Page:Biographical catalogue of the principal Italian painters.djvu/79

 48 COLLE— CONTARINI. Osservanti di San Francesco, at CIttl^ San Sepolcro, are the two pictures of the Resurrection of Christ, and the Assumption of the Virgin, mentioned by Yasari. (Lanzi.) GOLLEONI, GiBoiAUO, painted at Bergamo in 1532-55. Venetian School. A pupil, or painted in the style, of Titian. His Marriage of St. Cathe- rine, in the Carrara Gallery, at Ber- gamo, says Lanzi, must be mistaken for a work of Titian's, but for the inscrip- tion on it with the name of CoUeoni. He went to Spain and painted in the Escurial, for Philip II. {Ta$n,) COLONNA, Michelangelo, 6. near Como, 1600, d. at Bologna, 1687. Bo- lognese School. Studied under Gabri- ello Ferrantino, and afterwards with Dentone. Colonna, according to Crespi, was the best of the Bolognese fresco- painters. He executed many works in Bologna, Florence, and elsewhere, in company with Agostino Mitelli; their fame for their rich perspective com- binations extending to the court of Philip IV. of Spain, where they executed several works, Colonna painting the figures, and Mitelli the architecture. The Albergati Palace contained Co- lonna's best works in Bologna. {Mal- vasia, Crespi.) COMODI, Andrea, b. at Florence, 1560, d. 1638. Tuscan School. A pupil and assistant of Cigoli ; he painted more in Borne than at Florence. He imi- tated the works of the great masters of the past century, especially those of Baphael and Correggio, with such suc- cess, that even in his own time, his copies were mistaken for originals. His own pictures were chiefly Ma- donnas. Works. Bome, the Corsini Gallery, a Madonna: San Carlo a' Catenari, frescoes of the Sacristy. Florence Gal- lery, Fall of the Angels, in chiaroscuro. {Baldinucci,) « CONCA, Cav. Sebastiano, b. at Gaeta, 1676, d, at Naples, 1764. Bo- man School. The pupil of Solimena; he went early to Borne, and became a follower of Pietro da Cortona. He was ready, rapid, and superficial. Works, Siena, Sta. Maria della Scala, the Probatica, or Sacred Pool of Siloam. Bome, Santa Martina, the Assumption: San Giovanni in Late- rano, Jonah. CONCIOLO, painted in 1219, at Subiaco, a Consecration of a Ghnrch, signed Conxiolus pinxiL {Lanzi.^ CONDIVI, AscANio, a painter of Bipatransone. Tuscan School. A pu- pil of Michelangelo, of whom he published a life, in 1553. 4to. Rome. A new edition, with notes by Goxi and Mariette, was pubUshed in Florence in 1746. 4to. CONEGLIANO, Giambattista Ci- MA DA, painted 1493-1517. Venetian School. He was one of the most dis- tinguished followers or contemporaries of Gio Bellini, and resembles him much in his works. Cima is particu- larly distinguished for his brilliant co- louring and his landscape backgronnds, frequently representing his native place Conegliano. He belongs strictly to the quattrocento school. His son. Carlo Cima, imitated his works. Works. Parma, Cathedral, the Vir- gin, with Saints. Venice, Santa Maria del Carmine, the Birth of the Virgin and Child; Santa Maria della Misericordia, Tobias and the Angel: Academy, Ma- donna and Saints; Incredulity of St Thomas. Louvre, Madonna, with Saints. Milan, the Brera; St. Peter; and several other pictures. Dresden, Presentation of the Virgin in the Tem- ple. Berlin Gallery, the portrait of Gio. Bellini, and four sacred subjects. CONTAEINI, Cav. Giovanni, b. at Venice 1549, d. at Prague, 1605. Ve- netian School. Historical and portrait painter, who adopted Titian for his model, and acquired a deserved reputa-