Page:Bryan's dictionary of painters and engravers, volume 5.djvu/35

 SACCHI. M., (• r II Sacchi.) .» native of Casals, flo'irished in the ITtb century. He jainted in S. Francesco, at Casale, a picture representing a lottery for mirria.;e portions, in which a great assemblage of fathers, mothers, ar:d their daughters is intro- duced. At S. Agostino di Casale is a standard, a 'Virgin and Sain;s,' containing portraits of several princes of the hoiise of Gonzaga, by him.

SACCHI, Pier Francesco, (called variously SACcnio, Sacchius, Sacco, and Saccus, F.:asoesco, or Pier Fraxcesco, surnamed il Pavese, or Pietro or Pier Francesco di Pavia,) has been wrongly recorded by Lomazzo as one of the artists who flourished at iiilan under Francesco Sforza. As a matter of fact, his works were all executed in the I6th century. The earliest work hy him is the 'Parting of St. John the Baptist from his Parents,' dated 1512, in the oratory of Sea. Muria at Genoa. In 1514 he painted a ' t.'rucifixion with Saints' (now in the Berlin Museum) for the church of S. Francesco di Paulo at Nerri, and in 1514 the ' Four Doctors of the Church ' (now in the Louvre in Paris) for the church of S. Giovanui di Pre, afterwards S. Ugo. Dojuraents bearing date Jiily 12 and 17 prove that in 1520 he was a member of the Council of the Guild of Painters at Genua; and in 1526 he completed the 'Glory of the Virgin, vith Saints,' still in the church of S. Maria at Castello. His latest, and finest, recorded work is a ' Deposition ' in the church of SS. Nazzaro and Celso at Multedo, near Pegli ; hut there is a magnificent ' St. George ' in the church of the Frati Minori at Levanto, near Spezia, of which we give an illustration, that may with justice be assigned to him, whilst a 'St. Jerome and St. Martin,' once attributed to Zingaro, also in the Berlin Museun), is most characteristic of his peculiar style. The drawing and colour of his earlier work is hard and unpleasant in line and texture, and there is a want of flexibility in liis figures, but he gradually im- proved, and wis always fuhy alive to the beaut}' and interest involved in accessories, landscape, costume, details, &c., with which his work is apt to be even too overladen. His artistic tendencies are distinctly North Italian, with reminiscences of the deUcaey of feeling distinguishing the Umbro-Peruginesques of the Bolognese and Ferrarese School. From a certain similarity of type and finish in detail he has even been erroneously described as the master of Moretto. Little or nothing is known of his private life.

Besides those works already mentioned, the fol- lowing, though not signed according to his usual custom, have been attributed to him : Berlin. JIuseum. Holy Family. (Attributed to SoUrio, hit icith more reason pcrh'ips to Cesare Jfagno.) JIulte.10. CeliO {Acicristvl-J Pavia. Malasi:ina Coll. Crucifixion. (Much injured.) ,, Ch. of 6. Mickele. Frescoes and Decorations : Four Doctors, Symbols of the Evangelists, and Prophets. Ecrje. Palazzo Corsini. The Apotheosis of S. Bernardino of Siena. R. H. H. C. Mention of another Pier Francesco Pavese oo- casionallv occurs as early as 1460.

SACCHIATI, Pietro, a native of Ravenna, born about 1598, is noticed by Basan as an engraver in wood and chiaroscuro after various masters.

SACCHIENSIS (or De Sacchio). See Licisio, GiovAN'Xi Antonio.

SACCO, Scipione, (Sacchi,) a painter, and native of Cesena, who flourished in tlie 16th century. He painted a ' St. Gregory ' for the cathedral of Cesena, which is inscribed Csisenas, 1545; and a 'Death of St. Peter Martyr ' for the church of S. Domenico. He is said by some to have been a pupil of Raphael.

SACRAMENTO, Jcak del Santisimo. See GCZMAN.

SADDLER, John, Une-engraver, was bom in 1813, and became a pupil of George Cooke, under whom he was employed on Turner's ' Southern Coast of England.' Later on he engraved the ships in the large plate of 'The Fighting T^meraire,' of which the rest was executed by Dickens and Willmore. Thereafter he worked with Thomas Laiidseer after Sir Edwin Landseer, especially on 'The Children of the Mist,' 'The Twins,j ' Braemar,' and also Rosa Bonheur's ' Horse Fair.' From 1862 he exhibited engravings constantly at the Royal Academy ; after Millais from 1-62 to 1864; 'Government House, Svdney' (J. S. Prout, 1868); -Les Miserables' (G. Dore, 1873): 'Illus- tration to '-My Little Lady"' (Sir E. J. PovT^ter, 1877); 'Hop Gardens, Kent' (C. Lawson, 1379); ' Lieut.-Colorel Cosmo Gordon' (Sir G. Reid, 1880) ; 'The Lady of the Woods ' (J. MacWhirter, 1882); and 'Durham Cathedral' (H. Dawson, 1883). His last plate was Dore's ' Vale of Tears.' He left unfinished a plate iifter the portrait of Mr. Walter of the 'Times,' begun by F. Holl and com- pleted by Prof Herkomer. He was one of the last who worthily carried on the traditions of English line-engraving. He did many book illustrarions also, after Millais, Tenniel, Poynter, Dore, and others. He was an occasional exhibitor at the Royal Society of British Artists as well as the Royal Academy. His sad death by his own hand in a fit of depression occurred at Wokingham, Berkshire, on March 29, 1892.

SADELER. GiLLis, (JioiuiDS,) the nepUew and the pupil of Jan and Raphael Sadeler, was bom at Antwerp in 1575. After being well grounded in the principles of design, he took up the graver, and in a feu- years reached a perfection beyond that of his instructors. He had passed some time in Italy, where he engraved some plates after Italian painters, when he was invited to Prague by the Emperor Rudolph II. , who retained him in his service, and assigned him a pension. He enjoyed the favour and protection of the two succeeduig emperors, Matthias and Ferdinand II. He used the graver with a commanding facility, sometimes finishing his plates with surprising neatness, when the subject required it ; at other times working broadly and boldly. His plates, which are very numerous, represent historical subjects, portraits, landscapes, &c. Some are from his own designs, and many, particularly his portraits, are of great excellence. Sadeler died at Prague in 1629. He has been called ' The Phojnix of Engraving.' The following are considered his best priuts :

PLATES after HIS OWN WORKS. The Emperor Matthias. 1616. The Empress Anne, his consort. 1616. The Emperor Ferdinand II. on horseback ; in two sheets. 1629. Burckhard Je Berlihing, Privy Counsellor to Rudolph II. Christopher Guarinouius Fontanus, Physician to the same.