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See also:CIGNANI, CARLO (1628-1719) , See also:Italian painter, was See also:born of a See also:noble See also:family at See also:Bologna, where he studied under Battista See also:Cairo, and afterwards under See also:Francesco See also:Albani. Though an intimate friend of the latter, and his most famous See also:disciple, Cignani was yet strongly and deeply influenced by the See also:genius of See also:Correggio. His greatest See also:work, moreover, the " See also:Assumption of the Virgin," See also:round the See also:cupola of 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 Madonna della Fuoca at Forli, which occupied him some twenty years, and is in some respects one of the most remarkable See also:works of See also:art of the 17th See also:century, is obviously inspired from the more renowned See also:fresco of Correggio in the cupola of the See also:cathedral of See also:Parma. Cignani had some of the defects of his masters; his elaborate finish, his audacious artificiality in the use of See also:colour and in See also:composition, See also:mark the disciple of Albani; but he imparted to his work a more intellectual See also:character than either of his See also:models, and is not without other remarkable merits of his own. As a See also:man Cignani was eminently amiable, unassuming and generous. His success, however, made him many enemies; and the envy of some of these is said to have impelled them to deface certain of his works.
He accepted none of the honours offered him by the See also:duke of Parma and other princes, but lived and died an artist. On his removal to Forli, where he died, the school he had founded at Bologna was See also:fain in some sort to follow its See also:master. His most famous pictures, in addition to the Assumption already cited, are—the " Entry of See also:Paul III. into Bologna "; the " See also:Francois I. Touching for See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King's Evil "; a " See also:Power of Love," painted under a See also:fine See also:ceiling by See also:Agostino Carracci, on the walls of a See also:room in the ducal See also:palace at Parma; an " See also:Adam and See also:Eve " (at the See also:Hague); and two of " See also:Joseph and Potiphar's Wife " (at See also:Dresden and See also:Copenhagen). His son Felice (1660-1724) and See also:nephew See also:Paolo (1709-1764) were also painters.
End of Article: CIGNANI, CARLO (1628-1719)
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