See also:

• PARMIGIANO
• PARMIGIANO (1504-154o)

PARMIGIANO (1504-154o)  . The name of this celebrated painter of the Lombard. school was, in full, See also:

• GIROLAMO (1450-1486)

Girolamo See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Maria Mazzuoli, or Mazzola; he dropped the name Girolamo, and was only known as Francesco . He has been more commonly named II See also:

• PARMIGIANO
• PARMIGIANO (1504-154o)

Parmigiano (or its diminutive, II Parmigianino), from his native See also:

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

city, See also:

• PARMA

Parma . Francesco, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on the rxth of See also:

• JANUARY

January 1504, was the son of a painter . Losing his See also:

• FATHER

father in See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early 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-See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood, he was brought up by two uncles, also painters, Michele and See also:

• PIER (older forms per or Pere, from Med. Lat. pera; the word for piers out of water. For river piers, where a firm, watertight is of obscure origin, and the connexion with Fr. Pierre, Lat. stratum is found at a moderate depth below the river-bed, the pctr

Pier-Ilario Mazzola . His See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty for the See also:

• ART

art See also:

• DEVELOPED

developed at a very boyish See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age, and he addicted himself to the See also:

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

style of See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio, who visited Parma in 1519 . He did not, however, become an imitator of Correggio; his style in its maturity may be regarded as a See also:

• FUSION

fusion of Correggio with See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael and Giulio Romano, and thus fairly See also:

• ORIGINAL

original . Even at the age of fourteen (See also:

• VASARI, GIORGIO (1511-1571)

Vasari says sixteen) he had painted a " See also:

• BAPTISM

Baptism of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," surprisingly mature . Before the age of nineteen, when he migrated to See also:

• ROME
• ROME (Roma)

Rome, he had covered with frescoes seven chapels 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 . Giovanni Evangelista, Parma . See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

Prior to starting for the city of the popes in 1523 he deemed it expedient to execute some specimen pictures . One of these was a portrait of himself as seen in a See also:

• CONVEX

convex See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror, with all the details of divergent See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, &c., wonderfully exact—a See also:

• WORK

work which both from this curiosity of treatment and from the beauty of the sitter—for Parmigiano was then" more like an See also:

• ANGEL

angel than a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man " —could not fail to attract .

Arrived in Rome, he presented his specimen pictures to the See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

pope, See also:

• CLEMENT (Lat. Clemens, i.e. merciful; Gr. K)4gs)
• CLEMENT, FRANCOIS (1714-1793)
• CLEMENT, JACQUES (1567-1589)

Clement VII., who gladly and admiringly accepted them, and assigned to the youthful See also:

• GENIUS (from Lat. genere, gignere)

genius the See also:

• PAINTING

painting of the See also:

• SALA, GEORGE AUGUSTUS HENRY (1828-1895)

Sala de' Pontefici, the ceilings of which had been already decorated by Giovanni da See also:

• UDINE

Udine . But while for-tune was winning him with her most insinuating See also:

• SMILES, SAMUEL (1812-1904)

smiles, the utter ruin of the. See also:

• SACK

sack by the See also:

• CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
• CONSTABLE, ARCHIBALD (1774-1827)
• CONSTABLE, HENRY (1562-1613)
• CONSTABLE, JOHN (1776-1837)
• CONSTABLE, SIR MARMADUKE (c. 1455-1518)

Constable de See also:

• BOURBON
• BOURBON, CHARLES, DUKE OF (149o-1527)

Bourbon and his See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and other soldiers overtook both Rome and Parmigiano . At the date of this hideous See also:

• CATASTROPHE (Gr. Karaurpoch, from KaraQrp4ecv, to over-turn)

catastrophe he was engaged in painting that large picture which now figures in the See also:

• NATIONAL

National See also:

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

Gallery, the " See also:

• VISION (from Lat. videre, to see), or SIGHT

Vision of St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome " (with the Baptist pointing upward and backward to the Madonna and 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 Jesus in the See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky) . It is said that through all the See also:

• CRASH

crash and peril of this See also:

• BARBARIAN (Gr. fap/3apos)

barbarian irruption Parmigiano sat quietly before his vast See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel, painting as if nothing had happened . A See also:

• BAND

band of German soldiery burst into his apartment, breathing See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and slaughter; but, struck with amazement at the sight, and with some reverence for art and her votary (the other events of the See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

siege forbid us to suppose that reverence for See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion had any See also:

• PART

part in it), they calmed down, and afforded the painter all the See also:

• PROTECTION

protection that he needed at the moment . Their See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain, being something of a connoisseur, exacted his See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute, however—a large number of designs . Rome was now no See also:

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

place for Parmigiano . He See also:

• LEFT

left with his See also:

• UNCLE

uncle, intending apparently to return to Parma; but, staying in See also:

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

Bologna he settled down there for a while, and was induced to remain three or four years . Here he painted for the nuns of St See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret his most celebrated altarpiece (now in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy of Bologna), the "Madonna and Child, with Margaret and other mints." Spite of the See also:

• GREAT

great disaster of Rome, the See also:

• LIFE

life of Mazzola had hitherto been fairly prosperous—the admiration which he excited being proportionate to his See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of See also:

• PERSON, OFFENCES AGAINST THE

person and manner, and to the precocity and brilliancy (rather than See also:

• DEPTH

depth) of his genius; but from this 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 forward he became an unfortunate, and it would appear a soured and self-neglected, man . In 1531 he returned to Parma, and was commissioned to execute an extensive See also:

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

series of frescoes in 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 of the church of S . Maria della Steccata . These were to be completed in See also:

• NOVEMBER (Lat. novem, nine)

November 1532; and See also:

• HALF

half-See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment, 200 See also:

• GOLDEN

golden scudi, was made to him in advance .

