Page:Bryan's dictionary of painters and engravers, volume 1.djvu/35

 palaces, churclies, and public buildings, pictures of much merit. He worked much in conjunction with his brothers. He died at Rome in 1596, while engaged on the great work of decorating the Sala Clementina for Pope Clement VIII. Alessandro also worked at Borgo San Sepolcro, Naples, and Mantua.

ALBEKTI, Antonio, of Ferrara, painted por- traits and Bacred subjects, and was distinguished in his day. In the sacristy of tiie church of San Bernardino, outside Urbino, is a ' Madonna and Child enthroned,' by him, dated 1439. The fres- coes in the chapel of the Bolognini, at San Petronio, Bologna, consisting of incidents from the Passion, the Paradise, and the Inferno, and numerous figures of saints and angels ; as well as those which decorate the inner choir of Sant' Antonio Abate, Ferrara, and dated 1433, consisting of a half-length Virgin and Child, between SS. Benedic t, Sebastian, another saint, and an angel with a bal- ance, have all been attributed to Antonio by Crowe and Cavalcaselle. The dates of this artist's birth and death are unknown. He had a son of the same name, who was also a superior artist, living in 1550.

ALBEKTI, Chebubin'o, called Borgheggiano. This eminent artist was bom at Borgo San Sepolcro in 1553. He was the second son of Alberto Alberti, an architect and sculptor. He became a reputable painter of history, and executed many considerable works both in oil and in fresco, in the palaces and churches of Rome, where his principal paintings were in the church of Santa Maria in Via. He was also director of the Academy of St. Luke in that city, where he died in 1615. His native town possesses numerous examples of his art, as well as several works executed by him in conjunc- tion with his brothers, Alessandro and Giovanni. He is, however, more celebrated as an engraver than a painter, and in that character he is deserv- ing of particular attention. It is not ascertained from whom he learned the art of engraving; but, from his manner, especially in his eirliest produc- tions, it is very probable that he may have been first a scholar of Cornells Cort, and afterwards have formed to himself a more correct and a freer stj'le, by studying the works of Agostino Carracci and Francesco Villaraena. His plates are executed entirely with the graver, and it does not appear that he made use of the point. His drawing, particularly in the nude, is generally correct, and the airs of his heads have a pleasing expression, but his draperies are clumsy and stiff. His works as an engraver may be considered as very extra- ordinary productions of genius, and that at a period wlien the art of engraving was at a great distance from the perfection to which it after- wards arrived. We are indebted to this artist for having preserved to us, in his prints, some of the beautiful friezes by Polidoro da Caravaggio, painted on the facades of the public edifices, w Inch have been destroyed by time.

The prints of this master are very numerous ; the whole of his works extend to about 180 plates, 75 of which are from his own designs ; the others are from Michelangelo, Raphiiel, Polidoro da Caravaggio, Andrea del Sarto, c ^, and others. He generally marked 211 yt his prints with one of these mono- -^J-'/ * ^' grams. The following are his principal works :

SCBJECTS FROM HIS OWN DESIGNS. Portrait of Pope Gregory XUI. oval, with ornaments. of Pope Urban VII., the same. Portrait of Henri IV. of France, oval. 1.595. of Pietro Angelo Bargeo. Judith with the Head of Holofemes. The Nativity ; inscribed, Dciis oiiuiipotens, *c. The Flight into Egypt. 1574. The Holy Family, with St. Eli.sabeth. 1571. Another Holy Family ; St. Joseph seated, with a book. The Body of Christ supported in the clouds by an angel ; inscribed. Magnum pielatis opus, ^c. The Virgin Mary and Infant in the clouds ; i.iscribed, Jieffina cceti. Mary Magdalene penitent. 1582. St. Catherine receiving the Stigmata. 1574. St. Christian drawn out of the sea. St. Francis receiving the Stigmata. 1599. St. Charles of Borromeo, kneeling before the Virgin and Infant. 1612. Sis of Children, for ceilings; dedicated to Cardinal Visconti. 1607.

St. Susannah resting against a pedestal, with a sword. The Crucifixion ; after Michelangelo. St. Jerome, meditating on the Crucifii ; afttn- the same. 1575. St. Andrew bearing his Cross ; after the same. 15S0. Two other figures, from the Last Judgment ; after the same. 1591. Charon, with two other figmres ; after the same. 1575. Prometheus devoured by the Vulture ; after the same. 15S0. The famous Pieti, sculptured by Michelangelo. Three — The Creation ; Adam and Eve driven out of Paradise ; and the same, subjected to labour ; Polidorus de Caravaggio, iiiveitt. The Death of the Children of Niobe, in five sheets a frieze ; after the same. Tile Rape of the Sabines, another frieze ;/>'om the same. The Triumph of Camillus ; in the style of the antique. Pluto holding a torch. Fortune standing on a sltell. The Presentation ; after Raphael. The Resiurection, a grand composition ; after the same. The Holy Family ; after Raphael. 1582. Jupiter and Ganymede; after the same. 1580. The Graces and Venus leaving Juno and Ceres ; after Raphael. 1582. The Adoration of the Magi ; after II Rosso. 1574. The Transfiguration ; after the same. Christ praying on the Mount ; after the same. 1574. The Stoning of Stephen ; after the same. A piece of architecture ; after the same, in two prints. Roma, 1575. The Baptism of our Saviour, by St. John ; after A. del Sarto. 1574. The Miracle of St. Philip Benizzo ; nfler A. del Sarto. Very fine. Tobit and the Angel ; after Tibaldi. 1575. Clirist praying in the Garden ; after Perino del Yoga, The Adoration of the Shepherds ; after Tad, Zucchero in two sheets. 1575. The Holy Family ; after the same The Scourging of Christ ; after the same. The Conversion of St. Paul ; after Tad. Zucchero. The Assumption of the Virgin ; after the same. Another Assumption; after Fed. Zucchero. The Coronation of the Virgin ; after the same. 1572.

ALBERTI, Durante, called 'Del Nero,' son of Romano I. Alberti, was bom at Borgo San Sepolcro in 1538 ; and, according to Baglioni, visited Rome when young, during the pontificate of Gregory XIII. It was not long before he distinguished him- self by painting several pictures for the churches and other public edifices. In the church of San Girolamo della Cariti, one of the chapels was en- tirely painted by him in fresco, and there was an altar-piece in oil by him, representing the Virgin and Infant Jesus, with St. Bartolommeo and St. Alessandro. In S.inta Maria de' Monti, he painted the ' Annunciation.' Several other churches at Rome possess works of this eminent artist. He