Page:Bryan's dictionary of painters and engravers, volume 5.djvu/42

 1630 — with a dowrj- of 2 TO florins — Austino di V'inetnzo da Petrojo). Of these, all except Isiibella and Laurenzio survived their father, and were left at his death to the care of their maternal grand- mother, Battista Focari. Ventura Salirabeni's pupils — besides his son Simondio — were Giovanni Paolo Pisani, Sebastiano Folli, Bernardino Capi- telli, and, at Genoa, Ottavio Ghissoni. He had, however, also cert;iin imitators, among whom were Alessandro Albini of Boh-gna (a pupil of the Carracci), Benedetto Bandiera of Perugia, and Oio. Battista Lombardelli deila Marca, who, how- ever — having predeceased him in 1587 — might be said rather to have given to than taken from him.

Among the vast quantities of frescoes and other works left by him, the following is a fairly representative list :

Florence. Cloister of the '. Annuaziata, j Fohgno. Duomo. Genoa. Ca^a Adorno. „ Ch. of S. Matteo. „ Ch. ofS. Francesco di Paola. Montalciuo. Ch. of S. Pietro. Perugia. Ch.ofS.Pielro. Pisa. Palace of Knii/hts of S. Stefino. „ Palazzo Pubi'lico. „ Duomo. Kome. Ch. ofSta. Mana Maij^fiore. „ Ch. ofSta. Maria della Pace. „ Palazzo Doria. Siena. Ch. SS. Ti-initA. „ Ch.oftheSantuccio. „ Ch. ofS, Giorgio. „ Ch. of S. Ansano. „ Ch. of S. Spirito. „ Ch. of S. Domeiiico. „ Chapel ofSta. Cate- rina della J'olte. „ Ch. of S. Quirico. Ch. of S. Lucia. Ch. ofS. Paolo. Ch. of the Font e Giusta. Ch. of S. Pietro alle Scale. Chapel of the Con- trada delV Oca. Compayuia di S. Bernardino. Frescoes. 1605-1608. Marri.-ige of the Virgin. Frescoes. Scenes from the Life of the Saint. {Ceilinff of fourth chapel to the left.) Frescoes. (Cloister.) The Gift of the Keys to St. Peter. 1.099. Disputa. 1600. Crucitiiiou. 1604. Stories of David and of St. Gregory the Great. Frescoes. 1602. Pisa Tersonified. 1603. {Sala del Commune.) Angels. 1608. (Second altar on the left.) Scenes from the Life of the Virgin. 1591'. S. Simeon dei Lancellotti. Circumcision. 1610. St. Jerome. Ceiling and wall frescoes. 1595. Story of S. Galgano. 161J. (Choir of Angels.) St. George (lunette). 15S5. (Sacristy. ) SS. Ansano and Micheie (fai;ade). Various Saints, and Story of S. Giacinto. Crucifixiou,with various Saint'j. 1606. (Capella VolomJnni. ) Scenes from the Life of that I Saint. Madonna. (Over the door .) Martyrdom of SS. Quirico and Giulitta (frisco). 1603. The Maries at the Sepulchre (oil). 1615. St. Lucy, with Angels. (Over the door.) Sta. Francesca Romana. (Sacristt/.) Scenes from the Lives of the J Virgin, S. Bartolommeo, and the Blessed Anibrogio Sansedoni. I Banner. 1G03. Scenes from the Life of St. Catherine. 1604. [Lunette. 1600. (Lower chapel.) S. Kocco. Duomo. Storj' of Esther. „ Saints (two frescoes). 1603. Siena. Palazzo Pulhlico, Frescoes. (Second room of the Sindacd's apartments.) E. H. H. C.

SALINCORNO, Mirabello, called also Uavalori, flourished in 1565. He was a scholar of Ridolfo Ghirlandajo, and was one of the artists .vho helped to paint the catafalque for the obsequies of Michel- angelo. It is uncertain when he died. Zani says he was at work in 1578.

SALINI, ToMMASO, Cavaliere, painter, born at Rome in 1570 or 1575, was the son of a Florentine sculptor, who placed him under the tuition of Baccio Pintelli, an artist of little note. He became a respectable painter of history, and also painted flowers and fruit with considerable success. He died at Rome about 1630.

SALIS, Carlo, was born at Verona in 1080. and first studied at Bologna under Giuseppe da I'Sole. but he afterivards became a disciple of Antonio Balestra, at Venice, whose style he imitated witij success. His best picture is an altar-piece at Ber- gamo, representing S. Vincenzio healing the Sick. He died in 1763.

SALISBURY, —, was a popular painter, living in London at the time of the Restoration. He was a friend of Pepys, who mentions him several times in his Diary, and in 1662 writes that Salisbury has 'grown in less than two years' time so great a limner that he is become excellent, and gets a deal of money at it."

SALLAERT. Antonie, (Salaert, or Sallaerts,) was born at Brussels about the year 1590. He was inscribed, as an apprentice, on the corporation book of the Brussels painters in 1606. His master, Michael de Bordeau, also taught Philippe de Cham- pagne. Sallaert was admitted master in 1613. Sallaert enjoyed the friendship of Rubens, whose pupil he is asserted, but without evidence, to have been. He was Dean of the Painters' Guild in 1633-4, 1634-5, 1646-7 and 1647-8, so that his death can- not have taken place prior to l(i48, but its exact date is unknown. Pictures :

Brussels. Gallery. Christ's Passion ; an allegory. n „ The Infanta Isahella at the Shooting Feast of the'Grand- Serment.' „ „ The Procession of the ' Pucelles du Sablou.* Madrid. Gallery. The Judgment of Paris. Papillon mentions this artist as an engraver on wood. He usually marked his prints with the cipher pL* [ ATI Sometimes with the border, some- times without Brulliot denies that he engraved on wood ; but a set of the Four Evangelists and an ' Ecce Homo' bear his mark.

SALLIETH, Mathias de, was bom at Prague in 1749, and was taught engraving by J. E. Mansfeld of Vienna, and afterwards went to Paris and worked under J. Ph. Le Bas ; several prints by him are in Choisenl-Goufiier's 'Voyage [littoresque de la Grece,' ' Voyage pittoresque en France,' and ' La Gallerie Lebrun." Subsequently he resided in Holland, and employed himself on marine subjects after his own designs, and after pictures by Dutch masters. Among the best are, the ' Battle of Nieuport' : and three others, after D. Langendyck ; two after Kobell : one after A. Storck ; and one after Vander Capelle. He died at Rotterdam in 1791.

SALM, A. van. a Dutch painter of nuirines and views in Holland, in black and white, in imitation of pen-drawings. He lived about the middle of the 17th century.