CARLO See also:

• CARLO CIGNANI (1628-1719)

CIGNANI (1628-1719)  , See also:

• ITALIAN

Italian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born of a See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• FAMILY

family at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, where he studied under Battista See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo, and afterwards under See also:

• FRANCESCO
• FRANCESCO, 210

Francesco See also:

• ALBANI
• ALBANI, or ALBANO, FRANCESCO

Albani . Though an intimate friend of the latter, and his most famous See also:

• DISCIPLE

disciple, See also:

• CIGNANI, CARLO (1628-1719)

Cignani was yet strongly and deeply influenced by the See also:

• GENIUS (from Lat. genere, gignere)

genius of See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio . His greatest See also:

• WORK

work, moreover, the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

• CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola of the 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 of the Madonna della Fuoca at Forli, which occupied him some twenty years, and is in some respects one of the most remarkable See also:

• WORKS

works of See also:

• ART

art of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, is obviously inspired from the more renowned See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of Correggio in the cupola of the See also:

• CATHEDRAL

cathedral of See also:

• PARMA

Parma . Cignani had some of the defects of his masters; his elaborate finish, his audacious artificiality in the use of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark the disciple of Albani; but he imparted to his work a more intellectual See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character than either of his See also:

• MODELS

models, and is not without other remarkable merits of his own . As a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man Cignani was eminently amiable, unassuming and generous . His success, however, made him many enemies; and the envy of some of these is said to have impelled them to deface certain of his works . He accepted none of the honours offered him by the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of Parma and other princes, but lived and died an artist . On his removal to Forli, where he died, the school he had founded at Bologna was See also:

• FAIN, AGATHON JEAN FRANCOIS (1778–1837)

fain in some sort to follow its 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 . His most famous pictures, in addition to the Assumption already cited, are—the " Entry of See also:

• PAUL
• PAUL (PAULUS)

Paul III. into Bologna "; the " See also:

• FRANCOIS (1558-1614)

Francois I . Touching for See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's Evil "; a " See also:

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

Power of Love," painted under a See also:

• FINE

fine See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling by See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino Carracci, on the walls of a See also:

• ROOM

room in the ducal See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at Parma; an " See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and See also:

• EVE

Eve " (at the See also:

• HAGUE, THE (in Dutch, 's Gravenhage, or, abbreviated, den Haag; in Fr. La Haye; and in Late Lat. Haga Comitis)

Hague); and two of " See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph and Potiphar's Wife " (at See also:

• DRESDEN

Dresden and See also:

• COPENHAGEN (Danish Kjobenhavn)

Copenhagen) . His son Felice (1660-1724) and See also:

• NEPHEW

nephew See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo (1709-1764) were also painters .