SCARSELLA— SCHUVONE. 1C3 dietines: in San Giovanni Decollato, John the Baptist; and a Noli me tan- gere, in San Niccol6. The Brera at Milan possesses a Virgin in glory, with Saints ; and there is a Christ with the Disciples at Emmaus, in the Bridge- water Gallery, by Searsellino. He was also a good portrait-painter. {Baruf- faltU, LanzL) SCHEDONE, Babtoloheo, 5. at Modena, about 1580; d. at Parma, 1615. Lombard School. Malvasia includes him among the scholars of the Carracci, but his pictures have little affinity with the characteristics of that school. The works of Correggio appear to have been his engrossing models: he was a most decided imitator of that master ; but there are a sharpness and solidity peculiar to Sohedone which form an unfavourable contrast with the more delicate and refined style of Cor- reggio. Schedone is more pleasing in his naturalistic works or those which are characterised by a more direct imi- tation of nature, and which display less of the influence of Correggio : he en- joyed a great reputation during his life- time, and was said by his admirers to have combined Raphael and Correggio. The Stu(^ Gallery at Naples contains many good works by Schedone. He was an excellent portrait-painter. Schedone dwelt the latter part of his life at Parma, where he was principal painter to Duke Banuccio : his early death is said to have been caused by vexation at his losses at play. Works. Parma, in the Academy, a Pietii: Modena, cathedral, San Gemi- niano, Baising the Dead Child : in the Palazzo Pubblico, frescoes of the His- tory of Coriolanus (1604). Naples, Studj Gallery, two Holy Families ; the Virgin in glory; the Tribute Money; Christ presented to the people; St. Cecilia ; other Saints ; and several por- traits. Munich, a Bepose ; the Mag- dalen; Lot and his daughters. Dresden, Holy Family; the Repose in Egypt. Berlin Gallery, a Madonna and Child. Louvre, a Holy Family; Deposition from the Cross; the Entombment. {Tirahoschi,) SCHIAVONE, Andrea, h, at Sebe- nico in Dalmatia, 1522; d. 1582. His family name, says Zanetti, was Medola : Schiavone signifies the Sclave. Vene- tian School. He studied the prints from Parmigiano, and the works of Giorgione and Titian ; and was a good imitator of the last. His execution displays great power and freedom, his colouring is very fine, but his design, though light and elegant, is often in- correct, and his heads want expression. He lived in great poverty, and was compelled to work at a low price, for the cabinet-makers and others, for a mere sustenance, which led to a care- less manner. Notwithstanding his poverty, Schiavone was held in high estimation in his time. Tintoretto is said to have thought so well of Schia- vone's colouring, that he hung up one of his pictures in his own study as a guide to himself; and he used to say that every painter ought to do the same. He also excelled in heads of old men and females, though his draw- ing is very feeble. Tintoretto con- demned Schiavone*s drawing as much as he admired his colouring. Schiavone was sometimes driven to such ex- tremities as to court the patronage of the Plasterers, who occasionally had the decorations under their control, and the paintei*s were paid as ordinary journeymen. Bidolfi says his rough dress was against him. Though Schia- vone could scarcely live by his labour, his despised works enriched those who possessed them after his death. He etched a few plates. Works, Venice, in the library of St. Mark, or now Ducal Palace, the Dignity of the Priesthood ; the Msjesty of the Dukedom; and the Trophies of M 2
