DOI Kapitel:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.61295#0042
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ALDE GREYER — ALDROVANDINI.
the instrument of death resembles the French guillotine ; this is dated
1533. Thirteen plates of the “ Labors of Hercules ” are fine and rare,
and the etching of “ Orpheus and Eurydice,” the only one of this
master, is very rare.
Aldighiero, oi Altichiero da Zevio, a native of Zevio, near
Verona, was a painter of the early Paduan School. He decorated
the chapel of S. Felice in S. Antonio at Padua with wall paintings,
about 1370. Liibke says he displayed in his works a lively concep-
tion and richly finished coloring. The pictures in this chapel repre-
sent scenes from the legend of S. James Major. That of the land-
ing of the body of the saint on the coast of Spain, is especially fine.
He was associated with D’Avanzo Veronese, who was one of the
worthiest of the followers of Giotto, and their pictures were equal
to any of the school of that master. Aldighiero was so much asso-
ciated with other artists that there have arisen never-ending disputes
as to what he did or did not do, but the records show that he
painted the chapel of S. Felice. In the work of Crowe and Caval-
caselie, it is said to be no exaggeration to call this chapel the noblest
monument of the pictorial art of the fourteenth century, and that
none but the greatest Florentines had done better.
“ Aldobran dini Marriage.” This is one of the most valuable
relics of ancient painting. It was discovered on the Esquiline Hill,
near the arch of Gallienus, in the early part of the seventeenth cen-
tury, during the time of Clement VIII. It was taken from the wall,
and became the possession of Cardinal Aldobrandini, who after hav-
ing it restored by Domenico del Frate, placed it in his villa on the
Quirinal; hence its name. It is a composition of ten figures, and
represents three scenes arranged like an ordinary bas-relief. In the
centre the bride is seated on a bed, while another female speaks to
her; the bridegroom is crowned with ivy, and seated on a stool at
the end of the bed with his face turned to the bride. On one side
the attendants make ready a bath; on the other musicians sing the
“ Epithalamium ” or wedding song. In 1818 Pius VII. paid 10,000
scudi, or about 2,000 guineas for this fresco, and placed it in the col-
lection of the Vatican.
Aldrovandini, Mauro, born at Bologna (1649-1680). An eminent
architect. As a painter he belonged to the School of Cignani, with
whom he painted in the Palazzo Publico at Forli.
Aldrovandini, Tommaso, born at Bologna (1653-1736). Nephew
of Mauro, by whom he was instructed. He excelled in perspective
and architectural views, and worked much with Carlo Cignani and
Antonio Franceschini, who executed figures. In conjunction with
the latter, Tommaso painted the “ Council Chamber of Genoa,” his
greatest work.
Aldrovandini, Pompeo Agostino (1677-1739). Cousin and
pupil of Tommaso. One of the most celebrated Italian painters of
ALDE GREYER — ALDROVANDINI.
the instrument of death resembles the French guillotine ; this is dated
1533. Thirteen plates of the “ Labors of Hercules ” are fine and rare,
and the etching of “ Orpheus and Eurydice,” the only one of this
master, is very rare.
Aldighiero, oi Altichiero da Zevio, a native of Zevio, near
Verona, was a painter of the early Paduan School. He decorated
the chapel of S. Felice in S. Antonio at Padua with wall paintings,
about 1370. Liibke says he displayed in his works a lively concep-
tion and richly finished coloring. The pictures in this chapel repre-
sent scenes from the legend of S. James Major. That of the land-
ing of the body of the saint on the coast of Spain, is especially fine.
He was associated with D’Avanzo Veronese, who was one of the
worthiest of the followers of Giotto, and their pictures were equal
to any of the school of that master. Aldighiero was so much asso-
ciated with other artists that there have arisen never-ending disputes
as to what he did or did not do, but the records show that he
painted the chapel of S. Felice. In the work of Crowe and Caval-
caselie, it is said to be no exaggeration to call this chapel the noblest
monument of the pictorial art of the fourteenth century, and that
none but the greatest Florentines had done better.
“ Aldobran dini Marriage.” This is one of the most valuable
relics of ancient painting. It was discovered on the Esquiline Hill,
near the arch of Gallienus, in the early part of the seventeenth cen-
tury, during the time of Clement VIII. It was taken from the wall,
and became the possession of Cardinal Aldobrandini, who after hav-
ing it restored by Domenico del Frate, placed it in his villa on the
Quirinal; hence its name. It is a composition of ten figures, and
represents three scenes arranged like an ordinary bas-relief. In the
centre the bride is seated on a bed, while another female speaks to
her; the bridegroom is crowned with ivy, and seated on a stool at
the end of the bed with his face turned to the bride. On one side
the attendants make ready a bath; on the other musicians sing the
“ Epithalamium ” or wedding song. In 1818 Pius VII. paid 10,000
scudi, or about 2,000 guineas for this fresco, and placed it in the col-
lection of the Vatican.
Aldrovandini, Mauro, born at Bologna (1649-1680). An eminent
architect. As a painter he belonged to the School of Cignani, with
whom he painted in the Palazzo Publico at Forli.
Aldrovandini, Tommaso, born at Bologna (1653-1736). Nephew
of Mauro, by whom he was instructed. He excelled in perspective
and architectural views, and worked much with Carlo Cignani and
Antonio Franceschini, who executed figures. In conjunction with
the latter, Tommaso painted the “ Council Chamber of Genoa,” his
greatest work.
Aldrovandini, Pompeo Agostino (1677-1739). Cousin and
pupil of Tommaso. One of the most celebrated Italian painters of