See also:

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

ANTONIO See also:

• ANTONIO SOLARIO (c. 1382-1455)

SOLARIO (c. 1382-1455)  , See also:

• ITALIAN

Italian painter of the Neapolitan school, commonly called Lo Zingaro, or The Gipsy . His See also:

• FATHER

father is said to have been a travelling See also:

• SMITH
• SMITH, ADAM (1723–1790)
• SMITH, ALEXANDER (183o-1867)
• SMITH, ANDREW JACKSON (1815-1897)
• SMITH, CHARLES EMORY (1842–1908)
• SMITH, CHARLES FERGUSON (1807–1862)
• SMITH, CHARLOTTE (1749-1806)
• SMITH, COLVIN (1795—1875)
• SMITH, EDMUND KIRBY (1824-1893)
• SMITH, G
• SMITH, GEORGE (1789-1846)
• SMITH, GEORGE (184o-1876)
• SMITH, GEORGE ADAM (1856- )
• SMITH, GERRIT (1797–1874)
• SMITH, GOLDWIN (1823-191o)
• SMITH, HENRY BOYNTON (1815-1877)
• SMITH, HENRY JOHN STEPHEN (1826-1883)
• SMITH, HENRY PRESERVED (1847– )
• SMITH, JAMES (1775–1839)
• SMITH, JOHN (1579-1631)
• SMITH, JOHN RAPHAEL (1752–1812)
• SMITH, JOSEPH, JR
• SMITH, MORGAN LEWIS (1822–1874)
• SMITH, RICHARD BAIRD (1818-1861)
• SMITH, ROBERT (1689-1768)
• SMITH, SIR HENRY GEORGE WAKELYN
• SMITH, SIR THOMAS (1513-1577)
• SMITH, SIR WILLIAM (1813-1893)
• SMITH, SIR WILLIAM SIDNEY (1764-1840)
• SMITH, SYDNEY (1771-1845)
• SMITH, THOMAS SOUTHWOOD (1788-1861)
• SMITH, WILLIAM (1769-1839)
• SMITH, WILLIAM (c. 1730-1819)
• SMITH, WILLIAM (fl. 1596)
• SMITH, WILLIAM FARRAR (1824—1903)
• SMITH, WILLIAM HENRY (1808—1872)
• SMITH, WILLIAM HENRY (1825—1891)
• SMITH, WILLIAM ROBERTSON (1846-'894)

smith . To all See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance See also:

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

Antonio was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Civita in the Abruzzi, although it is true that one of his pictures is signed " Antonio de See also:

• SOLARIO, ANTONIO (c. 1382-1455)

Solario Venetus," which may possibly be accounted for on the ground that the See also:

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

signature is not genuine . Solario is said to have gone through a love-See also:

• ADVENTURE (from Lat. res adventura, a thing about to happen)

adventure similar to that of the Flemish painter, Quintin Massys . He was at first a smith, and did a See also:

• JOB

job of See also:

• WORK

work in the 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 of the See also:

• PRIME, PRIMER AND PRIMING

prime Neapolitan painter Colantonio del Fiore; he See also:

• FELL
• FELL, JOHN (1625-1686)

fell in love with Colantonio's daughter, and she with him; and the father, to stave him off, said if he would come back in ten years an accomplished painter the 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 See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady should be his . Solario studied the See also:

• ART

art, returned in nine years, and claimed and obtained his See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride . The fact is that Colantonio' del Fiore is one of those painters who never existed; consequently his daughter never existed, and the whole See also:

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

story, as See also:

• RELATING

relating to these particular personages, must be untrue . Whether it has any truth, in relation to some unidentified painter and his daughter, is a See also:

• SEPARATE

separate question which we cannot decide . Solario made an extensive 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 study—first with Lippo Dalmasio in See also:

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

Bologna, and afterwards in See also:

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

Venice, See also:

• FERRARA

Ferrara, See also:

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

Florence and See also:

• ROME
• ROME (Roma)

Rome . On returning to See also:

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

Naples he rapidly took the first See also:

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

place in his art . His See also:

• PRINCIPAL

principal performance is in the 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 of themonastery of S . Severinoe-twenty large frescoes illustrating the See also:

• LIFE

life of St See also:

• BENEDICT (BENEDICTUS)
• BENEDICT, SIR JULIUS (1804-1885)

Benedict, now greatly decayed; they See also:

• PRESENT

present a vast variety of figures and details, with dexterous modelling and colouring .

Sometimes, however, Lo Zingaro's See also:

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

colour is crude, and he generally shows weakness of draughtmanship in hands and feet . His tendency is that of a naturalist—the heads lifelike and individual, and the landscape backgrounds better invented and cared for than in any contemporary . In the Studj See also:

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

gallery of Naples are three pictures attributed to this 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, the most remarkable one being a " 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 Enthroned with See also:

• SAINTS, BATTLE OF THE

Saints." The heads here are reputed to be mostly portraits . Solario initiated a mode of art new in . Naples; and the See also:

• WORKS

works painted between his 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 and that of Tesauro (c . 1470). are locally termed Zingarescbi." He had many scholars, but not of pre-eminent See also:

• STANDING

standing—Nicola Vito, See also:

• SIMONE (1457—1508)

Simone Papa, Angiolillo Roccadirame, . Pietro and Ippolito dal Donzello . It has. often been said that Solario painted in oil, but of this there is no See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence .