Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/241
and pupil of Hendrik van Steenwyck the elder; fellow scholar with Pieter Neefs. Painted architectural backgrounds for many of Van Dyck's pictures. Worked first at Antwerp; after 1629 in England, when Charles I. ordered several pictures from him. Works: Christ before the High Priest, Peter's Denial, Madrid Museum; Jesus with Martha and Mary (1620), four Church Interiors, Louvre, Paris; View of a Public Square (1614), Hague Museum; Interior by Candle-Light, Suermondt Museum, Aix-la-Chapelle; Liberation of Peter (2), Gothic Church Interior, Brunswick Gallery; A Prison (1649), Berlin Museum; Liberation of Peter (2, one dated 1631), Darmstadt Museum; Terrace before Vestibule of Renaissance Building (1618), Leipsic Museum; Italian Palace (1623), Interior of Sacristy (1634), Hermitage, St. Petersburg; Interior of Renaissance Palace (1611), three others, Schwerin Gallery; three Church Interiors (1609, 1611, 1614), Hall of Castle (1637), Dresden Gallery; Liberation of Peter (1621, 1633), Church Interior, do. (1605), Vienna Museum; Gothic Church Interior, Copenhagen Gallery; do., Gotha Museum; St. Peter in Prison, Church Interior, and others, Hampton Court.—Ch. Blanc, École flamande; Kramm, v. 1568; Riegel, Beiträge, ii. 35, 73; Siret (1883), ii. 294.
STEFANO DA FERRARA, born in Ferrara in 14—, died there, Jan. 17, 1500. Lombard school; real name probably Stefano Falzagalloni; pupil of Squarcione. His decorations of a chapel in S. Antonio, Padua, mentioned in 1445 by Michele Savonarola as a marvel of art, were destroyed in 1500. He also painted the Madonna del Pilastro on one of the pillars of the same church. Two pictures attributed to him in Brera, Milan: one, Madonna with Saints, is in the manner of Tura; the other, Madonna Enthroned between Saints, is rather attributable to Rondinello.—C. & C., N. Italy, i. 528; Vasari, ed. Le Mon., v. 179; ed. Mil., iii. 407; Lanzi, iii. 189; Ch. Blanc, École ferraraise.
STEFANO DI GIOVANNI, first half of
15th century. Sienese school; commonly
known as Sassetta. He imitated the formal
arrangement, painful minuteness of outlines,
and the softer curves of draperies
which distinguish Ugolino and Segna. The
Birth of the Virgin, in the sacristy of the
Duomo at Asciano, the Madonna with Saints
(1436), in the Osservanza outside Siena, and
a similar one, in S. Domenico, Cortona, are
by him.—C. & C., Italy, iii. 74.
STEFANO DA VERONA. See Stefano
da Zevio.
STEFANO DA ZEVIO, the elder, flourished
in latter part of 14th century. Veronese
school; painted frescos in the choir of
the Basilica of S. Zevio, Verona; Crucifixion,
near the door of the sacristy there; Madonna
Enthroned (fresco), over an altar in the
church at Illasi.—Bernasconi, 220.
STEFANO DA ZEVIO, the younger,
born at Zevio, near Verona, in 1393, died
in 1450. Veronese school; called also Stefano
da Verona. He was the contemporary
and perhaps pupil of Vittor Pisano, but he
was far from equalling him in grace, drawing,
and expression. He is praised by Vasari,
but the examples he has left show that
he followed in the beaten track of the miniaturists,
and cared more for minute finish
than for drawing and modelling. Works:
Fresco, Madonna and Saints, Casa Sona,
Verona; Prophets, etc., over small door, S.
Eufemia, Verona; Adoration of the Magi
(1435), Brera, Milan.—C. & C., N. Italy, i.
458; Vasari, ed. Le Mon., vi. 86; Lanzi, ii.
88; Bernasconi, 226.