SARPEDON ing (1879); El Jaleo (1882); Portrait of Two Children (1883); Portraits (1884-85-86). SARPEDON, Henri Leopold Levy, Lux- embourg Museum ; canvas, H. 10 ft x 7 ft. 9 in. Death and Sleep bearing to Jupiter the body of his son Sarpedon, slain at the siege of Troy (Iliad, Cap. xvi.). Salon, 1874. SARTAIN, EMILY, born in Philadelphia in 1841. Portrait and genre painter, pupil of the Pennsylvania Academy in Philadel- phia, and four years of Luminais in Paris. Taught engraving by her father, John Sar- tain. Studio in Philadelphia. Works : Re- proof (1876) ; Marie (1882); Morning (1884). SARTAIN, WILLIAM, born in Philadel- phia, Nov. 21, 1843. Landscape and genre painter, son of John Sartain, engraver ; studied under Yvon and Bonnat, and in the cole des Beaux Arts, Paris. In 1870 sketched in Spain, England, Holland, Bel- gium, Germany, and Italy, and in 1874 in Algiers. First exhibited at Royal Academy, London, in 1875 ; at National Academy in 1876. Professor of life class of Art Stu- dents' League ; Member of Society of Amer- ican Artists. Elected an A.N.A. in 1880. Studio in New York. Works in oil : Italian Head (1876, S. Colman, N.A.); Street in Al- giers, Narcissus, Courtyard Paris, 1878 ; View in Algiers (1879); Arab Sheik, Head of Nubian Girl, A Quiet Moment (1880) ; A'icha (1881) ; Arab Cemetery, Paquita (1883); Sandy Land near the Sea Nonquitt, Mass. (1884) ; Lucia near Algiers (1885). Water colours : Canal in Venice (1878); Arab Cafe (1880) ; View of the Ghetto Venice (1881) ; Chapter from the Koran (1882). SARTO, ANDREA DEL, born in Flor- ence, July 16, 1486, died there, Jan. 22, 1531. Florentine school ; real name Andrea d'An- gelo di Francesco, but called Del Sarto be- cause his father Angelo or Agnolo was a tailor (sarto). According to some, his fam- ily name was Vannucchi ; but this " never had any foundation in fact" (C. & C.). An- drea first studied with a goldsmith, then with Gian Barile, a poor painter, and lastly (1498), with Piero di Cosimo, under whom he found time to copy the cartoons of Mi- chelangelo and of Leonardo da Vinci in the great hall of the Palazzo Vec- chio. He was as- sociated for a while with Francia Big- io. In 1509-10 he painted in the -, V7"^ court of SS. An- nunziata de Servi, Florence, five frescos illustrating the life of St. Philip, which won him the reputation of being one of the best fresco painters of his time. lu 1514 lie finished a Pro- cession of the Magi, in the Court of the Servi, and the Nativity of the Virgin, the latter of which is "on the highest level ever reached in fresco" (C. & C.). Equally great is the Holy Family called the Madonna del Sacco (1525), in the cloister of the SS. An- nunziata, and scarcely inferior are the Birth of St. John (1526), at the Scalzo, and the Last Supper (1526-27), in S. Salvi, Florence. Among Andrea's monochromes at the Scal- zo (1516-1526), the Sermon of St. John is especially remarkable. While engaged in painting frescos, Andrea produced many easel pictures no less worthy of praise. In 1518 he went at the invitation of Francis I. to France, and painted there, among other pictures, the Michelangelesque Charily, now in the Louvre. The next year Andrea re- turned to Florence to buy works of art for the King, but having used the money in- trusted to him in building a house for him- self, he dared not go back to France empty- handed, and remained in Florence secure from pursuit until the plague which followed the siege of that city in 1530. Charles Blanc calls Del Sarto the Raphael of Flor- ence, and says that if Raphael had never lived, Andrea del Sarto would have occupied the first place in art after Leonardo da Vin- ci and Michelangelo. Even in his own time he was called Andrea "senza errori" (An-
