Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/139
move Pluto by his Music, Vienna Museum; Lake in the Woods, Bamberg Gallery; Hunter and Boar (1610), Landscapes with Ruins (1614, 1618), Noah's Ark (1620), four other Landscapes (1620, 1625), Dresden Gallery; Boar Hunt, Munich Gallery.—Fétis, Les artistes belges, ii. 88; Kramm, v. 1474; Michiels, vi. 165.
SAVIOUR, THE (Il Salvatore), Titian, Palazzo Pitti, Florence; canvas, H. 2 ft. 6-1/2 in. × 2 ft. Half-length, with arms folded; background, a landscape. Painted early, for Francesco Maria della Rovere, Duke of Urbino; passed to the Medici as part of dowry of the Grand Duchess Vittoria della Rovere. Taken to Paris in 1799; returned in 1816. Copy in Christ Church Gallery, Oxford. Engraved by Martelli.—Gal. du Pal. Pitti, i. Pl. 107; C. & C., Titian, ii. 417; Landon, Musée, xiv. Pl. 22.
The Saviour, Titian, Palazzo Pitti, Florence.
SAVIOUR IN THE TEMPLE, William
Holman Hunt, Manchester Art Gallery.
Our Saviour found disputing with the doctors
in the Temple. Jesus, a brown-haired,
blue-eyed boy, in a pink and purple striped
frock, stands before the doctors, who are
grouped in a semicircle at left, the blind
High Priest holding the rolls of the Law;
Mary, with her brow pressed against the
Child's with an expression of anxiety, has
her hand on his shoulder as if to draw him
away; Joseph, in a crimson turban, stands
behind. Exhibited in 1860, after five years'
labour, eighteen months of which were spent
in Jerusalem; sold to Mr. Gambart for
£5,500. Engraved by Aug. Blanchard from
drawing by Moselli (Gambart sale, 1871, 120
guineas).—Art Journal (1860), 182; (1868),
100; Athenæum, April, 1860, 549.
SAVOLDO, GIAN' GIROLAMO, called
Girolamo Bresciano, born at Brescia about
1480, died in Venice (?) after 1548. Veneto-Brescian
school; his style had something
in common with that of Moretto, but usually
less dignified. A long residence in Venice
enabled him to enter into the spirit of
the great Venetian masters, but he preferred
to treat night or sunset scenes and sacred
genre. It is difficult to find his works under
their true name, most of them being
ascribed to Bellini, Titian, Pordenone, Del
Piombo, Giorgione, and others. Works:
Nativity, S. Barnaba, Brescia; Portrait of
Gaston de Foix (?), Louvre; Madonna with
Saints, Brera, Milan; Transfiguration, Uffizi,
Florence; Adoration of Shepherds, Palazzo
Pitti, Florence; do., Holy Family,
Turin Gallery; Venetian Girl, Berlin Museum;
Entombment, Vienna Museum;
Mary Magdalen at Sepulchre, National Gallery,
London.—C. & C., N. Italy, ii. 418;
Burckhardt, 733; Lübke, Gesch. ital. Mal.,
ii. 621.
SAVONANZI, EMILIO, born in Bologna,
June 19, 1580, died at Camerino in 1660.
Bolognese school; of a noble, wealthy family,
and a soldier until his twenty-sixth year,
when he devoted himself to art. Studied
with Cremonini, Calvart, the Carracci, Guercino,
and Guido; painted chiefly at Ancona