Page:Cyclopedia of painters and paintings - Volume I.djvu/90

 By Tintoretto, Scuola di S. Rocco, Venice; canvas. "The most remarkable feature is the troop of cherubim flying through the roof."—Ruskin, Stones of Venice, iii. 326.

By Titian, S. Niccolò, Treviso; wood, figures of life size. The Virgin, half-stooping, half-kneeling, listens tremulously to the announcement of Gabriel, who, with outstretched wings and carrying the lily of purity, points upwards with his forefinger; scene, the portico of a palace, with a mountainous landscape beyond; in the background the donor, Canon Malchiostro, kneeling. Painted in 1519 for S. Niccolò. Injured by splits, cleaning, and repainting.—C. & C., Titian, i. 222; Burckhardt, 719.

By Titian, S. Salvatore, Venice; canvas, figures life size; signed. The Virgin, kneeling, looks around at winged angel; above, four angels and many cherubs flutter above the Dove, rays from which are darting towards Mary's head. Painted about 1565. Engraved by C. Cort.—Vasari, ed. Mil., vii. 449; C. & C., Titian, ii. 353; Burckhardt, 722.

By Titian, Scuola di San Rocco, Venice; canvas, figures life size. The Virgin kneels at her desk near a pillar; angel to the left, with the lily in one hand, points with the other to the Dove descending. Painted about 1525; bequeathed in 1555 by Amelio Cortona to brotherhood of S. Rocco.—C. & C., Italy, i. 304; Burckhardt, 717.

Subject treated also by Niccolò Alunno, Perugia Gallery, Bologna Gallery; Francesco Albani (2), Louvre; Annibale Carracci, Bologna Gallery; Francesco Francia, Bologna Gallery, Galleria Estense, Modena, Brera, Milan; Dosso Dossi, Ferrara Gallery; Lorenzo di Credi, Louvre, Uffizi; Simone di Martino, Uffizi; Timoteo Viti, Brera, Milan; Federigo Barocci, Vatican; Ambrogio Lorenzetti, Siena Academy; Filippo Lippi, Palazzo Doria, Rome, Naples Museum; Munich Gallery, National Gallery, London; Petrus Cristus, Madrid Museum, Berlin Museum; Agnolo Gaddi, Louvre, Uffizi; Taddeo Bartoli, Siena Academy; Carlo Crivelli, Städel Gallery, Frankfort; Antonio and Pietro Pollajuolo, Berlin Museum; Rogier van der Weyden, Antwerp Museum; Garofalo, Uffizi; Pinturicchio, S. M. Maggiore, Spello; Correggio, Annunziata, Parma (fresco, lately removed); Giorgio Vasari, Louvre; Le Sueur, Louvre; Charles Jalabert (1852).

ANSALDO, ANDREA or GIOVANNI ANDREA, born at Voltri in 1584, died in Genoa, Aug. 20, 1638. Genoese school; pupil of Orazio di Luca Cambiaso and student of Paolo Veronese, among whose followers he is generally classed; painted numerous frescos in churches in Genoa, Voltri, Tortona, and Sarzano, and in palaces in Genoa. Chief work, the cupola of l'Annunziata del Guastato. His best picture in oil is a Deposition from the Cross, Academy, Genoa.—Lanzi, iii. 269; Ch. Blanc, École génoise; Soprani, 141; Baldinucci, xi. 479; Meyer, Künst. Lex., ii. 80.

ANSANO or SANO DI PIETRO DI MENCIO or DOMENICO, born in Siena, Nov. (?), 1405, died in 1481. Sienese school; pupil of Stefano di Giovanni (Il Sassetta), who, dying in 1460, while painting a fresco of the Coronation of the Virgin over the Roman Gate of the city, left it to be finished by Sano. Sano has been called the Sienese Angelico from the sweetness and depth of his religious feeling, but his types are altogether different, his forms rounder, and his feeling less spiritual. The faces of his Madonnas and Saints are lit up by round-shaped, placid eyes of a gentle and almost pathetic expression. Tender in colour, and most careful in execution, Sano had little feeling for light and shade. He is most agreeable in his miniatures where the figures are small and their defects in drawing less observable than in his panels, of which the Siena Academy contains many examples. Among these are a Virgin and Saints (1444), and an Ascension of the Virgin (1479). His fresco of the Coronation of the Virgin (1445), in the Municipal Palace, Siena, and Madonna and Saints in a chapel of the Osservanza