Page:Cyclopedia of painters and paintings - Volume I.djvu/82

 and the Entry of Henry III. into Venice. In the Venice Academy are his Deposition from the Cross and his Madonna in Glory with Saints; and others of his works are at Vicenza, Padua, Treviso, Rovigo, etc., and in the Venetian churches of S. Zanipolo, S. Fantino, S. M. della Celestia, and the Frari. His compositions, though rapidly conceived and hastily executed, are well worthy of attention. In the latter part of his life Andrea went to Munich and decorated the Imperial Hall of the Palace with fourteen large paintings of sacred and classical subjects.—Ch. Blanc, École vénitienne; Meyer, Künst. Lex., i. 709.

ANDREA MILANESE. See Solario, Andrea.

ANDREA DA MURANO, end of 15th and beginning of 16th century. Venetian school; pupil of Bartolommeo Vivarini, and thoroughly impressed with his style, though far inferior to him in the treatment of colour. Earliest authenticated work an altarpiece painted for S. Pietro Martire in Murano, parts of which are in the Brera, Milan, and the Academy at Venice. He painted in 1501 an altarpiece for the church of Trebaseleghe near Treviso, and in 1502 a Madonna with Saints in the church of Mussolone near Asolo.—C. & C., N. Italy, i. 77; Meyer, Künst. Lex., i. 707.

ANDREA DA SALERNO, born at Salerno about 1480, died in Naples (?) about 1545. Neapolitan school; real name Andrea Sabbatini. Started for Perugia to study the works of Perugino, but attracted by the fame of Raphael became his assistant; and finally settled in Naples, where he painted many pictures. His best picture is the Adoration of the Magi in the Museum at Naples. Other works in various churches at Naples and Salerno. May be classed with Jacopo Siculo and Pacchia of Siena.—C. & C., N. Italy, ii. 106; Vasari, ed. Le Mon., vi. 40, ix. 115; Burckhardt, 683; Seguier, 184; Ch. Blanc, École napolitaine; Lübke, Gesch. ital. Mal., ii. 373.

ANDREA DEL SARTO. See Sarto.

ANDREA DI VANNI or ANDREA VANNI, born in Siena in 1332, died in 1414. Sienese school; in 1353 he was painting in partnership with Bartolommeo di Manfredi. In 1368 he took part with those who expelled the nobles from Siena, and as a reward for his services was elected in 1370 one of the great council. He was a gonfaloniere in 1371, envoy to the Pope at Avignon in 1372, went on a mission to Florence in 1373, and was envoy to the Pope at Naples in 1384. Although Lanzi calls him "the Rubens of his time," painting appears to have been with him a business rather than a passion. Damaged remains of some of his frescos are in the Minutoli Chapel, Duomo, Naples, and in a chapel of S. Domenico, Naples, and a portrait of St. Catherine of Siena in S. Domenico, Siena. There is also a Virgin Enthroned by him in the sacristy of S. Stefano, Siena, a picture of a common class, combining most of the defects of Bartolommeo di Manfredi.—C. & C., Italy, ii. 152; Meyer, Künst. Lex., i. 692; Milanesi, Siena e il suo Territorio, 168; Kugler (Eastlake), i. 173.

ANDREA VICENTINO. See Andrea Michieli.

ANDREAE, KARL, born at Mühlheim, near Cologne, Feb. 3, 1823. History painter, pupil of the Düsseldorf Academy in 1839-44, under Karl Sohn and Schadow. From 1845 to 1849 he studied in Rome; was especially drawn towards Cornelius, whom he followed to Berlin, where he remained until 1865 and then settled in Dresden. In 1859 he founded in Dresden the Saxon Christian Art Union, of which he has been president since 1864.—Meyer, Künst. Lex., i. 713; Müller, 13; Christl. Kunstblatt (1869), 164.

ANDREW AND JEROME, SAINTS, Tintoretto, Palazzo Ducale, Venice; canvas, H. 6 ft. × 8 ft. St. Andrew standing, holding a cross; St. Jerome reclining at his feet. Companion picture to St. George and the Dragon.—Ruskin, Stones of Venice, iii. 296.

ANDREW, ST., MARTYRDOM OF, Carlo Dolci, Palazzo Pitti, Florence; canvas,