- ci. In Rome he was under the influence of
P. Batoni, but later took Guercino for his model. After his return to Russia he was made member of the Academy, where the entire instruction in painting was soon entrusted to his guidance. His talent has been greatly overrated by his contemporaries. Works: Prometheus making a Statue, Hercules on the Pyre, St. Petersburg Academy; Resurrection, Assumption, The Archangel, Alexander-Nevski Monastery.—Meyer, Künst. Lex., i. 163.
ALAMANNO or ALEMANNO, GIOVANNI
or ZUANE. See Antonio da Murano.
ALAMANNO, PIETRO, 2d half of 15th
century. Venetian school; a mannered imitator
of his master, Carlo Crivelli, alike devoid
of power as a draughtsman and as a
colourist. His style is a mixture of that of
Crivelli and of Girolamo da Camerino, or in
other words of the Lombardo-Venetian and
the Umbro-Paduan schools. Examples in
churches at Ascoli: Madonna and Saints
(1489), S. M. della Carità; do., Library of
the Seminary; do., S. Giacomo Apostolo.—C.
& C., N. Italy, i. 98; Meyer, Künst.
Lex., i. 264; Burckhardt, 592.
ALAUX, JEAN, called le Romain, born
in Bordeaux, Jan. 15, 1786, died in Paris,
March 2, 1864. History painter, pupil of
Vincent and Guérin; won in 1815 the
grand prix de Rome, and resided in that
city five years. After the restoration of the
Bourbons, executed many pictures for
churches, and decorated the new rooms in
the Louvre; and under Louis Philippe
painted much for the new Museum at Versailles.
He was director of the French
Academy in Rome in 1846-53; became
member of the Institute in 1851; Legion of
Honour in 1841. Works: Pandora brought
from Heaven by Mercury (1824), ceiling of
palace of St. Cloud (destroyed in 1870);
Burial of our Lord, Notre Dame de Loretto,
Paris; Poussin and allegorical figures, ceiling,
Louvre; Battle of Villaviciasa (1836),
do. of Denain, Conquest of Valenciennes
(1837), Assembly of Notables in Rouen
under Henry IV., Meeting of the States General
in 1328, do. in 1614, Reading of the Will
of Louis XIV. (1850), Presentation of Poussin
to Louis XIII., etc., altogether 29, Versailles
Museum.—Meyer, Künst. Lex., i. 166; Art
Journal (1864), 215; Kunstblatt (1833),
224; (1837), 187; (1838), 115; (1841), 203.
ALBA. See Macrino d'Alba.
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ALBANI (Albano), FRANCESCO, born
in Bologna,
March 17,
1578, died
there, Oct. 4,
1660. Bolognese
school.
Son of Agostino
Albani, a
silk merchant;
pupil of Denis
Calvaert at
same time
with Guido
Reni, whom he followed to the school of the
Carracci. After painting in Bologna he accompanied
Guido to Rome (1607-8), where
he was engaged to finish the frescos in S.
Giacomo degli Spagnuoli, begun by Annibale
Carracci. This made his reputation, and
brought him many commissions. He loved
to paint mythological subjects, in which he
could introduce goddesses, nymphs, and
loves in smiling landscapes; and as he represented
them generally on small canvases
he was called the Anacreon of painting. He
had a villa delightfully situated, and a beautiful
wife and twelve children, who are said
to have served as his models. At Rome and
in Bologna, as teacher and painter, he became
the rival of Guido, whose disciples
affected to despise his style as effeminate.
Albani's large works from sacred history
show that he was capable of a nobler style
than he generally attained. Four of these
are in the Bologna Gallery. Albani executed
frescos in the Palazzo Verospi (Torlonia), and
in the church of S. M. della Pace, Rome; and
in the Giustiniani Villa, Bassano. Other
works are: Expulsion from Paradise, Lord
