AMBROGIO See also:

• AMBROGIO BORGOGNONE (fl. 1473–1524)

BORGOGNONE (fl. 1473–1524)  , See also:

• ITALIAN

Italian painter of the Milanese school, whose real name was Ambrogio Stefani da See also:

• FOSSANO

Fossano, was approximately contemporary with Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, but represented, at least during a See also:

• GREAT

great See also:

• PART

part of his career, the tendencies of Lombard See also:

• ART

art anterior to the arrival of that See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master—the tendencies which he had adopted and perfectedfrom the hands of his predecessors See also:

• FOPPA, VINCENZO

Foppa and Zenale . We are not precisely informed of the See also:

• DATES

dates either of the See also:

• DEATH

death or the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth of See also:

• BORGOGNONE, AMBROGIO (fl. 1473–1524)

Borgognone, who was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Fossano in See also:

• PIEDMONT (Ital. Piemonte; Low Lat. Pedemons and Pedemontium)

Piedmont, and whose appellation was due to his See also:

• ARTISTIC

artistic See also:

• AFFILIATION (from Lat. ad filiare, to adopt as a son)

affiliation to the Burgundian school . His fame is principally associated with that of one great See also:

• BUILDING

building, the Certosa, or See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church and See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of the See also:

• CARTHUSIANS

Carthusians at See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia, for which he worked much and in many different ways . It is certain, indeed, that there is no truth in the tradition which represents him as having designed, in 1473, the celebrated See also:

• FACADE

facade of the Certosa itself . His See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence there appears to have been of eight years' duration, from 1486, when he furnished the designs of the figures of the virgin, See also:

• SAINTS, BATTLE OF THE

saints and apostles for the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir-stalls, executed in tarsia or inlaid See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood See also:

• WORK

work by Bartolommeo See also:

• POLA (Gr. Hart or Haas; Slovene, Pulj)

Pola, till 1494, when he returned to See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . Only one known picture, an See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece at the church See also:

• SAN

San Eustorgio, can with See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability be assigned to a See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his career earlier than 1486 . For two years after his return to Milan he worked at the church of San Satiro in that See also:

• CITY (through Fr. cite, from Lat. civitas)

city . From 1497 he was engaged for some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time in decorating with paintings the church of the Incoronata in the neighbouring See also:

• TOWN

town at See also:

• LODI

Lodi . Our notices of him thenceforth are few and far between . In 1508 he painted for a church in See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo; in 1512 his See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature appears in a public document of Milan; in 1524—and this is our last See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record—he painted a See also:

• SERIES (a Latin word from serere, to join)

series of frescoes illustrating the See also:

• LIFE

life of St Sisinius in the See also:

• PORTICO (Ital. for " porch," Lat. porticus)

portico of San Simpliciano at Milan . Without having produced any See also:

• WORKS

works of See also:

• SIGNAL

signal See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power or beauty, Borgognone is a painter of marked individuality . He holds an interesting See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the most interesting period of Italian art .

The See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London, has two See also:

• FAIR

fair examples of his work —the See also:

• SEPARATE

separate fragments of a See also:

• SILK

silk banner painted for the Certosa, and containing the heads of two kneeling See also:

• GROUPS
• GROUPS, THEORY

groups severally of men and See also:

• WOMEN

women; and a large altar-piece of the See also:

• MARRIAGE

marriage of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine, painted for the See also:

• CHAPEL

chapel of Rebecchino near Pavia . But to See also:

• JUDGE (Lat. judex, Fr. juge)

judge of his real See also:

• POWERS, HIRAM (1805-1873)

powers and See also:

• PECULIAR

peculiar ideals—his See also:

• SYSTEM

system of faint and clear colouring, whether in See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera or oil; his somewhat slender and pallid types, not without something that reminds us of See also:

• NORTHERN

northern art in their See also:

• TEUTONIC
• TEUTONIC (GERMANIC) LANGUAGES

Teutonic sentimentality as well as their Teutonic fidelity of See also:

• PORTRAITURE

portraiture; the conflict of his instinctive love of placidity and See also:

• CALM

calm with a somewhat forced and borrowed See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy in figures where energy is demanded, his conservatism in the See also:

• MATTER

matter of storied and minutely diversified backgrounds—to judge of these qualities of the master as they are, it is necessary to study first the great series of his frescoes and altar-pieces at the Certosa, and next those remains of later frescoes and altar-pieces at Milan and Lodi, in which we find the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Leonardo and of the new time mingling with, but not expelling, his first predilections .