Page:Cyclopedia of painters and paintings - Volume I.djvu/89

 Annunciation, Lodovico Carracci, Louvre.

15,000 fr.; Aguado sale (1843), to Marquis of Hertford, 27,000 fr. Engraved by A. Lefevre, J. Rogers, W. Hulland (varied); lithographed by André, Lafosse, Blümmer.—Curtis, 145; Waagen, ii. 153.

By Andrea Previtali, S. M. del Mesco, Ceneda; wood, H. 8 ft. 6 in. × 5 ft. 5 in.; signed. The Virgin, at a desk in a room, bends humbly towards the angel kneeling with a lily in his hand; through window is seen a cock attacked by a wolf. Ridolfi says that Titian admired this picture, and frequently stopped on his way to Cadore to see it.—C. & C., N. Italy, i.; Ridolfi, Maraviglie, i. 184.

By Andrea del Sarto, Palazzo Pitti, Florence; wood, H. 5 ft. 11 in. × 5 ft. 6 in. The Virgin, standing before a reading desk, receives the announcement from Gabriel holding a lily and kneeling on a cloud; in back-ground a building with an open portico, under which are three figures; at the base, steps, on one of which sits a nude youth; in the distance ruins and mountains, and in the air the Holy Ghost in form of a dove. Painted in 1512 for Convent of the Osservanti outside the Porta San Gallo; transferred on its demolition in 1529 to S. Jacopo tra' Fossi; placed in Pitti in 1626. Engraved by Rossi.—C. & C., Italy, iii. 553; Vasari, ed. Mil., v. 17; Gal. du Pal. Pitti, i. Pl. 113.

By Andrea del Sarto, Palazzo Pitti, Florence; canvas, H. 5 ft. 11 in. × 5 ft. 6 in. The Virgin receives the announcement from Gabriel in presence of the Archangel Michael, with sword and scales, and a Servite brother, supposed to be Filippo Benizi, founder of the order; in background, a building. Painted about 1512 for the abbey of San Godenzo; bought by Carlo de' Medici, who put in its place a copy, now in the Casa Visani at San Godenzo. Much repainted. Engraved by Rosini.—Vasari, ed. Mil., v. 17; C. & C., Italy, iii. 578; Gal. du Pal. Pitti, iv. Pl. 113.

By Tintoretto, S. Rocco, Venice. "A disagreeable and dead picture, having all the faults of the age, and none of the merits of the painter."—Ruskin, Stones of Venice, iii. 322.