armour, about to go against the Turks, parting from his wife, Mary of Aragon, but consoled by Victory, Love, and Hymen. Painted about 1533; from collection of Louis XIV. Engraved by Natalis and Oortman. Variations of the subject in Vienna Museum.—Vasari, ed. Mil., vii. 442; C. & C., Titian, i. 373; Filhol., x. Pl. 711; Villot, Cat. Louvre; Mündler, 210; Ch. Blanc, École vénitienne.
AVALOS, ALFONSO D', ALLOCUTION
OF, Titian, Madrid Museum; canvas, H. 7 ft.
4 in. × 5 ft. 5 in. The Marquis del Vasto,
in armour and a red mantle, with a baton
in one hand, gesticulates with the other to
a company of halberdiers on right; his son
Francesco holds his helmet. Painted in
1541; was in 1621 in the Alcazar of Madrid,
where it was injured by fire and repainted,
so that little remains of Titian's handling.
A similar picture in the Mantuan collection
passed to Charles I. of England.—C. & C.,
Titian, ii. 51; Vasari, ed. Mil., vii. 448.
AVALOS, ALFONSO D', Marquis del
Vasto, portrait, Titian, Cassel Gallery; canvas,
H. 7 ft. 2 in. × 5 ft. 5 in.; signed. Full
length, in red doublet and hose and plumed
cap of a duke, with a spear in right hand;
at his feet on the right is a white dog, and
on the left Cupid raising aloft a plumed helmet;
background, a landscape. The title
d'Avalos, Marquis del Vasto, needs confirmation.
Painted about 1550?—C. & C.,
Titian, ii. 427; Cassel Cat.
AVALOS, D', AND HIS PAGE? Titian,
Hampton Court; canvas, H. 4 ft. 4 in. × 3
ft. 1 in. Seen to the knees, in armour, his
right hand on a table on which is his helmet;
a page to the right ties the laces of
his breast-plate. Called Marquis del Guasto
and Page in catalogue, but on slight
grounds. Features are not unlike those of
Duke of Alva in picture by Antonio Moro
in Windsor Castle.—C. & C., Titian, ii. 428;
Law, Hist. Cat. Hampton Court, 39; Waagen,
Treasures, ii. 414.
AVANZI (Davanzi) JACOPO, born in
Verona, second half of the 14th century.
Not to be confounded with his contemporary
Jacopo degli Avanzii of Bologna. Worked
at Verona and Padua, where he assisted
Altichiero da Zevio in painting the frescos
of the Chapel of S. Giorgio, and himself
painted the frescos of S. Michele, Padua,
which correspond in technic, though inferior
in composition. To the same painter,
who, with Altichiero, propagated the Giottesque
style in the north of Italy, may be
attributed the fresco fragments of the Triumph
of Marius in the Hall of the Emperor,
now Library, Padua.—Meyer, Künst.
Lex., ii. 454; Schnaase (2d ed. 1876),
vii. 494; Lübke, Gesch. d. ital. Mal., i.
20.
AVANZII, JACOPO DEGLI, latter half
of the 14th century. Bolognese school;
imitated the second-hand followers of Giotto,
and combined ugly types, exaggeration
of movement, and feeble execution. There
are a Crucifixion by him in the Palazzo Colonna,
Rome, and a Crucifixion and three
damaged panel pieces in the Bologna Gallery;
also frescos at Mezzarata. He is not
to be confounded with the above nor with
Jacopo di Paolo Avanzi Bolognese, beginning
of the 15th century, Padua.—C. & C.,
Italy, ii. 212, 233; Bernasconi, Studj, v. 29;
Vasari, ed. Le Mon., iii. 40, iv. 90; Meyer,
Künst. Lex., ii. 455.
AVED, JACQUES ANDRÉ JOSEPH,
born in Douai, Jan. 12, 1702, died in Paris,
March 4, 1766. Portrait painter, pupil in
Paris (1721) of Alexis Simon La Belle, and
in Amsterdam of Picard, member of the
Academy in 1734. He was intimate with
Boucher, Chardin, C. Van Loo, and the foremost
artists of his time, and painted many
prominent men and women. Exhibited in
Salons in 1737-1759. Works: Portrait of
William IV., Amsterdam Museum; of Mirabeau,
Louvre; of the painters Cazes and de
Troy, École des B. Arts, Paris; Madame de
Tencin, Valenciennes Museum; Said Pasha,
Versailles Gallery; Louis XV., J. B. Rousseau.—Meyer,
Künst. Lex., ii. 458; Dussieux,
254.
