Page:Biographical catalogue of the principal Italian painters.djvu/191

160 SANTI— SARTO, poet, a chronicle of the Oesta glo- fiose del Duca Federigo dPUrbino, in rhyme, at great length, is preserved in the Vatican Library : it is pub- lished in part in Fassavant's Life of Raphael, Works. Urbino, Oratorio di San Sebastiano, the Martyrdom of that Saint: in the church of the Francis- cans, the Madonna and Child en- throned, with various Saints, painted for the Buffi family, in 1489, and pro- bably Giovanni's master-piece. Con- vent of Montefiorentino, the Madonna and Child enthroned, with Saints (J 489). Cagli, church of the Domi- nicans, also the Virgin enthroned and crowned, with vaiious Saints (fresco). Fano, the Visitation of the Virgin, several small figures, an early work, marked— JbAawwes. Santis. Di, Urbino, pinxit : in Santa Croce, Virgin en- throned, &c, Pesaro, San Bartolo, St. Jerome (tempera), Montefiore, Hos- pital, Virgin enthroned, &c., with Saints adoring. Church of Gradara, the Madonna enthroned, &c, (1484.) Milan, Brera, the Annunciation. Ber- lin Gallery, Virgin enthroned, with Saints. {Pungileoni, Pa^avant.) SANTI, Raffaello. [Raphael.] SARACENO, Carlo, called also Carlo Venezlano, b, 1585, d. about 1625. Venetian School. He studied under Mariani, but imitated afterwards the works of Michelangelo da Cara- vaggio; the influence, however, of the Venetian School was preserved in his colouring, more than is common with Caravaggio's followers. He painted much in Rome, in oil and in fresco. In the Sciarra Gallery is a copy of Raphael's Transfiguration, by Sara- ceno. He etched a few plates. Works. Rome, Santa Maria dell' Anima, the Miracle of San Bennone ; the Martyrdom of San Lamberto : in the hall of the Quirinal Palace, some frescoes. Vienna, Judith with the head of Holophemes. Castle Howard, the Death of the Virgin. SARTO, Andrea del, b, at Flo- rence, 1488, d. 1530. Tuscan SchooL His family name is said to have been Vannucchi, he was called Del Sarto from the occupation of his father, Agnolo, who was a tailor. Andrea was in his eighth year placed with a gold- smith, but eventually decided on paint- ing; and he became first the scholar of Gio. Barile, then of Piero di Cosimo, and afterwards a follower of Michel- angelo. His early works, as those of the Scalzo, notwithstanding his pre- cocity, are dry and severe, and display some of the peculiarities of Piero, and the quaitrocentismo ; as is the case in his small pictures, with landscape backgrounds. He studied the frescoes of .Masaccio and of Ghirlandajo ; and the cartoons of Leonardo da Vinci and Michelangelo, exhibited in Florence, in 1506, when he became a decided imitator of the last: indeed, sa3's Va- sari, he distinguished himself above all the other students of these cele- brated works. He now left Piero, tired of his eccentricities, and took apartments in partnership with Fran- ciabigio ; they painted together, and Andrea appears to have derived some benefit from the partnership. Fran- ciabigio was the scholar of Albertinelli, the partner of II Frate ; and the works of Fra Bartolomeo also seem in some respects, as in the colouring and hght and shade, and in the breadth of the draperies, to have been Andrea's mo- dels ; but he remained greatly inferior to that master in elevation of conception, and spirituality of feeling. Having earned a great reputation hy his nume- rous works in Florence, in the Annun- ziata, and elsewhere, he was invited by Francis I. to France, in 1618, whither he went, with his scholar Andrea Sguazzella, and one of his first works in France was Henry JI., as an infant.