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See also:PERGOLESI, See also:MICHAEL ANGELO , an 18th-See also:century See also:Italian decorative artist, who worked chiefly in See also:England. See also:Biographical details are almost entirely lacking, but like See also:Cipriani he was brought, or attracted, to England by See also:Robert See also:Adam after his famous See also:continental tour. He worked so extensively for the See also:- ADAMS
- ADAMS, ANDREW LEITH (1827-1882)
- ADAMS, CHARLES FRANCIS (1807-1886)
- ADAMS, HENRY (1838— )
- ADAMS, HENRY CARTER (1852— )
- ADAMS, HERBERT (i858— )
- ADAMS, HERBERT BAXTER (1850—1901)
- ADAMS, JOHN (1735–1826)
- ADAMS, JOHN QUINCY (1767-1848)
- ADAMS, SAMUEL (1722-1803)
- ADAMS, THOMAS (d. c. 1655)
- ADAMS, WILLIAM (d. 162o)
Adams, and his designs are so closely typical of much upon which their reputation rests, that it is impossible to doubt his See also:influence upon their See also:style. His range, like theirs, was See also:catholic. He designed See also:furniture, mantelpieces, ceilings, chandeliers, doors and mural See also:ornament with equal felicity, and as an artist in See also:plaster See also:work in See also:low See also:relief he was unapproached in his See also:day. He delighted in urns and sphinxes and interlaced gryphons, in amorini with bows and torches, in trophies of musical See also:instruments and See also:martial weapons, and in flowering arabesques which were always graceful if sometimes rather thin. The centre panels of his walls and ceilings were often occupied by classical and See also:pastoral subjects painted by Cipriani, See also:Angelica See also:Kauffmann, See also:Antonio Zucchi, her See also:husband, and sometimes by himself. These See also:nymphs and amorini, with their disengaged and riant See also:air and classic See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace, were not infrequently used as copies for See also:painting upon that satinwood furniture of the last See also:quarter of the 18th century which has never been surpassed for dainty elegance, and for the popularity of which Pergolesi was in large measure responsible; they were even reproduced in See also:marquetry. Some of this painted work was, apparently, executed by his own See also:hand; most of thepieces attributed to him are remarkable examples of See also:artistic See also:taste and technical skill. His satin-See also:wood table-tops, See also:china cabinets and See also:side-tables are the last word in a daintiness which here and there perhaps is See also:mere prettiness. Pergolesi likewise designed See also:silver See also:plate, and many of his patterns are almost instinctively attributed to the See also:brothers Adam by the makers and purchasers of See also:modern reproductions. There is, moreover, See also:reason to believe that he aided the Adam See also:firm in purely architectural work. In later See also:life Pergolesi appears, like Angelica Kauffmann, to have returned to See also:Italy.
Our See also:chief source of See also:information upon his See also:works is his own publication, Designs for Various Ornaments on Seventy Plates, a See also:series of See also:folio sheets, without See also:text, published between 1777 and 18oI.
End of Article: PERGOLESI, MICHAEL ANGELO
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