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MELOZZO DA FORLI (c.1438–1494) , See also:Italian painter, the first who practised foreshortening with much success, was See also:born at Forli about 1438; he came, it is supposed, of a wealthy See also:family named Ambrosi. In all See also:probability, Melozzo studied See also:painting under See also:Piero de' See also:Franceschi, of Borgo St Sepolcro; he seems also to have been well acquainted with Giovanni Santi, the See also:father of
See also:Raphael. It has been said that he became a journeyman and See also:colour-grinder to some of the best masters, in See also:- ORDER
- ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
- ORDER, HOLY
order to prosecute his studies; this lacks See also:confirmation. Only three See also:works are extant which can safely be assigned to Melozzo: those in the Louvre, the See also:National See also:Gallery, See also:London, and the See also:Barberini See also:Palace, See also:Rome, are disputable. (I) He painted in 1472 the vault of the See also:chief See also:chapel 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 the Apostoli in Rome, his subject being the " See also:Ascension of See also:Christ "; the figure of Christ is so boldly and effectively foreshortened that it seems to "burst through the vaulting "; this See also:fresco was taken down in 1711, and the figure of Christ is now in the Quirinal Palace, not worthy of See also:special admiration See also:save in its See also:perspective quality; while some of the other portions, almost Raphaelesque in merit, are in the See also:sacristy of St See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter's. (2) Between 1475 and148g'he executed a fresco, now transferred to See also:canvas, and placed in the Vatican picture-gallery, representing the See also:appointment of Platina by See also:Pope See also:Sixtus IV. as librarian of the restored Vatican library. (3) In the Collegio at Forli is a fresco by Melozzo, termed the " Peetapepe," or See also:Pepper-grinder, originally painted as a See also:grocer's sign; it is an energetic specimen of rather coarse See also:realism, now much damaged. Melozzo also painted the See also:cupola of the Capuchin church at Forli, destroyed in 1651; and it has been said that he executed at See also:Urbino some of the portraits of See also:great men (See also:Plato, See also:Dante, Sixtus IV., &c.) which are now divided between the Barberini Palace and the Campana collection in See also:Paris; this, however, is doubtful, and it is even questionable whether Melozzo was ever at Urbino. In Rome he was one of the See also:original members of the• See also:academy of St See also:Luke, founded by Sixtus IV. He returned to Forli, probably towards 148o, and died in See also:November 1494. He contributed sensibly to the progress of pictorial See also:art; and, without being remarkable as a colourist, gave well graded See also:lights, with See also:general care and finish, and See also:fine dignified figures. His works See also:bear a certain resemblance to those of his contemporary See also:Mantegna.
End of Article: MELOZZO DA FORLI (c.1438–1494)
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