Page:Bryan's dictionary of painters and engravers, volume 1.djvu/90

 part of the 15th century. In 1509 lie painted an altar-piece for the hospital of Santa Maria de' Battii (afterwards Santa Maria della Neve), which gained him great reputation. The celebrity of Raphael, then in the zenith of his fame, drew him to Rome, where he had the advantage of being admitted into the school of that inimitable painter. His talent was soon discovered by his able instructor, and he was selected by him to assist in the great works he was then engaged on in the Vatican. He was entrusted to paint, from the designs of Raphael, the 'Histories of Jacob and Solomon,' which he executed entirely to the satisfaction of his master. Besides these, he painted some pictures of his own composition for the churches at Rome, particularly in Sant' Eustachio (now perished), and in San Giaoomo degli Spagnuoli, where he painted, in fresco, the life of St. James. After the death of Raphael he returned to Modena, where he was employed on several of the public edifices, and painted in the church of San Paolo his celebrated picture of the 'Nativity of Christ,' which was designed with all the grace and dignity of his great teacher. He also painted the 'Adoration of the Magi,' in San Francesco, and the 'Coronation of the Virgin,' in the church of the Servites. This eminent artist was high in the public esteem, and in the midst of a brilliant career, when the world was deprived of his talents by an unforeseen and dreadful catastrophe. His son happened to have a quarrel with one of his companions, which ended in the death of his antagonist. Pellegrino, apprised of the fatal accident, ran out into the street, to endeavour to save his son from the pursuit of justice ; he was encountered by the relatives of the deceased, who fell upon him with the greatest fury, and killed him. This tragical event happened in 1523. No scholar of Raphael approached nearer to him in the sublime character of his heads, and the grandeur of his forms.

AREVALO, J. C. DE. See Cano.

AREZZO, Jacopino da, a miniature painter of the 15th century, illustrated, about 1435, a Bible, Prayer-book, &c., for the Marchese da Ferrara, and shortly afterwards the ' Commentaries ' of Caesar and a ' Theseus,' the works of Albertus Magnus, a Psalter, and a book of love-songs.

AREZZO, Montano d', flourished about the end of the 13th, and the commencement of the 14th, centuries. In 1305 he painted two chapels of the Castel Nuovo, and in 1306 two chapels of the Castel del Uovo, at Naples. He was a favourite of King Robert, who knighted him in 1310. The chapel of the Monastery of Monte Vergine, near Avellino, has a picture of the Madonna said to be by him. The Dormitory dei Giovannetti of the Beminario Urbano, at Naples, has a half-length picture of a Bishop by him. The dates of Montano d'Arezzo's birth and death are no longer known, and little can now be found belonging to this artist.

ARFIAN, Antonio de, a native of Triana, a suburb of Seville, studied under MuriUo and Luis de Vargas. He was employed on several import- ant works, both in fresco and in oil ; among which was the grand altar-piece of the cathedral which he painted in 1554, in concert with Antonio Ruiz. Neither the date of his birth nor that of his death has been mentioned by any writer, but he was still living in 1587, in which year, with his son Alonzo's assistance, he painted the ' Legend of St. George,' in the church of the Magdalene.

ARGENTO, Antonio dall'. See Aleotti.

ARGDELLO, Juan BAtrriSTA, painted still-life in the cathedral at Seville, in 1594. Nothing further is known of him.

ARIAS FERNANDEZ, Antonio, an historical painter, was born at Madrid about 1620, and studied under Pedro de las Cuevas. At the age of fourteen he painted the great altar-piece of the Carmelite monastery at Toledo. This gained him much credit ; yet, far from being inflated by the praises he received, he pursued his studies with great assiduity, and at the age of twenty-five was one of the best painters at Madrid. The Duke of Olivarez selected him to paint the series of portraits of the kings and queens of Spain which were in the old palace at Madrid. His death occurred in that city in 1684. The Madrid Museum has by him 'Christ with the tribute money,' and 'Charles V. and Philip II. of Spain, seated on a throne.' He left a daughter, who practised portrait-painting with success.

ARIDICES, of Corinth, was, with Telephanes, the first to improve upon the earliest essays of Greek artists, which consisted in tracing a simple outline. Aridices introduced other lines indicative of the internal parts of the figure, but it was still only an outline without colour.

ARIENTI, Carlo, (or Aerienti,) one of the earliest painters of the modern Italian school, was born at Milan about 1800 (or at Arcore near Monza in 1794) ; and became President of the Academy in that city. He was summoned to Turin by Charles Albert to paint in the royal palace a battle-piece representing a victory gained over the Austrians. Arienti then settled in Turin, and was made President of the Art Academy, and became the instructor of numerous good artists. He subsequently accepted the presidentship of the Academy at Bologna, where he died in 1873. He painted historical pictures of large dimensions. A ' Murder of the Innocents ' by him is in the Belvedere Gallery at Vienna.

ARIGO. See Abegio.

ARIJAENSZ, PiETEB. See Aaetsen.

ARISTEIDES, a celebrated Greek painter who flourished about B.C. 360 — 330, was a native of Thebes. He was a brother and pupil of Nicomachus, and contemporary with Apelles. He ex- celled in painting battle pictures ; one of the most celebrated of which was 'The Capture of a City,' in which the expressions of a dying woman and her infant were much admired : Alexander the Great took this picture to Macedonia. Aristeides also painted a ' Battle with the Persians,' in which there were one hundred figures; this was purchased for a large sum by Mnason of Elatea. Attains, king of Pergamus, bought a picture by Aristeides, ' A Sick Man on his bed,' for 100 talents (about £23,600), and Pliny says that Lucius Mummius refused more than 200 talents for a ' Bacchus ' which he captured at the siege of Corinth, and placed in the temple of Ceres at Rome. An unfinished picture of ' Iris ' is mentioned by Pliny as having excited great admiration.

ARISTOLAUS, a Greek painter who flourished about B.C. 308, was a native of Athens, and son I and disciple of Pausias. He was celebrated among the painters of his time for the severity of his style; from which we may infer that he united a purity of form with a strict simplicity in his compositions. His pictures were usually confined to a single figure, and he made choice of those eminent personages whose memory was endeared