IL See also:

• PORDENONE
• IL PORDENONE (1483-1539)

PORDENONE (1483-1539)  , an eminent painter of the Venetian school, whose correct name was Giovanni See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Licinio, or Licino . He was commonly named Il See also:

• PORDENONE
• PORDENONE, IL (1483-1539)

Pordenone from having been See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 1483 at Corticelli, a See also:

• VILLAGE

village near Pordenone (q.v.) in See also:

• ITALY
• ITALY (Italia)

Italy . He ultimately dropped the name of Licinio, having quarrelled with his See also:

• BROTHERS, RICHARD (1757-1824)

brothers, one of whom had wounded him in the See also:

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

hand; he then called himself Regillo, or De Regillo . His See also:

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

signature runs " See also:

• ANTONIUS

Antonius Portunaensis," or " De Portunaonis." He was created a See also:

• CAVALIERE, EMILIO DEL

cavaliere by See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V . As a painter Licinio vias a See also:

• SCHOLAR, SCHOLARSHIP

scholar of Pellegrino da S . Daniele, but the leading See also:

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

influence which governed his See also:

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

style was that of See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione; the popular See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story that he was a See also:

• FELLOW

fellow-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 with See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian under Giovanni See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini is incorrect . The See also:

• DISTRICT

district about Pordenone had been somewhat fertile in capable painters; but Licinio excelled them all in invention and See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, and more especially in the See also:

• POWERS, HIRAM (1805-1873)

powers of a vigorous chiaroscurist and flesh painter . Indeed, so far as See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere flesh-See also:

• PAINTING

painting is concerned he was barely inferior to Titian in breadth, pulpiness and See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone; and he was for a while the See also:

• RIVAL

rival of that See also:

• GREAT

great painter in public regard . The two were open enemies, and Licinio would sometimes affect to See also:

• WEAR

wear arms while he was painting . He excelled Giorgione in See also:

• LIGHT

light and shade and in the effect of See also:

• RELIEF

relief, and was distinguished in See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective and in portraits; he was equally at See also:

• HOME
• HOME, DANIEL DUNGLAS (1833-1886)
• HOME, EARLS OF

home in See also:

• FRESCO (Ital. for cool, " fresh ")

fresco and in oil-See also:

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

colour . He executed many See also:

• WORKS

works in Pordenone and elsewhere in See also:

• FRIULI (in the local dialect, Furlanei)

Friuli, and in See also:

• CREMONA
• CREMONA, LUIGI (1830-1903)

Cremona and See also:

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

Venice; at one 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 he settled in See also:

• PIACENZA (Lat. Placentia)

Piacenza, where is one of his most celebrated 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 pictures, " St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine disputing with the Doctors in See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

Alexandria "; the figure of St See also:

• PAUL
• PAUL (PAULUS)

Paul in connexion with this picture is his own portrait . He was formally invited by See also:

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

Duke See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules II. of See also:

• FERRARA

Ferrara to that See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court; here soon after-wards, in 1539, he died, not without suspicion of See also:

• POISON

poison .

His latest works are comparatively careless and superficial; and generally he is better in male figures than in See also:

• FEMALE

female—the latter being somewhat too sturdy—and the See also:

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

composition of his subject-pictures is scarcely on a level with their other merits . Pordenone appears to have been a vehement self-asserting See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, to which his style as a painter corresponds, and his morals were not unexceptionable . Three of his See also:

• PRINCIPAL

principal scholars were Bernardino Licinio, named Il Sacchiense, his son-in-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 Pomponio See also:

• AMALTEO

Amalteo, and Giovanni Maria Calderari . The following may be named among Pordenone's works: the picture of " S See also:

• LUIGI

Luigi See also:

• GIUSTINIANI

Giustiniani and other See also:

• SAINTS, BATTLE OF THE

Saints," originally in S Maria dell' Orto, Venice; a " Madonna and Saints " (both of these in the Venice See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy); the " Woman taken in See also:

• ADULTERY (from Lat. adulterium)

Adultery," in the See also:

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

Berlin museum; the " See also:

• ANNUNCIATION

Annunciation," at See also:

• UDINE

Udine, regarded by See also:

• VASARI, GIORGIO (1511-1571)

Vasari as the artist's masterpiece, now damaged by restoration . In See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton Court is a duplicate See also:

• WORK

work, the " Painter and his See also:

• FAMILY

Family "; and in See also:

• BURGHLEY, WILLIAM CECIL, BARON (1521-1598)

Burghley 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 are two See also:

• FINE

fine pictures now assigned to Pordenone—the " Finding of See also:

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

Moses " and the " See also:

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

Adoration of the See also:

• KINGS, FIRST AND SECOND BOOKS OF

Kings." These used to be attributed to Titian and to See also:

• BASSANO
• BASSANO, JACOPO DA PONTE (1510-1592)

Bassano respectively .