TIARINI-TIBALDI. 179 one of those able painters who have greatly suffered in repntation, owing to their best works being attributed to the Caposcuola, or head of the school. There was a picture in the Doria Gal- lery by Tiarini, attributed to Paul Ve- ronese, and some of his best in other galleries, says Giordani, are attributed to Ludovico Carracci and other of his more celebrated contemporaries. Lu- dovico Carracci greatly admired the works of Tiarini. The colour of his pictures has somewhat suffered ; their tone is sombre and grey ; he used HtUe red, a defect he had in common with Ludovico Carracci ; he sometimes sim- ply glazed over a grey underpaindng ; but his works are distinguished for invention and earnestness of character, too often of a gloomy nature, and for their correctness of design and bold- ness of foreshortening. Works. In the Gallery of Bologna are twelve pictures by Tiarini, includ- ing the celebrated Deposition from the Cross, attributed long to L. Carracci ; others of his master-pieces are, the Marriage of St. Catherine, in the same collection ; the Miracle of San Dome- nico, the Eaising the Dead Child to Life, in the Cappella del Bosario, in the church of that saint (it was painted in competition with lionello Spada); a similar subject in San Bernardo : in San Salvatore, a Nativity: in Santa Maria Maggiore, St. Jerome in the Wilderness : in San Leonardo, the An- nunciation : in San Petronio, the Mar- tvrdom of Santa Barbara: in the convent of San Michele, in Bosco, the Exhumation of a Dead Monk: the Assumption of the Virgin, and others, in San Domenico at Budrio : the Be- morse of Peter after the Denial of Christ, in the Gallery at Modena. At Florence, Pitti Palace, the Death of the Magdalen; and Adam and Eve deploring the Death of Abel: besides many others in Sant' Alessandro at Parma; Santa Maria Coronata at Pavia ; and San Frediano at Pisa. In the Louvre is the celebrated picture of the Kepentance of St. Joseph, from the church of the Mendicanti at Bologna. (Jfa/va«ta.) TIBALDI, Pellegbino, called also Pelleobino Tibaldi d£' Pellegrini, and Pellegbino da Bologna, (. at Bo- logna, 1527 (?), d. about 1600. Bolognese School. His father, Tibaldo Pellegrini, was a native of Valdelsa in the Milanese, but was settled as a bricklayer or mason in Bologna, and known as Maestro Ti- baldo Muratore. Pellegrino early dis- tinguished himself as a fresco-painter, he executed very few works in oil; by whom he was first instructed is not known, but probably by Bartolomeo Bamenghi, commonly called Bagna- cavallo. In 1547 he went to Home, to study the works of Michelangelo, who had not many years completed the Last Judgment in the Sistine Chapel, and was then at the height of his re- putation. Tibaldi soon attracted the notice of the Eoman artists and patrons, and here he made the acquaintance of the Cardinal Giovanni Poggi, who sent him back to Bologna, after a three years' residence in Bome, to paint his family palace in that city. There is a picture in the Borghese Gallery, painted at this time, which is the only clue to the date of Pellegrino's birth ; it is in- scribed Peregrinus - Tibaldi B'ono- niensis faciehai. Anno atatis sua XXn. M.D.XLVinL; but this cannot be reconciled with an entry in the baptismal books of the cathedral of Bologna, under the date of April 18, 1541 : — Dominicus filius Peregrini Ti- baldi, Ac, unless this entry may refer to the father, Tibaldo. On his return to Bologna, Pellegrino pednted some extensive frescoes in the palace of the Cardinal, now the Institute of Bologna ; and also in the chapel of San Jacopo, built by Tibaldi himself for the same N 2