A 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 was allotted to him, and an See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch in front of the ceiling; on the arch he painted six figures—two of them in full See also:

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

colour, and four in monochrome—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, See also:

• EVE

Eve, some Virtues, and the famous figure (monochrome) of See also:

• MOSES (Gr. Mwvo c, Mcoo-i3s)
• MOSES, ASSUMPTION OF

Moses about to shatter the tables of the See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law . But, after five or six years from the date of the See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract, Parmigiano had barely made a See also:

• GOOD, JOHN MASON (1764-1827)

good beginning with his stipulated work . According to Vasari, he neglected painting in favour of See also:

• ALCHEMY

alchemy—he laboured over futile attempts to " congeal See also:

• MERCURY
• MERCURY (MERCU1uus)
• MERCURY (symbol Hg, atomic weight = 2oo)

mercury," being in a See also:

• HURRY (or URRV), SIR JOHN (d. 165o)

hurry to get 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 anyhow . It is rather difficult to believe that the various graphic and See also:

• CAUSTIC (Gr. rcavvraubs, burning)

caustic phrases which Vasari bestows upon this theory of the facts of Mazzola's life are altogether gratuitous and wide of the See also:

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

mark; nevertheless the painter's See also:

• PRINCIPAL

principal biographer, the Padre Affo, undertook to refute Vasari's statements, and most subsequent writers have accepted Affo's conclusions . Whatever the cause, Parmigiano failed to fulfil his contract, and was imprisoned in See also:

• DEFAULT (Fr. defaut, from defailler, to fail, Lat. fallere)

default . Promising to amend, he was released; but instead of redeeming his See also:

• PLEDGE

pledge he decamped to Casal See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore, in the territory of See also:

• CREMONA
• CREMONA, LUIGI (1830-1903)

Cremona . Here, according even to Vasari, he relinquished alchemy and resumed painting; yet he still hankered (or is said by Vasari to have hankered) after his retorts and furnaces, lost all his brightness, and presented a dim, poverty-stricken, hirsute and uncivilized aspect . He died of a See also:

• FEVER (Lat. febris, connected with fervere, to burn)

fever on the 24th of See also:

• AUGUST (originally Sextilis)

August 1540, before he had completed his See also:

• THIRTY

thirty-seventh See also:

• YEAR

year . By his own See also:

• DESIRE

desire he was buried naked in the church of the See also:

• SERVITES

Servites called La See also:

• FONTANA, DOMENICO (1543-1607)
• FONTANA, LAVINIA (1552-1614)
• FONTANA, PROSPERO (1512-1597)

Fontana, near Casal Maggiore . See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

Grace has always and rightly been regarded as the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief See also:

• ARTISTIC

artistic endowment of Parmigiano—grace which is genuine as an expression of the painter's nature, but partakes partly of the artificial and affected in its developments . " Un po'di grazia del Parmigianino " (a little, or, as we might say, just a spice, of Parmigianino's grace) was among the ingredients which See also:

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

Agostino See also:

• CARACCI, LODOVICO, AGOSTINO

Caracci's famed See also:

• SONNET (Ital. Sonetto, dim. of Suono, Fr. Sonnet)

sonnet desiderates for a perfect picture . Mazzola constantly made many studies of the same figure, in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to get the most graceful attainable See also:

• FORM (Lat. forma)

form, See also:

• MOVEMENT

movement and drapery—the last being a point in which he was very successful .

The See also:

• PRO

pro-portions of his figures are over-See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long for the truth of nature—the stature, fingers and See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck; one of his Madonnas, now in the Pitti Gallery, is currently named " La Madonna del collo lungo." Neither expression nor colour is a strong point in his See also:

• WORKS

works; the figures in his compositions are generally few—the chief exception being the picture of " Christ See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

Preaching to the Multitude." He etched a few plates, being apparently the earliest See also:

• ITALIAN

Italian painter who was also an etcher; but the statement that he produced several woodcuts is not correct—he overlooked the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of them by other hands . The most admired easel-picture of Parmigiano is the " See also:

• CUPID (Cupido, " desire ")

Cupid Making a See also:

• BOW (pronounced " bo ")

Bow," with two See also:

• CHILDREN, LAW RELATING TO

children at his feet, one crying, and the other laughing . This was painted in 1536 for Francesco Boiardi of Parma, and is now in the gallery of See also:

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

Vienna . There are various replicas of it, and some of these may perhaps be from Mazzola's own See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Of his portrait-painting, two interesting examples are the likeness of Amerigo See also:

• VESPUCCI, AMERIGO (1451—1512)

Vespucci (after whom See also:

• AMERICA

America is named) in the Studj Gallery of See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, and the painter's own portrait in the Uffizi of See also:

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

Florence . One of Parmigiano's principal pupils was his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin, Girolamo di Michele Mazzola; probably some of the works attributed to Francesco are really by Girolamo . See B . See also:

• BOSSI, GIUSEPPE (1777-1816)

Bossi, Disegni originals di Francesco Mazzuoli (1789); A . S . See also:

• MORTARA

Mortara, Della Vita di Francesco Mazzuoli (1846); Toschi, Affresehi, &c . (1846) . (W .

M .