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See also:ALGARDI, ALESSANDRO (1602-1654) , See also:Italian sculptor, was See also:born at See also:Bologna in 1602. While he was attending the school of the See also:Caracci his preference for the plastic See also:art became evident, and he placed himself under the instruction of the sculptor Conventi. At the See also:age of twenty he was brought under the See also:notice of See also:Duke See also:Ferdinand of See also:Mantua, who gave him several commissions. He was also much employed about the same See also:period by jewellers and others in modelling in See also:gold, See also:silver and See also:ivory. After a See also:short See also:residence in See also:Venice he went to See also:Rome in 1625 with an introduction from the duke of Mantua to the See also:pope's See also:nephew, See also:Cardinal Ludovisi, who employed him for a See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time in the restoration of See also:ancient statues. The See also:death of the duke of Mantua See also:left him to his own resources, and for several years he earned a See also:precarious See also:maintenance from these restorations and the commissions of goldsmiths and jewellers... In 164o he executed for Pietro Buoncompagni his first See also:work in See also:marble, a See also:colossal statue of See also:San Filippo See also:Neri, with kneeling angels. Immediately after, he produced a similar See also:group, representing the See also:execution of St See also:Paul, for the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of the Barnabite Fathers in Bologna. These See also:works, displaying See also:great technical skill, though with considerable exaggeration of expression and attitude, at once established Algardi's reputation, and other commissions followed in rapid See also:succession. The turning point in Algardi's See also:fortune was the See also:accession of See also:Innocent X., of the Bolognese See also:house of Panfili, to the papal See also:throne in r644. He was employed by Camillo Panfili, nephew of the pontiff, to See also:design, the See also:Villa See also:Doria Panfili outside the San Pancrazio See also:gate. The most important of Algardi's other works were the See also:monument of See also:Leo XI., a See also:bronze statue of Innocent X. for the capitol, and, above all, La Fuega d'See also:Attila, the largest See also:alto-relievo in the See also:world, the two See also:principal figures being about Io ft. high. In 165o Algardi met Velasquez, who obtained some interesting orders for his Italian See also:companion in See also:Spain. Thus there are four chimneys; by Algardi in the See also:palace of See also:Aranjuez, where also the figures on the See also:fountain of See also:Neptune were executed by him. The See also:Augustine monastery at See also:Salamanca contains the See also:tomb of the See also:count and, countess de See also:Monterey, which was also the work of Algardi, From an See also:artistic point of view, he was most successful in his portrait-statues and See also:groups of See also:children, where he was obliged to follow nature most closely. In his later years he became very avaricious and amassed a great fortune. He died in Rome on the loth of See also:June 1654.
See Le arti di Bologna disegnate da A. Caracci ed intagliati da S. Giulini, See also:con' assistenza d' Alessandro A. Algardi (1940).
End of Article: ALGARDI, ALESSANDRO (1602-1654)
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