Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/230
spasm or fainting fit of the Virgin. Painted in Rome between 1516-18 for monks of Monte Oliveto, S. M. dello Spasimo, Palermo; vessel wrecked on way to Palermo, and picture, packed in a tight case, floated into Gulf of Genoa, and was picked up and taken to Genoa, where the people were delighted with their acquisition, but the Pope compelled them to give it up to its rightful owners; sold by monks in 1661 to Philip IV. and taken to Madrid; carried to Paris in 1813; returned in 1819. Numerous copies by Antonello da Palermo and others. Engraved by Agos. Veneziano (1517); Dom Cunego (1781); Ferdinand Selma (1808); Charles Normand (1813); P. Toschi; and many others.—Vasari, ed. Mil., iv. 357; Kugler (Eastlake), ii. 462; Passavant, ii. 244; Müntz, 523; Madrazo, 187; Réveil, vi. 373.
Spasimo di Sicilia, Raphael, Madrid Museum.
SPARMANN, KARL CHRISTIAN, born
at Meissen, Saxony, in 1805, died at Dresden
in 1865. Landscape painter, pupil of Johann
Samuel Arnold (1766-1827) at Meissen, and
of Dahl in Dresden; became in 1824 drawing-*master
at Arenenberg, near
Constance, of Prince Louis
Napoleon, who, when emperor,
gave him a pension; spent his
winters in Rome, returned
home in 1826, and visited
Switzerland and Tyrol in 1828.
Works: The Sustenpass;
Heath near Dresden (1843),
View near Dessau (1844),
Dresden Art Union; View of
Dresden (1841), Harrach Gallery,
Vienna.—Nagler, xvii.
116.
SPECKTER, ERWIN, born
at Hamburg, July 18, 1806,
died there, Nov. 23, 1835. History
painter, pupil of Cornelius
in Munich, where he was
also much influenced by Overbeck
and Genelli; returned
to Hamburg, and in 1830 went
to Italy, where he adopted the
style and colouring of the old
Venetian masters. Works:
Christ and the Woman of Samaria
(1829); Three Marys
at the Sepulchre (1829), Albanian
Woman with Jug (1831),
Roman Woman (1832), Kunsthalle,
Hamburg; Samson and
Delilah (1834), Leipsic Museum.—Cotta's
Kunstbl. (1820-34); Nagler, xvii. 123; N.
Necrol. der D. (1835), ii. 1049.
SPERANZA, GIOVANNI, Venetian
school, first half of 16th century. Said by
Vasari to have been pupil of Mantegna, with
whose style his own has an affinity, like that
of his countryman, Bartolommeo Montagna,
whose work his own closely resembles, as,