IL See also:

• IL MORETTO (" The Blackamoor," a term which has not been particularly accounted for)

MORETTO (" The Blackamoor," a See also:

• TERM

term which has not been particularly accounted for)  , the name currently bestowed upon ALESSANDRO BONVICINO (1498-1554), a celebrated painter of See also:

• BRESCIA
• BRESCIA (anc. Brixia)

Brescia, Venetian school . He was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Rovato, in the Brescian territory, in 1498, and studied, first under Fioravante Ferramola of Brescia, afterwards, still youthful, with See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice . His own earlier method, specially distinguished by excellent portrait-See also:

• PAINTING

painting, was naturally modelled on that of Titian . Afterwards he conceived a See also:

• GREAT

great See also:

• ENTHUSIASM

enthusiasm for See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael (though he does not appear to have ever gone to See also:

• ROME
• ROME (Roma)

Rome), and his See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style became partially Raphaelesque . It was, however, novel in its See also:

• COMBINATION (Lat. combinare, to combine)

combination of diverse elements, and highly attractive—with See also:

• FINE

fine pencilling, a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich yet not lavish use of See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective and decorative effects, and an elegant opposition of See also:

• LIGHT

light and shade . The human figure is somewhat slender in Bonvicino's paintings, the expression earnestly religious, the flesh-tints varied, more so than was See also:

• COMMON

common in the Venetian school . The backgrounds are generally luminous, and the draperies well modified in red and yellow tints with little inter-mixture of See also:

• BLUE (common in different forms to most European languages)

blue . The See also:

• DEPTH

depth of Bonvicino's See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent, however, was hardly in proportion to its vigour and vivacity; and he excelled more in sedate altarpieces than in subjects of See also:

• ACTION

action, and more in oil-painting than in See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, although some fine See also:

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

series of his frescoes remain, especially that in the See also:

• VILLA

villa Martinengo at Novarino, near Brescia . Among his celebrated See also:

• WORKS

works in the See also:

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

city are—in 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 S . Clemente, the " Five Virgin Martyrs," and the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Madonna " (this latter may See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count as his masterpiece); in S . Nazaro e Celso, the " See also:

• CORO

Coro-nation of the Madonna "; in S . Maria della Grazie, " St See also:

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

Joseph "; in S .

Maria de' Miracoli, " St See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas of See also:

• BARI
• BARI (anc. Barium)

Bari." In the See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna See also:

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

Gallery is a " St Justina " (once ascribed to See also:

• PORDENONE
• PORDENONE, IL (1483-1539)

Pordenone); in the Stadel See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute, See also:

• FRANKFORT

Frankfort, the " Madonna enthroned between Sts See also:

• ANTHONY, SAINT
• ANTHONY, SUSAN BROWNELL (1820-1906)

Anthony and See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian "; in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum, a See also:

• COLOSSAL

colossal " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Shepherds," and a large votive picture (one of the 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's best) of the " Madonna and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child," with See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant angels and other figures above the clouds, and below, amid a rich landscape, two priests; in the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, St Bemardin and other See also:

• SAINTS, BATTLE OF THE

saints and two impressive portraits . Il See also:

• MORETTO, IL (" The Blackamoor," a term which has not been particularly accounted for)

Moretto is stated to have been a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of child-like See also:

• PERSONAL

personal piety, preparing himself by See also:

• PRAYER (from Lat. precari, entreat; Ital. pregaria, Fr. priere)
• PRAYER, BOOK OF COMMON

prayer and See also:

• FASTING (from " fast," derived from old Teutonic fastejan; synonyms being the Gr. vnorebety, late Lat. jejunare)

fasting for any great See also:

• ACT (Lat. actus, actum)

act of sacred See also:

• ART

art, such as the painting of the Virgin-See also:

• MOTHER

mother . His dated works extend from 1524 to 1554, and he was the master of the pre-eminent portrait-painter See also:

• MORONI, C
• MORONI, GIAMBATTISTA (c. 1510-1578)

Moroni . He died on the 22nd of See also:

• DECEMBER (Lat. decent, ten)

December 1554 .