Page:Cyclopedia of painters and paintings - Volume I.djvu/65

 Gröger, his friend and associate, with whom he frequented the Berlin Academy; studied in Dresden and Paris, and lived in Lübeck, Kiel, Copenhagen, and Hamburg, where the two settled in 1814, after the conclusion of peace.—Meyer, Künst. Lex., i. 254.

ALENI, TOMMASO, flourished in 1500-1515. Lombardo-Cremonese school. Sometimes called Il Fadino. Several of his pictures exist: Madonna, Bignami Collection, Casal Maggiore; Nativity (1515), Municipio, Cremona, a manifest though weak imitation of Perugino; and St. Peter and St. Anthony, Calvalcabò Collection, Cremona.—C. & C., N. Italy, ii. 449; Meyer, Künst. Lex., i. 266.

ALESIO (Allecio), MATTEO PEREZ DE, born in Rome about 1547, died about 1600 (?). Italo-Spanish school, called also Matteo da Leccio. Said to have formed himself in the school of Michelangelo and after Salviati. Went to Malta, returned to Rome before 1582, and settled in Seville, Spain, in 1583. He at once gained reputation, and was extensively employed in painting for churches frescos of colossal size, the fondness for which was a peculiar feature of this artist. According to Baglione he afterwards went to the West Indies and, after having accumulated wealth, died there in poverty. The report of his return to Rome lacks foundation.—Meyer, Künst. Lex., i. 271; Ponz, Viage, ix. 25; Cean Bermudez, iv. 75.

ALESSANDRO VERONESE. See Turchi, Alessandro.

ALEXANDER OF ATHENS. Name inscribed on one of four marble slabs, in Royal Museum at Naples, found at Resina on slope of Vesuvius. All decorated with outline drawings in red; the one bearing name of Alexander represents a group of five women whose names also are given.—Corp. Inscr. Gr., 5863.

ALEXANDER ENTERING BABYLON, Charles Lebrun, Louvre, Paris; canvas, H. 14 ft. 9 in. × 23 ft. Alexander, a sceptre in one hand, and a sword in the other, is standing in a chariot drawn by two richly caparisoned elephants, forming part of a triumphal procession; in front, an officer gives orders to slaves bearing a golden vase on a litter; in background, the walls and buildings of Babylon, crowded with people. Series of History of Alexander. Engraved by G. Audran (1675).—Landon, Musée, x. Pl. 69; Filhol, ii. Pl. 91; Villot, Cat. Louvre.

ALEXANDER AND DIOGENES, Sir E. Landseer, National Gallery, London; canvas, H. 3 ft. 7 in. × 4 ft. 8 in. Eight dogs grouped to illustrate the interview at Corinth between Alexander and the Greek cynic, when the latter requested the conqueror to stand out of his sunshine. Royal Academy, 1848; bequeathed by Jacob Bell in 1859. Engraved by Thos. Landseer.—Catalogue National Gallery; Stephens, 91.

ALEXANDER AND FAMILY OF DARIUS. See Darius, Family of.

ALEXANDER THE GREAT, ancient picture. See Antiphilus, Apelles, Nicias, Philoxenus, Protogenes.

ALEXANDER, HENRY, born in San Francisco, California, in 1860. Genre painter; studied seven years in Munich under Loeffts and Lindenschmidt. Exhibited first in Munich in 1879. Studio in New York. Works: Sunday Morning (T. B. Clarke, N. Y.).

ALEXANDER, HISTORY OF, Charles Lebrun, Louvre, Paris; five pictures, viz.: Passage of the Granicus, Battle of Arbela, Tent of Darius, Alexander and Porus, Alexander entering Babylon. Ordered by Louis XIV. in 1660 for reproduction in Gobelin tapestry; painted in 1661-68. They were engraved by G. Audran, who also engraved, after Le Brun's design, a sixth subject, Porus in Battle, which was never painted.—Villot, Catalogue Louvre.

ALEXANDER AND PORUS, Charles Lebrun, Louvre, Paris; canvas, H. 15 ft. 5 in. × 41 ft. 4 in. King Porus having been defeated on the banks of the Hydaspes, India, was carried a prisoner before Alexander, who asked him how he wished to be treated. "Like a king," replied Porus (Plutarch, Alex., lx.). Alexander on horseback, attended