- 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
