Wensleydale, London; Repose in Egypt, Dresden Gallery; do., Uffizi, Florence; Holy Family, Palazzo Pitti, Florence; The Four Elements, Turin Gallery; do., Palazzo Borgbese, Rome; Annunciation (2), Venus and Adonis, Venus and Vulcan, Toilette of Venus, Cupids Disarmed, Mars and Nymphs, Salmacis and Hermaphroditus, Lot and his Daughters, Hersilia separating Romulus and Remus, Holy Family, Louvre, Paris.—Malvasia, ii. 149; Lanzi, iii. 89; Meyer, Künst. Lex., i. 171; Amorini, Vita, etc. (1837); Burckhardt, 764, 770, 785, 791, 801; Ch. Blanc, École bolonaise; Dohme, 2iii.
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ALBERTI, ALESSANDRO, born at Borgo S. Sepolcro, Italy, March 9, 1551, died in Rome, July 10, 1596. Son of the architect and sculptor Alberto A.; pupil of one Gaspero di Silvestro of Perugia; went to Rome in 1556. He was employed by several Italian princes, and painted for churches and palaces in Naples and in Rome. Highly esteemed as a fresco-painter.—Meyer, Künst. Lex., i. 204.
ALBERTI, ANTONIO. See Antonio da Ferrara.
ALBERTI, GIUSEPPE, born at Cavalese, Tyrol, in 1664, died there in 1730. Studied medicine at Padua, but gave it up for architecture and painting, which latter he studied in Venice under Liberi, and then in Rome. On his return in 1682, he settled in Trent, built there the Crucifix Chapel in the Cathedral, and became a priest. Afterwards he painted a number of religious pictures, visited Rome a second time, and is said to have stayed there nearly twenty years.—Meyer, Küust. Lex., i. 217.
ALBERTI, MICHELE, flourished at Florence 2d half of 16th century. Florentine school, pupil of Daniele da Volterra. Did not belong to the Alberti family of Borgo S. Sepolcro. He painted in Rome frescos after drawings by his master, with whom he seems to have been closely allied.—Meyer, Künst. Lex., i. 216; Vasari, ed. Mil., vii. 61.
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ALBERTINELLI (Bertinelli), MARIOTTO, born in Florence, Oct. 13, 1474, died there, Nov. 5, 1515. Florentine school, son of Biagio di Bindo and scholar of Cosimo Roselli, in whose studio ho contracted an intimate friendship with Fra Bartolommeo, of whom he became the associate and most successful imitator. They worked together from before 1490 (when both left Roselli's studio), until 1499. Albertinelli's Christ appearing to the Magdalen, Louvre, shows his first manner, under influence of Cosimo Roselli. After 1500 he completed the fresco of the Last Judgment in S. M. Nuova, Florence, left unfinished (Oct., 1499) by Fra Bartolommeo, whose continued influence after their separation is manifest in the famous Visitation, in the Uffizi. Other works by Albertinelli of high merit are a Holy Family (1503-6), Palazzo Pitti, Florence; a fresco of the Crucifixion (1506), Florentine Certosa; and a Madonna with Saints (1506), Louvre. These pictures belong to the best period of the painter, who afterwards wasted much time in experimenting on vehicles for oil painting, and took many pupils, among whom were Bagiardini, Francia Bigio, Innocenzo da Imola, and Pontormo. In 1509, after a separation of nine years, Albertinelli again became the associate of Fra Bartolommeo, and traces of his hand are perceptible in the Frate's altarpiece in S. Romano, Lucca, the lower part of his Assumption, Berlin, and in his Nativity, Saltocchio, near Lucca. Among his works of this period are: Madonna (1509), Fitzwilliam Museum, Cambride; Annunciation (1510), Trinity (1510?),
