Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/139

 move Pluto by his Music, Vienna Museum; Lake in the Woods, Bamberg Gallery; Hunter and Boar (1610), Landscapes with Ruins (1614, 1618), Noah's Ark (1620), four other Landscapes (1620, 1625), Dresden Gallery; Boar Hunt, Munich Gallery.—Fétis, Les artistes belges, ii. 88; Kramm, v. 1474; Michiels, vi. 165.

SAVIOUR, THE (Il Salvatore), Titian, Palazzo Pitti, Florence; canvas, H. 2 ft. 6-1/2 in. × 2 ft. Half-length, with arms folded; background, a landscape. Painted early, for Francesco Maria della Rovere, Duke of Urbino; passed to the Medici as part of dowry of the Grand Duchess Vittoria della Rovere. Taken to Paris in 1799; returned in 1816. Copy in Christ Church Gallery, Oxford. Engraved by Martelli.—Gal. du Pal. Pitti, i. Pl. 107; C. & C., Titian, ii. 417; Landon, Musée, xiv. Pl. 22.

The Saviour, Titian, Palazzo Pitti, Florence.

SAVIOUR IN THE TEMPLE, William Holman Hunt, Manchester Art Gallery. Our Saviour found disputing with the doctors in the Temple. Jesus, a brown-haired, blue-eyed boy, in a pink and purple striped frock, stands before the doctors, who are grouped in a semicircle at left, the blind High Priest holding the rolls of the Law; Mary, with her brow pressed against the Child's with an expression of anxiety, has her hand on his shoulder as if to draw him away; Joseph, in a crimson turban, stands behind. Exhibited in 1860, after five years' labour, eighteen months of which were spent in Jerusalem; sold to Mr. Gambart for £5,500. Engraved by Aug. Blanchard from drawing by Moselli (Gambart sale, 1871, 120 guineas).—Art Journal (1860), 182; (1868), 100; Athenæum, April, 1860, 549.

SAVOLDO, GIAN' GIROLAMO, called Girolamo Bresciano, born at Brescia about 1480, died in Venice (?) after 1548. Veneto-Brescian school; his style had something in common with that of Moretto, but usually less dignified. A long residence in Venice enabled him to enter into the spirit of the great Venetian masters, but he preferred to treat night or sunset scenes and sacred genre. It is difficult to find his works under their true name, most of them being ascribed to Bellini, Titian, Pordenone, Del Piombo, Giorgione, and others. Works: Nativity, S. Barnaba, Brescia; Portrait of Gaston de Foix (?), Louvre; Madonna with Saints, Brera, Milan; Transfiguration, Uffizi, Florence; Adoration of Shepherds, Palazzo Pitti, Florence; do., Holy Family, Turin Gallery; Venetian Girl, Berlin Museum; Entombment, Vienna Museum; Mary Magdalen at Sepulchre, National Gallery, London.—C. & C., N. Italy, ii. 418; Burckhardt, 733; Lübke, Gesch. ital. Mal., ii. 621.

SAVONANZI, EMILIO, born in Bologna, June 19, 1580, died at Camerino in 1660. Bolognese school; of a noble, wealthy family, and a soldier until his twenty-sixth year, when he devoted himself to art. Studied with Cremonini, Calvart, the Carracci, Guercino, and Guido; painted chiefly at Ancona