Page:Cyclopedia of painters and paintings - Volume I.djvu/98

 *sina, but now recognized as an independent artist. The earliest work bearing his signature is a Madonna in S. M. del Gesù, near Catania, dated 1497. His drawing is careful and accurate but hard, his style is marked by timidity of chiaroscuro and monotony of flesh-tint, and his use of gold superabundant.—C. & C., N. Italy, ii. 111; Meyer, Künst. Lex., ii. 127.

ANTONINUS, ST., GLORY OF, Lorenzo Lotto, S. Giovanni e Paolo, Venice; canvas, arched, figures life size; signed. The beatified bishop of the Florentines enthroned, ministered to by angels; in the sky behind, a glory of cherubs; beneath the throne, the agents of his charity stoop from a gallery to give the maidens in waiting their marriage portions. Painted about 1530.—Vasari, ed. Mil, v. 250; C. & C., N. Italy, ii. 521; Rio, iii. 291.

ANTONIO DI CATALANO, the elder, born at Messina, lived 1560-1630. Roman school; pupil of Guinaccia; studied and copied, in his native town, works of Polidoro da Caravaggio; afterwards taken by a Jesuit artist to Rome, where he studied chiefly Raphael and Baroccio; later became acquainted with the works of Correggio in Parma. Went thence to Bologna, where he kept close alliance with Francesco Albani and Girolamo Bonini, and, owing to his relation to the Roman school, was called Il Romano. He laboured in Bologna for a number of years, and is said to have been called to Malta, whence he returned to Messina. His pictures please through their graceful figures and harmony of colour, but are open to criticism for the great sameness in the angels' faces. Works in the Museum and churches of Messina.—Meyer, Künst. Lex., ii. 157; Malvasia, ii. 189, 196.

ANTONIO DI CATALANO, the younger, born at Messina, lived 1585-1666. Neapolitan school; son and pupil of the above, but influenced by Giovanni Simone de' Comandé. He painted a great deal and rapidly, which was then considered as indicative of genius. Few of his works are noteworthy.—Meyer, Künst. Lex., ii. 158; Kunstblatt (Stuttgart, 1825), 230.

ANTONIO DALLA CORNA, of Cremona, latter half of fifteenth century. Lombard school. The only picture which bears his name is dated 1478, and is in the Bignami collection at Casal Maggiore. In this he claims to be a pupil of Mantegna, though he really caricatures the disagreeable features of that master. Crowe and Cavalcaselle think him identical with Antonio da Pavia.—C. & C., N. Italy, ii. 73, 440; Meyer, Künst. Lex., ii. 144.

ANTONIO DA CREVALCORE, flourished about 1480. Bolognese school; fruit and flower painter. A half-length Madonna, Berlin Museum, is signed by him and dated 14[9]3 (?). His style in it is not unlike that of Bernardino of Perugia.—C. & C., N. Italy, i. 556; Meyer, Künst. Lex., ii. 143.

ANTONIO DA FERRARA, born about 1370-80, died after 1439. Lombard school; real name Antonio Alberti; pupil of Agnolo Gaddi; married in Bologna Calliope, sister of Timoteo Viti. Only one signed picture by him exists, a Madonna Enthroned (1439), in the sacristy of S. Bernardino, outside Urbino. It is a rudely executed tempera, by an artist of second or third rate talent.—C. & C., Italy, ii. 225; Meyer, Künst Lex., ii. 136.

ANTONIO EL INGLES, portrait, Velasquez, Madrid Museum; canvas, H. 4 ft. 7 in. × 3 ft. 4 in. A dwarf with long hair, in brown dress and wide lace collar, standing beside a black and white mastiff; in right hand, his plumed hat. Latest manner. Etched by B. Maura; Laguillermie.—Curtis, 33; Gal. Esp.; Madrazo, 631.

ANTONIO DA MURANO, flourished 1444-1451. Venetian school. Sansovino says he lived till 1470, in which year he decorated parts of S. Apollinare, Venice, but this is doubtful. He worked at first in partnership with one Giovanni Alamanno (the German), otherwise called Giovanni da Murano. Ridolfi calls him a brother of Antonio, thus making him a member of the