GIAMBATTISTA See also:

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

MORONI (c. 1510-1578)  , See also:

• ITALIAN

Italian portrait-painter of the Venetian school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ALBINO

Albino near See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo about 1513 ()I perhaps a few years later), and became a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Bonvicino named I1 See also:

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

Moretto . Beyond the See also:

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

record of his See also:

• WORKS

works very few particulars regarding him have reached us . See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, under whom also See also:

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

Moroni, while still very See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young, is said to have studied (but this appears hardly probable), had at any See also:

• RATE

rate a high See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion of his See also:

• POWERS, HIRAM (1805-1873)

powers; he said that Moroni made his portraits " living " or " actual " (veri) . In truthful and animated See also:

• PORTRAITURE

portraiture Moroni ranks near Titian himself . His portraits do not indeed attain to a majestic monumental See also:

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

character; but they are full of straightforward See also:

• LIFE

life and individuality, with genuine unforced choice of attitude, and excellent texture and arrangement of draperies . There is a certain tendency to a See also:

• VIOLET

violet-tint in the flesh, and the See also:

• DRAWING

drawing and See also:

• ACTION

action of the hands are not first-rate . The earliest inscribed date discovered for any of his works is 1553 . As leading samples may be mentioned—in the Uffizi See also:

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

Gallery, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence the " Nobleman pointing to a See also:

• FLAME (Lat. flamma; the root flag- appears in flagrare, to burn, blaze, and Gr. d, XEryew)

Flame," inscribed " Et quid See also:

• VOLO

volo nisi ut ardeat ? " ; in the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, the portraits of a Tailor, a member of the Fenaroli See also:

• FAMILY

family, See also:

• CANON

Canon Ludovico de' See also:

• TERZI

Terzi, and others; in the See also:

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

Berlin Gallery, his own portrait; and in See also:

• STAFFORD
• STAFFORD, EARLS AND MARQUESSES OF

Stafford See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House, the seated See also:

• HALF

half-figure of the Jesuit Ercole See also:

• TASSO, TORQUATO (1544-1595)

Tasso, currently termed " Titian's Schoolmaster "—not as indicating any real connexion between the sitter and Titian, but only the consummate excellence of the See also:

• WORK

work . Besides his portraits, Moroni painted, from youth to his latest days, the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

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

round of sacred compositions; but in these he falls below his 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 II Moretto . One of the best is the " See also:

• CORONATION (Lat. corona, crown)

Coronation of the Virgin," in S . Alessandro della Croce, Bergamo; also in the See also:

• CATHEDRAL

cathedral of See also:

• VERONA
• VERONA, CONGRESS OF

Verona, " SS See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter and See also:

• PAUL
• PAUL (PAULUS)

Paul," and in the Brera of See also:

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

Milan, the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin." Moroni was engaged upon a " Last See also:

• JUDGMENT

Judgment," 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 Corlago, when he died on the 5th of See also:

• FEBRUARY

February 1578 .

(W . M .