AXSALDO 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. Niccolo, Treviso ; wood, figures of life size. The Virgin, half-stoop- ing, half-kneeling, listens tremulously to the announcement of Gabriel, who, with out- Carlo Crivelli, Stiidel Gallery, Frankfort; Antonio and Pietro Pollajuolo, Berlin Mu- seum ; Eogier van der Weyden, Antwerp Museum ; Garofalo, Uffizi ; Pinturicchio, S. M. Maggiore, Spello ; Correggio, Annun- ziata, Parma (fresco, lately removed) ; Gior- gio Vasari, Louvre ; Le Sueur, Louvre ; Charles Jalabert (1852). stretched wings and carrying the lily ofj ANSALDO, ANDREA or GIOVANNI purity, points upwards with his forefinger ; , ANDREA, born at Voltri in 1584, died in scene, the portico of a palace, with a moun- Genoa, Aug. 20, 1638. Genoese school ; tainous landscape beyond ; in the back- pupil of Orazio di Luca Cambiaso and stu- ground the donor, Canon Malchiostro, dent of Paolo Veronese, among whose fol- kneeling. Painted in 1519 for S. Niccolo. lowers he is generally classed ; painted nu- Injured by splits, cleaning, and repainting. , merous frescos in churches in Genoa, Voltri, C. & C., Titian, i. 222 ; Burckhardt, 719. Tortona, and Sarzano, and in palaces in By Titian, S. figures life size ; Salvatore, Venice ; canvas, Genoa. Chief work, the cupola of 1'Annuu- signed. The Virgin, kneel- ing, looks around at winged angel ; above, four angels and many cherubs flutter above the Dove, rays from which are darting to- wards 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 Niccolo Alunno, Perugia Gallery, Bologna Gallery; Fran- cesco Albani (2), Louvre ; Annibale Car- racci, Bologna Gallery ; Francesco Francia, ziata del Guastato. His best picture in oil is a Deposition from the Cross, Academy, Genoa. Lanzi, iii. 269 ; Ch. Blanc, iScole genoise ; Soprani, 141 ; Baldinucci, xi. 479 ; Meyer, Kiinst. 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 (II 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 alto- gether different, his forms rounder, and his feeling less spiritual. The faces of his Ma- donnas 'and Saints are lit up by round- shaped, placid eyes of a gentle and almost pathetic expression. Tender in colour, and Bologna Gallery, Galleria Estense, Modena, most careful in execution, Sano had little Brera, Milan ; Dosso Dossi, Ferrara Gallery ; Lorenzo di Credi, Louvre, Uffizi ; Simone di Martino, Uffizi ; Timoteo Viti, Brera, Milan ; Federigo Barocci, Vatican ; Am- brogio Lorenzetti, Siena Academy ; Filippo Lippi, Palazzo Doria, Rome, Naples Mu- seum ; Munich Gallery, National Gallery, London ; Petrus Cristus, Madrid Museum, Berlin Museum ; Agnolo Gaddi, Louvre, Uffizi ; Taddeo Bartoli, Siena Academy ; 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,
