Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/135

 *ing (1879); El Jaleo (1882); Portrait of Two Children (1883); Portraits (1884-85-86).

SARPEDON, Henri Léopold Lévy, Luxembourg Museum; canvas, H. 10 ft. × 7 ft. 9 in. Death and Sleep bearing to Jupiter the body of his son Sarpedon, slain at the siege of Troy (Iliad, Cap. xvi.). Salon, 1874.

SARTAIN, EMILY, born in Philadelphia in 1841. Portrait and genre painter, pupil of the Pennsylvania Academy in Philadelphia, and four years of Luminais in Paris. Taught engraving by her father, John Sartain. Studio in Philadelphia. Works: Reproof (1876); Marie (1882); Morning (1884).

SARTAIN, WILLIAM, born in Philadelphia, Nov. 21, 1843. Landscape and genre painter, son of John Sartain, engraver; studied under Yvon and Bonnat, and in the École des Beaux Arts, Paris. In 1870 sketched in Spain, England, Holland, Belgium, Germany, and Italy, and in 1874 in Algiers. First exhibited at Royal Academy, London, in 1875; at National Academy in 1876. Professor of life class of Art Students' League; Member of Society of American Artists. Elected an A.N.A. in 1880. Studio in New York. Works in oil: Italian Head (1876, S. Colman, N.A); Street in Algiers, Narcissus, Courtyard—Paris, 1878; View in Algiers (1879); Arab Sheik, Head of Nubian Girl, A Quiet Moment (1880); Aïcha (1881); Arab Cemetery, Paquita (1883); Sandy Land near the Sea—Nonquitt, Mass. (1884); Lucia—near Algiers (1885). Water colours: Canal in Venice (1878); Arab Café (1880); View of the Ghetto—Venice (1881); Chapter from the Koran (1882).

SARTO, ANDREA DEL, born in Florence, July 16, 1486, died there, Jan. 22, 1531. Florentine school; real name Andrea d'Angelo di Francesco, but called Del Sarto because his father Angelo or Agnolo was a tailor (sarto). According to some, his family name was Vannucchi; but this "never had any foundation in fact" (C. & C.). Andrea first studied with a goldsmith, then with Gian Barile, a poor painter, and lastly (1498), with Piero di Cosimo, under whom he found time to copy the cartoons of Michelangelo and of Leonardo da Vinci in the great hall of the Palazzo Vecchio. He was associated for a while with Francia Bigio. In 1509-10 he painted in the court of SS. Annunziata de Servi, Florence, five frescos illustrating the life of St. Philip, which won him the reputation of being one of the best fresco painters of his time. In 1514 he finished a Procession of the Magi, in the Court of the Servi, and the Nativity of the Virgin, the latter of which is "on the highest level ever reached in fresco" (C. & C.). Equally great is the Holy Family called the Madonna del Sacco (1525), in the cloister of the SS. Annunziata, and scarcely inferior are the Birth of St. John (1526), at the Scalzo, and the Last Supper (1526-27), in S. Salvi, Florence. Among Andrea's monochromes at the Scalzo (1516-1526), the Sermon of St. John is especially remarkable. While engaged in painting frescos, Andrea produced many easel pictures no less worthy of praise. In 1518 he went at the invitation of Francis I. to France, and painted there, among other pictures, the Michelangelesque Charity, now in the Louvre. The next year Andrea returned to Florence to buy works of art for the King, but having used the money intrusted to him in building a house for himself, he dared not go back to France empty-handed, and remained in Florence secure from pursuit until the plague which followed the siege of that city in 1530. Charles Blanc calls Del Sarto the Raphael of Florence, and says that if Raphael had never lived, Andrea del Sarto would have occupied the first place in art after Leonardo da Vinci and Michelangelo. Even in his own time he was called Andrea "senza errori" (An