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See also:FONTANA, PROSPERO (1512-1597) , See also:Italian painter, was See also:born in See also:Bologna, and became a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Innocenzo da See also:Imola. He afterwards worked for See also:Vasari and Perino del Vaga. It was probably from Vasari that Fontana acquired a practice of off-See also:hand, self-displaying See also:work. He undertook a multitude of commissions, and was so rapid, that he painted, it is said, in a few See also:weeks an entire See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
hall in the See also:Vitelli See also:palace at Citta di See also:Castello. Along with daring, he had fertility of See also:combination, and in See also:works of See also:parade he attained a certain measure of success, although his See also:drawing was incorrect and his mannerism palpable. He belongs to the degenerate See also:period of the Bolognese school, under the See also:influence chiefly of the imitators of Raphael—Sabbatini, Sammachini and Passerotti being three of his See also:principal colleagues. His soundest successes were in See also:portraiture, in which See also:branch of See also:art he stood so high that towards 1550 See also:Michelangelo introduced him to See also:Pope See also:Julius III. as a portrait-painter; and he was pensioned by this pope, and remained at the pontifical See also:court with the three successors of Julius. Here he lived on a See also:grand See also:scale, and figured as a sort of arbiter and See also:oracle among his
professional brethren. Returning to Bologna, after doing some work in See also:Fontainebleau and in See also:Genoa, he opened a school of art, in which he became the See also:preceptor of Lodovico and See also:Agostino See also:Caracci; but these pupils, See also:standing forth as reformers and innovators, finally extinguished the See also:academy and the See also:vogue of Fontana. His subjects were in the way of sacred and profane See also:history and of See also:fable. He has See also:left a large quantity of work in Bologna,—the picture of the " See also:Adoration of the Magi," in 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 S. Maria delle Grazie, being considered his masterpiece —not unlike the See also:style of See also:Paul Veronese. He died in See also:Rome in 1597.
End of Article: FONTANA, PROSPERO (1512-1597)
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