A BIOGKAPHICAL DICTIONARY OF
OIL PAINTINGS.
Madonna of St. Francis ; Dresden Gallery. 1514. Martyrdom of SS. Placidus and Flavia; Academy at Parma. 1522—1524 ? La Notte, or The Night; Dresden Gallery. 1522—1530. II Giorno, or St. Jerome ; Academy at Parma. 1527—1528? Madonna and St. George ; Dresden. About 1530. Madonna and St. Sebastian ; Dresden. 1525. Marriage of St. Catherine; Louvre. 1517 — 1519. Virgin io Adoration ; Uffzi, Florence. Madonna della Cesta ; National Gallery. 1520 ? La Zingarella ; Naples Gallery. Sposalizio di S. Caterina; Museo, Naples. St. Antonio ; Chiesa dei Girolamini, Naples. Adorazione del Magi ; Brera, Milan. Adorazione dei Pastori ; Galleria Crespi, Milan. Madonna col figlio ; Museo del Castello, Milan. „ „ „ Raccolta Malaspina, Pavia. „ „ „ Galleria, Modena. Madonna e Santi ; Sigmaringen. Madonna and Child ; Benson Collection, London. St. Marta ; Lord Ashburton. Kest in Egypt ; Uffizi, Florence. Sacra Conversatione ; Eitter Gallery, Vienna. Christ in the Garden of Gethsemane ; Aspley House; given by the King of Spain to the Duke of Wellington. Ecce Homo ; National Gallery. Jupiter and Antiope ; Louvre, formerly in the possession of Charles I. Education of Cupid ; National Gallery. Id and Jupiter ; Vienna Gallery. Leda; Berlin Gallery. Danae ; Borghese Gallery in Rome. The Triumphs of Virtue aud Vice ; two allegorical sketches in tempera, in the Louvre,
BIELICGRAPHY.
Sicci, C, 'Correggio, Life and Time.' London, 1896. Brinton, S., ' Correggio.' London, 1900. _ Punaileoni, ' Memorie istoriche di Antonio Allegri.' 3 vols. Parma, 1817. Raphael Menys, 'Life and Works of Ant. Allegri.' 1870. Pietro Martini, 'Il Correggio.' 1871. Quirino Bigi, Antonio Allegri da Correggio.' Parma, 1860 ; 2nd edit., 1873. Julius Meyer, ' Antonio Allegri da Correggio.' First appeared in the 'Allgemeiues Kiinstler-Lexicon ' in 1870. English translation, edited by Mrs. Charles Heaton. 1876. J. P. Richter, 'Antonio Allegri, gen. Correggio, in the ' Kunst und Kiinstler.' 1879.
ALLEGRI, Lorenzo, an inferior Italian painter of whom very little is known. He was uncle to the celebrated Antonio Allegri, called Correggio, and is said to have been his first instructor in the rules of art. In 1503 lie painted a picture for the convent of San Francesco in Correggio, but no work by his hand is now known to exist. He died in 1527, leaving his property to his brother Pellegrino, and his nephew Antonio, by whom he was much beloved.
ALLEGRI, Pomponio, son of Antonio Allegri, was born in 1521. He was only thirteen years of age when his father died, so he could not have received much training from him, but he is said to have studied under Rondani, who may likewise be considered a follower of Allegri. Pomponio inherited a considerable fortune from his father and grandfather, and appears for some time to have held a good position in Correggio. He afterwards, however, sold most of his landed property, and his affairs became involved. He was altogether an inferior painter, although he appears to have been greatly employed, and received many important commissions. One of his altar-pieces, showing the influence of his father, is in the Academy at Parma. It represents 'Moses showing the Israelites the Tables of the Law.' Other works are in various churches. He sometimes signed himself Pomponio Læti, latin- izing the name of Allegri, as his father also did occasionally. He was still living in 1593. After his time the family of Allegri appears to have fallen into poverty, and to have become extinct. M. M. H.
ALLEGRINI, Francesco, called Da Gubbio. This painter was born at Gubbio in 1587, and was a disciple of Giuseppe Cesare. He painted his- torical subjects, and executed many works, both in oil and in fresco, for the churches and palaces at Rome. Works by him are also in Gubbio, in Genoa, and Savona. He had a great number of scholars, amongst whom were his son, Flaminio, and his daughter, Angelica, who also painted historical subjects. He died in 1663 at Rome.
ALLEGRINI, Francesco, a designer and en- graver, was born at Florence, about the year 1729. In 1762, he published, in conjunction with his brother Giuseppe, a collection of one hundred por- traits of the family of the Medici, with a frontis- piece, engraved by himself. He also engraved fourteen portraits of Florentine poets, painters, and other eminent personages. We have also a print by him of the statue of St. Francis of Assisi, which is held in much veneration at Siena.
ALLEGRINI, Giuseppe, brother of Francesco, an Italian engraver, who flourished about the year 1746. We have the following plates by him :
The Virgin Mary with the Infant Jesus ; half figures, with this inscription, Eredietur Virgo de radice, &c. The Circumcision. The Stoning of St. Stephen. A small print of Rinaldo and Armida. A large operatic scene; after Chamont.
ALLEMAND, L'. See L'Allemand.
ALLEN, FoLPERT VAN OtTDEN, a designer and engraver of Utrecht, flourished in the second half of the 17th century. The view of the city of Vienna, engraved by J. Mulder, is from a drawing by this artist, made in 1686 ; and he has himself engraved a large plate of the city of Prague, a slight print, with several figures. He died in 1715.
ALLEN, James Baylis, an engraver, who was born at Birmingham in 1802, was first engaged in the business of his father, a button manufacturer ; but afterwards became a pupil of Vincent Barber, and migrated to London in 1824, where he died in 1876. The chief works he engraved were :
Battle of the Meeanee; after Armitage. The Columns of St. Mark; after Bonitigton. Bucentaur ; after Canaletto, The Dogana ; after Canaletto. The Battle of Borodino; after G. Jones, R.A. Lady Godiva; after G. Jones, R. A. The Fiery Furnace ; after G. Jones. R.A. The Death of Nelson ; after Turner. Phryne going to the Bath as Venus; after Turner. The Decline of Carthage ; after Turner. The Temple of Jupiter Panhellenium ; after Turner.
ALLEN, James C, an engraver, a native of London, became a pupil of William Cooke, with whom he published, in 1821, fifteen engravings of views of the interior and exterior of the Coliseum at Rome. One of his best plates was the 'Defeat of the Spanish Armada,' after De Loutherbourg, 1831.
He also executed numerous book-illustrations.
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