See also:

• ANDREA, GIOVANNI (1275-1348)

ANDREA See also:

• ANDREA SACCHI (c. 1600--1661)

SACCHI (c. 1600--1661)  , See also:

• ITALIAN

Italian painter of the later See also:

• ROMAN

Roman school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• NETTUNO

Nettuno near See also:

• ROME
• ROME (Roma)

Rome in 1600, or perhaps as See also:

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

early as 1598 . His See also:

• FATHER

father, Benedetto, a painter of undistinguished position, gave him his earliest instruction in the See also:

• ART

art; See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea then passed into the studio of See also:

• ALBANI
• ALBANI, or ALBANO, FRANCESCO

Albani, of whom he was the last and the most eminent 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, and under Albani he made his reputation early . The painter of See also:

• SACCHI, ANDREA (c. 1600--1661)

Sacchi's predilection was See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael; he was the jealous opponent of Pietro da See also:

• CORTONA

Cortona, and more especially of See also:

• BERNINI, GIOVANNI LORENZO (1598—1680)

Bernini . In See also:

• PROCESS

process of 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 became one of the most learned designers and one of the soundest colourists of the Roman school . He went to See also:

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

Venice and to See also:

• PARMA

Parma to study Venetian See also:

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

colour and 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; but he found the last-named 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 unadaptable for his own proper methods in art, and he returned to Rome . Sacchi was strong in See also:

• ARTISTIC

artistic theory, and in practice slow and fastidious; it was his See also:

• AXIOM (Gr. &iwµa)

axiom that the merit of a painter consists in producing, not many middling pictures, but a few and perfect ones . His See also:

• WORKS

works have dignity, repose, elevated yet natural forms, severe but not the less pleasing colour, a learned treatment of See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture and See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective; he is thus a painter of the correct and laudable See also:

• ACADEMIC

academic 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, admired by connoisseurs rather than by ambitious students or the large public . His See also:

• PRINCIPAL

principal See also:

• PAINTING

painting, often spoken of as the See also:

• FOURTH

fourth best easel-picture in Rome—in the Vatican See also:

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

Gallery—is " St Romuald See also:

• RELATING

relating his See also:

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

Vision to Five Monks of his Order." The pictorial crux of dealing with these figures, who are all in the See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white garb of their order, has often been remarked upon; and as often the ingenuity and See also:

• JUDGMENT

judgment of Sacchi have been praised in varying the tints of these habits according to the See also:

• LIGHT

light and shade See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast by a neighbouring See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree . The Vatican Gallery contains also an early painting of the master —the " See also:

• MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle of St See also:

• GREGORY
• GREGORY (Gregorius)
• GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
• GREGORY, EDWARD JOHN (1850-19o9)
• GREGORY, OLINTHUS GILBERT (1774—1841)
• GREGORY, ST (c. 213-C. 270)
• GREGORY, ST, OF NAZIANZUS (329–389)
• GREGORY, ST, OF NYSSA (c.331—c. 396)
• GREGORY, ST, OF TOURS (538-594)

Gregory," executed in 1624; a See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic of it was made in 1771 and placed in St 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's . Other leading examples are the " See also:

• DEATH

Death of St See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna," in S Carlo ai Catinari; " St See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew," in the Quirinal; " St See also:

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

Joseph," at See also:

• CAPO

Capo alle See also:

• CASE
• CASE, JOHN (d. 1600)

Case; also, in See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, 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 in the Palazzo See also:

• BARBERINI

Barberini—" Divine See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

Wisdom "—reckoned See also:

• SUPERIOR

superior in expression and selection to the See also:

• RIVAL

rival See also:

• WORK

work of Pietro da Cortona . There are likewise See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces in See also:

• PERUGIA (anc. Perusia)

Perugia, See also:

• FOLIGNO (anc. Fulginiae, q.v.)

Foligno and See also:

• CAMERINO (anc. Camerinum)

Camerino . Sacchi, who worked almost always in Rome, See also:

• LEFT

left few pictures visible in private galleries: one, of " St See also:

• BRUNO (BRUN, BRUNS) OF QUERFURT, SAINT (c. 975-1009)
• BRUNO, GIORDANO (c. 1548-1600)
• BRUNO, or BRUN (925–965)
• BRUNO, SAINT

Bruno," is in Grosvenor 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 .

He had a flourishing school: See also:

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

Nicholas Poussin and Carlo Maratta were his most eminent scholars; See also:

• LUIGI

Luigi Garzi and See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Lauri were others, and Sacchi's own son Giuseppe, who died 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, after giving very high hopes . This must have been an illegitimate son, for Andrea was unmarried when he died at Nettuno in 1661 .