Page:Bryan's dictionary of painters and engravers, volume 5.djvu/40

 1578, settled at Brussels, and was official painter to the Duke of Parma. In Jlay 1590 he was again a" Naniur. In 1603 lie settled at Mechlin, became a member of the Guild of St. Luke, and worked there until his death. In 1594 he painted for the Archduke six pictures represeatingthe four seasons, and market-pieces, for which he was paid 224 florins ; and in 1597 a figure of Christ on the cross forthe Town Hall of Namur, for which he received £40. During the last twenty years of his life he painted many altar-pieces for cluirclies at Mechlin and in the neighbourhood. His style was greatly influenced by Lambert Lombard.

Namur. Museum. .Shutters of a triptych. 1576. Mechlin. Cathedral. David overcoming Goliath. ,, ,, The Baptism of Christ (siyncd; his best work). „ Our Lady on ) Triptych ; EpisoJes in the the Dyh. j life of St. Katheriut-

SALA, George AnGUSxns, was born in New Street, Manchester Square, London, on Nov. 24, 1828. From 1839 to 1842 he was at school in Paris, and showed great aptitude for drawing. At the age of fourteen he was sent to study under Carl Schiller, a miniature painter in Charlotte Street, Fitzroy Square. When fifteen he was thrown on his own resources, and from 1845 to 1848 earned his living by painting scenery at the Princess' and the Lyceum Theatres. In 1847 he illustrated Alfred Bunn's ' Word with Punch,' and in 1848 Albert Smith's 'The Man in the Moon.' He then learned the art of etching, and in 1850 illustrated a comic guide-book, published by Ackermann, with the title ' Practical Exposition of J. M. W. Turner's Picture, Hail, Rain, Steam and Speed ' ; while later in the year his panorama entitled ' No Popery ' was issued by the same pub- lisher. In the following year Sala drew four litho- graphic plates with views of the Great Exhibition, and in 1852 engraved with Henry Aiken, junior, a long panoramic roll representing the procession at the Duke of Wellington's funeral. After this time his work as an artist seems to have ceased, and he devoted himself entirely to the journalistic work which made the initials G. A. S. so famous. As art critic of the ' Daily Telegraph ' and other papers he wrote extensively on matters connected with art, and used his influence for its true development. After being for thirty years perhaps the most pronunent journalist of his day, Sala died after a long illness on December 8, 1895. M. H.

SALA, VlTALE, painter, was born at Cernusco, near Brienz, in 1803, and educated at Brera, where he painted the 'Death of Cato'; the 'Death of Romeo and Juliet' ; and the ' Farewell of Reguliis.' There are also works by him in the churches of Vigevano, Novara, Bosisio, Desio, and in those of St. Stefano, St. Lazzaro, and St. Catharine, at Milan. He died at Jlilan in 1835.

SALAI, Andre.a. (S.iLAiNO, S.lario). As the favourite pupil aud constant companion of Leo- nardo da Vinci, Andrea Salai is a very distinct personality, but his artistic achievements remain obscure. The late M. E. Mlintz discovered in some documents on Hungarian history a certain archer, Andrea Salai, who in 1461 was at Brindisi in the service of Naples. The similarity of name and correspondence of date give rise to the pre- sumption that this Andrea Salai, the archer, may have beeu the father of the artist. The first reference to him, however, occurs in 1495 ; in 1503 there is an entry in Leonardo's accounts of a sum for shoes : whilst later on the generous painter provided the money for his sister's dower. In January 1505 Salai manifested a keen desire to do '^ qualche cosii galante" for Isabella d'Este, but the ofler was not accepted. The Marchesa's Florentine correspondents, however, recommended that Salai should advise on the valuation of Perugino's picture, 'The Combat of Love and Chastity' (Louvre), painted for her palace at Mantua. When Leonardo went to Kome in 1514, he (Salai) accom- panied him, but refused to follow his master to France, choosing rather to remain in his house outside Milan. Half of this same property was bequeathed to him by Leonardo, but his ultimate fate and the time of his death is not known. The master, out of affection for his pupil, is said to have frequently put the finishing touches to the latter's feebler efforts, and also allowed him to make use of his own cartoons. It is generally considered that the hand of Salai appears in those pictures where rosy tones and heavj' brown shades predominate. For this reason the 'Madonna in the lap of St. Ann^' (Louvre), catalogued as a genuine work of Leonardo, is now frequently attributed to his pupil. Three well- known replicas of this picture exist : in the Her- mitage (St. Petersburg), in St. Eustorgio (Milan), and at Madrid. The first of these examples is generally assigned to Salai, to whom also are attributed :

The Madonna with Saints. (Brera.) Christ bearing the Cross. (Berlin.) A. W. SALAMANCA, Antonio, a very celebrated pub- lisher and dealer in prints, flourished about the middle of the 16th century. He is the supposed engraver of a plate after Michelangelo's ' Pietk.' on which is inscribed Antonius Salamanca Quod Potuit Imitatus Exsculpsit, 1.5.4.7. This is the only direct piece of evidence that he practised en- graving, but two more plates have been ascribed to him : a portrait of Baccio Bandinelli, 1545, and the ' Creation of Animals,' after Raphael, 1548. All the other prints with his name have excudehat, or excudit, instead of exsculpsit.

SALAMANCA, Geronimo de, a painter of the 16th century, practising at Seville.

SALAZAR, Juan de, a skilful illuminator of the 16th century. He is chiefly known by his work fir the choir-books of the Escurial, and for the mass-books of Toledo. His drawing was remark- able for its delicacy and precision, and his colour for its brilliance. He died at Toledo in 1604.

SALERNO, Andrea da. See Sabattini.

SALIBA, Antonello da, a Sicilian painter, who lived in the early part of the 16th century, and adopted the method which Antonello da Messina is said to have introduced into Italy.

SALIMBENI, Arcangelo di Leonardo, a Sienese master of the latter half of the sixteenth century, who seems to have belonued to the celebrated family of that name, but is himself chiefly known from his friendship with Federigo Zuccaro, whose influence is observable in his work, and from having been the master of his more celebrated son, Ventura, and stepson, Francesco Vanni. He com- pleted a ' Nativity ' left unfinished by Bartolommeo Nerooi (11 Riccio) in the church of the Carmine at Siena, and painted pictures for the Confraternities of San Bernardino, Sta. Lucia, an(i Sta. Caterina- in-Fontebranda. On April '20, 1567, he married Batista, widow of Eugenio Vanni, mother of the