Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/137

 By Rembrandt, Cassel Gallery; wood, H. 3 ft. 10 in. × 3 ft. 2 in. Profile view, half length, wearing a crimson velvet hat with feathers, and a silk robe, lace neckerchief, necklace, and ear-rings. Painted about 1633-34. Formerly in Six Collection; passed from Collection of Madame de Reuver to Cassel. Carried to Paris; returned in 1815. Engraved by Oortman (1808); H. Dthier. Copy in Antwerp Museum.—Vosmaer, 48, 435; Smith, vii. 158; Musée français; Bode, Studien, 417, 456, 566.

By Rembrandt, Dresden Gallery; wood, H. 1 ft. 10 in. × 1 ft. 7 in.; signed, dated 1633. Standing, seen to knees; in red hat and blue dress. In Royal Collection in 1722; placed in Dresden Gallery in 1826. Engraved by S. L. Raab.—Vosmaer, 433; Bode, Studien, 569.

By Rembrandt, Dresden Gallery; wood, H. 3 ft. 3 in. × 2 ft. 9 in.; signed, dated 1641. Seen to knees; holds a red pink in her right hand. Formerly in Collection Araignon, Paris; to Augustus III. in 1743, for 1,500 livres. Engraved by D. J. Pound; lithographed by Hanfstängl.—Vosmaer, 459; Bode, Studien, 569.

SASONOFF, WASSILY KONDRATIEVICH; contemporary. History painter, pupil of St. Petersburg Academy. Works: Hermit Theodorich blessing Son of Princess Marfa; Grand Duke Dmitry Donskoy after Victory of Kulikowo, Hermitage, St. Petersburg.

SASSETTA. See Stefano di Giovanni.

SASSOFERRATO, IL, born in Sassoferrato, July 11, 1605, died in Rome, April 8, 1685. Roman school; real name Giovanni Battista Salvi; son and pupil of Tarquinio Salvi, a mediocre painter of Sassoferrato; went about 1629 to Naples, where he is supposed to have studied with Domenichino. He afterwards studied and copied the works of the great masters in Rome, and became in some sort the rival of Carlo Dolci, devoting himself principally to painting Madonnas and devotional pictures, in which sweetness of expression is carried to the extreme of insipidity. Their style is dissimilar, Dolci excelling him in strength of colour, and in fineness of pencil. Sassoferrato's masterpiece, the Madonna del Rosario, is in S. Sabina, Rome. Other works: Sorrowing Virgin, Uffizi; Madonna, Brera; do., Accademia di S. Luca, Rome; do., Palazzo Borghese, ib.; Madonna with Angels, Vatican; Madonna della Rosa, Turin Gallery; Holy Family, Berlin Museum; Madonna, Brussels Museum; do. (2), Cassel Gallery; Virgin Praying, Städel Gallery, Frankfort; Madonna, Vienna Museum; Madonna, Assumption, Louvre; Madonna (2), National Gallery, London; Madonna (2), Hermitage.—Lanzi, i. 465; Ch. Blanc, École ombrienne; Burckhardt, 660, 765, 770, 784, 795.

SATAN CALLING HIS LEGIONS, Sir Thomas Lawrence, Royal Academy, London. Subject from Milton's "Paradise Lost" (Book I.). Satan, though fallen, exhibits all the ferocious energy and violent dignity of his character, in strong contrast to his attendant, Beelzebub, whose figure is marked by dejection and despondence. Royal Academy, 1797.—Gower, 41; Williams, Life of Sir T. L. (London, 1831), i. 170.

SATTERLEE, WALTER, born in New York, Jan. 18, 1844. Genre painter, graduate of Columbia College, pupil of the National Academy and of Edwin White, and in Paris in 1878-79 of Léon Bonnat; sketched in Italy, France, and Brittany, and painted several months in Rome. Is well known as an illustrator. First exhibited at the National Academy in 1868. Elected an A.N.A. in 1878; Clarke prize, National Academy, 1886. Studio in New York. Works: Morning among the Flowers (1870); Coquette of the Olden Time (1873); Out for a Ride (1874); His Eminence the Cardinal (1877); Contemplation (1878); Extremes Meet