Page:Cyclopedia of painters and paintings - Volume I.djvu/126

 armour, about to go against the Turks, parting from his wife, Mary of Aragon, but consoled by Victory, Love, and Hymen. Painted about 1533; from collection of Louis XIV. Engraved by Natalis and Oortman. Variations of the subject in Vienna Museum.—Vasari, ed. Mil., vii. 442; C. & C., Titian, i. 373; Filhol., x. Pl. 711; Villot, Cat. Louvre; Mündler, 210; Ch. Blanc, École vénitienne.

AVALOS, ALFONSO D', ALLOCUTION OF, Titian, Madrid Museum; canvas, H. 7 ft. 4 in. × 5 ft. 5 in. The Marquis del Vasto, in armour and a red mantle, with a baton in one hand, gesticulates with the other to a company of halberdiers on right; his son Francesco holds his helmet. Painted in 1541; was in 1621 in the Alcazar of Madrid, where it was injured by fire and repainted, so that little remains of Titian's handling. A similar picture in the Mantuan collection passed to Charles I. of England.—C. & C., Titian, ii. 51; Vasari, ed. Mil., vii. 448.

AVALOS, ALFONSO D', Marquis del Vasto, portrait, Titian, Cassel Gallery; canvas, H. 7 ft. 2 in. × 5 ft. 5 in.; signed. Full length, in red doublet and hose and plumed cap of a duke, with a spear in right hand; at his feet on the right is a white dog, and on the left Cupid raising aloft a plumed helmet; background, a landscape. The title d'Avalos, Marquis del Vasto, needs confirmation. Painted about 1550?—C. & C., Titian, ii. 427; Cassel Cat.

AVALOS, D', AND HIS PAGE? Titian, Hampton Court; canvas, H. 4 ft. 4 in. × 3 ft. 1 in. Seen to the knees, in armour, his right hand on a table on which is his helmet; a page to the right ties the laces of his breast-plate. Called Marquis del Guasto and Page in catalogue, but on slight grounds. Features are not unlike those of Duke of Alva in picture by Antonio Moro in Windsor Castle.—C. & C., Titian, ii. 428; Law, Hist. Cat. Hampton Court, 39; Waagen, Treasures, ii. 414.

AVANZI (Davanzi) JACOPO, born in Verona, second half of the 14th century. Not to be confounded with his contemporary Jacopo degli Avanzii of Bologna. Worked at Verona and Padua, where he assisted Altichiero da Zevio in painting the frescos of the Chapel of S. Giorgio, and himself painted the frescos of S. Michele, Padua, which correspond in technic, though inferior in composition. To the same painter, who, with Altichiero, propagated the Giottesque style in the north of Italy, may be attributed the fresco fragments of the Triumph of Marius in the Hall of the Emperor, now Library, Padua.—Meyer, Künst. Lex., ii. 454; Schnaase (2d ed. 1876), vii. 494; Lübke, Gesch. d. ital. Mal., i. 20.

AVANZII, JACOPO DEGLI, latter half of the 14th century. Bolognese school; imitated the second-hand followers of Giotto, and combined ugly types, exaggeration of movement, and feeble execution. There are a Crucifixion by him in the Palazzo Colonna, Rome, and a Crucifixion and three damaged panel pieces in the Bologna Gallery; also frescos at Mezzarata. He is not to be confounded with the above nor with Jacopo di Paolo Avanzi Bolognese, beginning of the 15th century, Padua.—C. & C., Italy, ii. 212, 233; Bernasconi, Studj, v. 29; Vasari, ed. Le Mon., iii. 40, iv. 90; Meyer, Künst. Lex., ii. 455.

AVED, JACQUES ANDRÉ JOSEPH, born in Douai, Jan. 12, 1702, died in Paris, March 4, 1766. Portrait painter, pupil in Paris (1721) of Alexis Simon La Belle, and in Amsterdam of Picard, member of the Academy in 1734. He was intimate with Boucher, Chardin, C. Van Loo, and the foremost artists of his time, and painted many prominent men and women. Exhibited in Salons in 1737-1759. Works: Portrait of William IV., Amsterdam Museum; of Mirabeau, Louvre; of the painters Cazes and de Troy, École des B. Arts, Paris; Madame de Tencin, Valenciennes Museum; Said Pasha, Versailles Gallery; Louis XV., J. B. Rousseau.—Meyer, Künst. Lex., ii. 458; Dussieux, 254.