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 especially being reminiscent of such masters as Van Eyck, Van der Weyden, and Memlinc. From these men he learned " that real regard for truthful expression in subject and detail which the pre- Raphaelites found blended with more spiritual qualities in fourteenth-century Florentine art." Towards the latter part of his life Sandys devoted himself to craj-on studies, which exhibit his remark- able technical dexterity and his decorative feeling fur minute details. As a draughtsman, his line in the modelling of the beauty of a head was full of exquisite sensitiveness and nervous musical qual- ity. He had a marvellous sense of form, but he was curiously lacking in the power of felicitous indication and in imaginative understanding. His crayon studies, exquisitely beautiful though they were, did not enhance his reputation, and it is for his handling of the primitive Flemish technique of oil painting, and for the certainty of his work in his half-dozen great pictures that he vill be praised. Of his personal life it is hardly Bafe to say anything, so completely did he ruin his chances of a great reputation by his blameworthy and pitiable career. As recently as March 1894 there was an exhibition of his works at the Leicester Gallery, London, arranged by his stalwart sup- porter Mr. Ernest Brown, and the catalogue had a judicious preface by Mr. F. G. Stephens, who is now almost the last of the little band who worked with such earnestness and devotion under the influence of the pre-Raphaelite Movement. One of the finest of his works then exhibited was a full- length study of a girl called ' My Lady Greensleeves,' now in the possession of Mr. J. S. Budgett of Stoke Park, Guildford. Sandys has frequently been the subject of magazine and other articles, but the only thoroughly reliable notice of his life and works appeared as the winter number of 'The Artist,' Nov. 18, 1896. It was written by Esther Wood, and was issued with extra illustrations in specially choice form, quarto, 150 copies only, and folio, twenty copies only. From this memoir and from personal acquaintance most of the above informntion is taken. There were articles upon him in the 'Art Journal,' 1884, by Mr. J. M. Grav, and others by the same author in the 'Hobby Horse' of 1888 and 1892, while Mr. Pennell wrote respecting Sandys in 'Pan,' a German publication, in 1895, and later on in the 'Savoy,' 1896, and the 'Quarto,' 1896. His en- graved works are alluded to by Gleeson White in his ' English Illustration,' and they are illustrated in 'The Art Journal,' 1894, 'Cornhill Gallery,' lRfi5, 'Savoy,' 1896, ' Quarto,' 1896, ' Hobby Horse,' 1888, ' Pan,' 1895, Thorobury's ' Historical Ballads,' 1876, Pennell's 'Modern Illustration, Pictures of Society,' 1866, ' Idyllic Pictures,' 1867, and Pen- nell's 'Pen Drawing and Pen Draughtsmen,' 1894. Some of his works were exhibited at Mr. Ganihart's Gallery, and nine were hung at the Grusvenor Gallery. G. C. W.

SANDYS, Edwtn, is mentioned by Strutt as the engrav'T of a portrait of Sir William Petty.

SANE, J. P., a French painter, born about the middle of the 18th century. He worked for some time at Rome, and returning to his native country, died in 1780 in Paris. His works are little known. A ' Death of Socrates ' is spoken of as showing considerable talent ; there are further two genre pictures by him in the Museum of Angers ; and his ' Lame Man at the Beautiful Gate of the Temple,' is in the church of St. Peter at Douai. 02

SANESE, Maestbo Riccio. See Neboni. SAN-FELICE, Ferdinando, born at Naples in 1675, was at once the patron and the scholar of Francesco Solimena. He attained a name among historical painters, and with the assistance of Soli- mena painted altar-pieces for several churches. He also painted fruit, landscapes, and perspective views, in which he particularly excelled ; and he liad the reputation of being an excellent architect. Solimena painted a gallery in his house, which afterwards became an academy for young artists.

SAN FRIANO, Maso da. See Manzooli.

SANGALLO, Sebastiano da, painter, born at Rome in 1482, son of Giuliano Giamberti, was called Aristotile for his knowledge of perspective and anatomy. He was a pupil of Perugino, but, as a painter, worked in the style of Michelangelo. He copied the ' Cartoon of Pisa ' in oil, in grisaille, and was one of the painters summoned to Rome by Buonarroti when he began the Sistine ceiling. He afterwards became the friend of Raphael, after whose designs he built the Palazzo Pandolfini, at Florence. As a painter most of his activity waa given to ephemeral work in theatres, and on the fagades of houses. See Milanesi's ' Vasari,' vol. vi. pp. 433-456. He died in 1551.

SAN GIMIGNANO, Sebastiano da. See Mai- NARDI.

SAN GIMIGNANO, Vicenzio da. See Tajiaqni.

SAN GIORGIO, Eusebio di, brought up in Perugia, was a fellow-worker with Fiorenzo di Lorenzo and Berto di Giovanni in 1501. He was induced to join Pinturicchio at Siena, and painted the altar-piece of the Epiphany at S. Agostino, in Perugia. In S. Francesco at Matelica, near Fab- riano, is a ' Holy Family' painted by him in 1512, perhaps his best work. Other works of his may be seen at Orvieto, Assisi, and Perugia. In the cloister of the Capuchin Convent of S. Damian at Assisi are two frescoes. LennoliefE ascribes the Standard preserved at Cittk di Castello as an early Raphael to Eusebio di San Giorgio. He died in 1550.

SAN GIOVANNI, Cavaliekk Ercole, called Ercolino di GniDO. This painter was a native of Bologna, and a favourite of Guido Reni. He imitated and copied the works of his instructor with such precision, that he is said to have deceived the master himself. Malvasia reports, that Guido having left a picture in a half-finished state, Ercole copied it, and placed his work on the easel of his master, who proceeded to finish it, without dis- covering the deception. Ercole was patronized by Urban VIII., who conferred on him the honour of knighthood. He died young at Rome, about the year 1640.

SAN GIOVANNI, Gerabdo da. See Haarlem.

SAN GIOVANNI, Giovanni da, called Manozzi, born at San Giovanni in 1590, was a pupil of Matteo Roselli, and executed a great number uf frescoes at Rome and at Florence, representing biblical, historical, and mythological scenes. He had much facility, and in his colour and cliiaroscuro followed Caravaggio and Spagnoletto. He died in 1636. His best works are —

Kesole. ^tt^Balf } Temptatiou of Christ. Florence. Pitti Palace. Scenes from the Life of St. Lawrence. „ „ A Hunting Party. „ The A cademy. A Flight to Egypt. „ Ojnissanii. In the Cloister ; five scenes from the life of S. Francesco. j Rome. QuattT'j Coronati. Frescoes in Semi-dome.