Wensleydale, London; Repose in Egypt, Dresden Gallery; do., Uffizi, Florence; Holy Family, Palazzo Pitti, Florence; The Four Elements, Turin Gallery; do., Palazzo Borghese, Rome; Annunciation (2), Venus and Adonis, Venus and Vulcan, Toilette of Venus, Cupids Disarmed, Mars and Nymphs, Salmacis and Hermaphroditus, Lot and his Daughters, Hersilia separating Romulus and Remus, Holy Family, Louvre, Paris.—Malvasia, ii. 149; Lanzi, iii. 89; Meyer, Künst. Lex., i. 171; Amorini, Vita, etc. (1837); Burckhardt, 764, 770, 785, 791, 801; Ch. Blanc, École bolonaise; Dohme, 2iii.
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ALBERTI, ALESSANDRO, born at Borgo S. Sepolcro, Italy, March 9, 1551, died in Rome, July 10, 1596. Son of the architect and sculptor Alberto A.; pupil of one Gaspero di Silvestro of Perugia; went to Rome in 1556. He was employed by several Italian princes, and painted for churches and palaces in Naples and in Rome. Highly esteemed as a fresco-painter.—Meyer, Künst. Lex., i. 204.
ALBERTI, ANTONIO. See Antonio da
Ferrara.
ALBERTI, GIUSEPPE, born at Cavalese,
Tyrol, in 1664, died there in 1730. Studied
medicine at Padua, but gave it up for architecture
and painting, which latter he studied
in Venice under Liberi, and then in Rome.
On his return in 1682, he settled in Trent,
built there the Crucifix Chapel in the Cathedral,
and became a priest. Afterwards he
painted a number of religious pictures, visited
Rome a second time, and is said to have
stayed there nearly twenty years.—Meyer,
Künst. Lex., i. 217.
ALBERTI, MICHELE, flourished at Florence
2d half of 16th century. Florentine
school, pupil of Daniele da Volterra. Did
not belong to the Alberti family of Borgo
S. Sepolcro. He painted in Rome frescos
after drawings by his master, with whom
he seems to have been closely allied.—Meyer,
Künst. Lex., i. 216; Vasari, ed. Mil.,
vii. 61.
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ALBERTINELLI (Bertinelli), MARIOTTO,
born in
Florence, Oct.
13, 1474, died
there, Nov. 5,
1515. Florentine
school, son
of Biagio di Bindo
and scholar
of Cosimo Roselli,
in whose
studio he contracted
an intimate
friendship with Fra Bartolommeo, of
whom he became the associate and most successful
imitator. They worked together from
before 1490 (when both left Roselli's studio),
until 1499. Albertinelli's Christ appearing
to the Magdalen, Louvre, shows his first
manner, under influence of Cosimo Roselli.
After 1500 he completed the fresco of the
Last Judgment in S. M. Nuova, Florence,
left unfinished (Oct., 1499) by Fra Bartolommeo,
whose continued influence after their
separation is manifest in the famous Visitation,
in the Uffizi. Other works by Albertinelli
of high merit are a Holy Family (1503-6),
Palazzo Pitti, Florence; a fresco of the
Crucifixion (1506), Florentine Certosa; and a
Madonna with Saints (1506), Louvre. These
pictures belong to the best period of the
painter, who afterwards wasted much time
in experimenting on vehicles for oil painting,
and took many pupils, among whom
were Bugiardini, Francia Bigio, Innocenzo
da Imola, and Pontormo. In 1509, after a
separation of nine years, Albertinelli again
became the associate of Fra Bartolommeo,
and traces of his hand are perceptible in
the Frate's altarpiece in S. Romano, Lucca,
the lower part of his Assumption, Berlin,
and in his Nativity, Saltocchio, near Lucca.
Among his works of this period are: Madonna
(1509), Fitzwilliam Museum, Cambridge;
Annunciation (1510), Trinity (1510?),
