Gröger, his friend and associate, with whom he frequented the Berlin Academy; studied in Dresden and Paris, and lived in Lübeck, Kiel, Copenhagen, and Hamburg, where the two settled in 1814, after the conclusion of peace.—Meyer, Künst. Lex., i. 254.
ALENI, TOMMASO, flourished in 1500-1515.
Lombardo-Cremonese school. Sometimes
called Il Fadino. Several of his pictures
exist: Madonna, Bignami Collection,
Casal Maggiore; Nativity (1515), Municipio,
Cremona, a manifest though weak imitation
of Perugino; and St. Peter and St. Anthony,
Calvalcabò Collection, Cremona.—C. & C.,
N. Italy, ii. 449; Meyer, Künst. Lex., i. 266.
ALESIO (Allecio), MATTEO PEREZ
DE, born in Rome about 1547, died about
1600 (?). Italo-Spanish school, called also
Matteo da Leccio. Said to have formed himself
in the school of Michelangelo and after
Salviati. Went to Malta, returned to Rome
before 1582, and settled in Seville, Spain, in
1583. He at once gained reputation, and
was extensively employed in painting for
churches frescos of colossal size, the fondness
for which was a peculiar feature of this
artist. According to Baglione he afterwards
went to the West Indies and, after having
accumulated wealth, died there in poverty.
The report of his return to Rome lacks foundation.—Meyer,
Künst. Lex., i. 271; Ponz,
Viage, ix. 25; Cean Bermudez, iv. 75.
ALESSANDRO VERONESE. See Turchi,
Alessandro.
ALEXANDER OF ATHENS. Name inscribed
on one of four marble slabs, in Royal
Museum at Naples, found at Resina on slope
of Vesuvius. All decorated with outline
drawings in red; the one bearing name of
Alexander represents a group of five women
whose names also are given.—Corp. Inscr.
Gr., 5863.
ALEXANDER ENTERING BABYLON,
Charles Lebrun, Louvre, Paris; canvas, H. 14
ft. 9 in. × 23 ft. Alexander, a sceptre in one
hand, and a sword in the other, is standing
in a chariot drawn by two richly caparisoned
elephants, forming part of a triumphal
procession; in front, an officer gives
orders to slaves bearing a golden vase on a
litter; in background, the walls and buildings
of Babylon, crowded with people. Series
of History of Alexander. Engraved by G.
Audran (1675).—Landon, Musée, x. Pl. 69;
Filhol, ii. Pl. 91; Villot, Cat. Louvre.
ALEXANDER AND DIOGENES, Sir E. Landseer, National Gallery, London; canvas, H. 3 ft. 7 in. × 4 ft. 8 in. Eight dogs grouped to illustrate the interview at Corinth between Alexander and the Greek cynic, when the latter requested the conqueror to stand out of his sunshine. Royal Academy, 1848; bequeathed by Jacob Bell in 1859. Engraved by Thos. Landseer.—Catalogue National Gallery; Stephens, 91.
ALEXANDER AND FAMILY OF DARIUS.
See Darius, Family of.
ALEXANDER THE GREAT, ancient
picture. See Antiphilus, Apelles, Nicias,
Philoxenus, Protogenes.
ALEXANDER, HENRY, born in San
Francisco, California, in 1860. Genre
painter; studied seven years in Munich under
Loeffts and Lindenschmidt. Exhibited
first in Munich in 1879. Studio in New
York. Works: Sunday Morning (T. B.
Clarke, N. Y.).
ALEXANDER, HISTORY OF, Charles
Lebrun, Louvre, Paris; five pictures, viz.: Passage
of the Granicus, Battle of Arbela, Tent of
Darius, Alexander and Porus, Alexander entering
Babylon. Ordered by Louis XIV. in
1660 for reproduction in Gobelin tapestry;
painted in 1661-68. They were engraved by
G. Audran, who also engraved, after Le
Brun's design, a sixth subject, Porus in Battle,
which was never painted.—Villot, Catalogue
Louvre.
ALEXANDER AND PORUS, Charles
Lebrun, Louvre, Paris; canvas, H. 15 ft. 5
in. × 41 ft. 4 in. King Porus having been defeated
on the banks of the Hydaspes, India,
was carried a prisoner before Alexander,
who asked him how he wished to be treated.
"Like a king," replied Porus (Plutarch,
Alex., lx.). Alexander on horseback, attended
