasia, ZanoUi^ Gua^ landif Cean Bermudez.)