Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/230

 spasm or fainting fit of the Virgin. Painted in Rome between 1516-18 for monks of Monte Oliveto, S. M. dello Spasimo, Palermo; vessel wrecked on way to Palermo, and picture, packed in a tight case, floated into Gulf of Genoa, and was picked up and taken to Genoa, where the people were delighted with their acquisition, but the Pope compelled them to give it up to its rightful owners; sold by monks in 1661 to Philip IV. and taken to Madrid; carried to Paris in 1813; returned in 1819. Numerous copies by Antonello da Palermo and others. Engraved by Agos. Veneziano (1517); Dom Cunego (1781); Ferdinand Selma (1808); Charles Normand (1813); P. Toschi; and many others.—Vasari, ed. Mil., iv. 357; Kugler (Eastlake), ii. 462; Passavant, ii. 244; Müntz, 523; Madrazo, 187; Réveil, vi. 373.

Spasimo di Sicilia, Raphael, Madrid Museum.

SPARMANN, KARL CHRISTIAN, born at Meissen, Saxony, in 1805, died at Dresden in 1865. Landscape painter, pupil of Johann Samuel Arnold (1766-1827) at Meissen, and of Dahl in Dresden; became in 1824 drawing-*master at Arenenberg, near Constance, of Prince Louis Napoleon, who, when emperor, gave him a pension; spent his winters in Rome, returned home in 1826, and visited Switzerland and Tyrol in 1828. Works: The Sustenpass; Heath near Dresden (1843), View near Dessau (1844), Dresden Art Union; View of Dresden (1841), Harrach Gallery, Vienna.—Nagler, xvii. 116.

SPECKTER, ERWIN, born at Hamburg, July 18, 1806, died there, Nov. 23, 1835. History painter, pupil of Cornelius in Munich, where he was also much influenced by Overbeck and Genelli; returned to Hamburg, and in 1830 went to Italy, where he adopted the style and colouring of the old Venetian masters. Works: Christ and the Woman of Samaria (1829); Three Marys at the Sepulchre (1829), Albanian Woman with Jug (1831), Roman Woman (1832), Kunsthalle, Hamburg; Samson and Delilah (1834), Leipsic Museum.—Cotta's Kunstbl. (1820-34); Nagler, xvii. 123; N. Necrol. der D. (1835), ii. 1049.

SPERANZA, GIOVANNI, Venetian school, first half of 16th century. Said by Vasari to have been pupil of Mantegna, with whose style his own has an affinity, like that of his countryman, Bartolommeo Montagna, whose work his own closely resembles, as,