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See also:ZUCCARO, or ZUCCHERO ,i the name of two See also:Italian painters.
I. TADDEO ZUCCARO (1529-1566), one of the most popular painters of the so-called See also:Roman mannerist school, was the son of Ottaviano Zuccaro, an almost unknown painter at St Angelo in Vado, where he was See also:born in 1529. Taddeo found his way to See also:Rome, and he succeeded at an See also:early See also:age in gaining a knowledge of See also:painting and in finding patrons to employ him. When he was seventeen 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 See also:Correggio, named Daniele da See also:Parma, engaged him to assist in painting a See also:series of frescoes in a See also:chapel at Vitto near See also:Sora, on the See also:borders of the Abruzzi. Taddeo re-turned to Rome in 1548, and began his career as a See also:fresco painter, by executing a series of scenes in monochrome from the See also:life of Furius See also:Camillus on the front of the See also:palace of a wealthy Roman named Jacopo Mattei. From that 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 his success was assured, and he was largely employed by the popes See also:Julius III. and See also:Paul IV., by Della Rovere, See also:duke of See also:Urbino, and by other See also:rich patrons. His best frescoes were a See also:historical series painted on the walls of a new palace at Caprarola, built for See also:Cardinal Alessandro See also:Farnese, for which Taddeo also designed a See also:great quantity of rich decorations in See also:stucco See also:relief after the See also:style of Giulio Romano and other pupils of See also:Raphael. Nearly all his paintings were in fresco, very large in See also:scale, and often in See also:chiaroscuro or monochrome; they were more remarkable for rapidity of See also:execution and a certain boldness of style than for any higher qualities. His See also:work is mannered in style, artificial and pompous in conception, and lacks any See also:close or accurate knowledge of the human See also:form and its movements. He died in Rome in 1566, and was buried in the See also:Pantheon, not far from Raphael. _
Taddeo's easel pictures are less See also:common than his decorative frescoes. A small painting on See also:copper of the See also:Adoration of the Shepherds, formerly in the collection of See also:- JAMES
- JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
- JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
- JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
- JAMES, DAVID (1839-1893)
- JAMES, EPISTLE OF
- JAMES, GEORGE PAYNE RAINSFOP
- JAMES, HENRY (1843— )
- JAMES, JOHN ANGELL (1785-1859)
- JAMES, THOMAS (c. 1573–1629)
- JAMES, WILLIAM (1842–1910)
- JAMES, WILLIAM (d. 1827)
James II., is now at See also:Hampton See also:Court; it is a work of very small merit. The Caprarola frescoes were engraved and published by Prenner, Illustri Fatti Farnesiani Coloriti nel Real Palazzo di Caprarola (Rome, 1748-50).
II. FEDERIGO ZUCCARO (1543—1609) was in 1550 placed under his See also:brother Taddeo's See also:charge in Rome, and worked as his assist-See also:- ANT
- ANT (O. Eng. aemete, from Teutonic a, privative, and maitan, cut or bite off, i.e. " the biter off "; aemete in Middle English became differentiated in dialect use to (mete, then amte, and so ant, and also to emete, whence the synonym " emmet," now only u
ant; he completed the Caprarola frescoes. Federigo attained an See also:eminence far beyond his very limited merits as a painter, and was perhaps the most popular artist of his See also:generation. Probably no other painter has ever produced so many enormous frescoes crowded with figures on the most See also:colossal scale, all executed under the unfortunate delusion that grandeur of effect could be attained merely by great See also:size combined with extravagance of attitude and exaggeration of every See also:kind. Federigo's first work of this sort was the completion of the painting of the See also:dome of the See also:cathedral at See also:Florence; the work had been begun by the See also:art-historian See also:Vasari, who wrote in the most generous See also:language about his more successful See also:rival. Regardless of the injury to the apparent scale of the interior 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, Federigo painted about 300 figures, each nearly 5o ft. high, sprawling with violent contortions all over the See also:surface. Happily age has so dimmed these pictures that their presence is now almost harmless. Federigo was recalled to Rome by See also:- GREGORY
- GREGORY (Gregorius)
- GREGORY (Grigorii) GRIGORIEVICH ORLOV, COUNT (1734-1783)
- GREGORY, EDWARD JOHN (1850-19o9)
- GREGORY, OLINTHUS GILBERT (1774—1841)
- GREGORY, ST (c. 213-C. 270)
- GREGORY, ST, OF NAZIANZUS (329–389)
- GREGORY, ST, OF NYSSA (c.331—c. 396)
- GREGORY, ST, OF TOURS (538-594)
Gregory XIII. to continue in the Pauline chapel of the Vatican the See also:- SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)
scheme of decoration begun by See also:Michelangelo during his failing years, but a See also:quarrel between the painter and members of the papal court led to his departure from See also:Italy. He visited See also:Brussels, and there made a series of cartoons for the See also:tapestry-weavers. In 1574 he passed over to See also:England, where he received commissions to paint the portraits of See also:Queen See also:Elizabeth, See also:Mary, queen of Scots, See also:Sir See also:Nicholas See also:- BACON
- BACON (through the O. Fr. bacon, Low Lat. baco, from a Teutonic word cognate with " back," e.g. O. H. Ger. pacho, M. H. Ger. backe, buttock, flitch of bacon)
- BACON, FRANCIS (BARON VERULAM, VISCOUNT ST ALBANS) (1561-1626)
- BACON, JOHN (1740–1799)
- BACON, LEONARD (1802–1881)
- BACON, ROGER (c. 1214-c. 1294)
- BACON, SIR NICHOLAS (1509-1579)
Bacon, Sir See also:Francis See also:Walsingham, See also:Lord High See also:Admiral See also:Howard, and others. A curious full-length portrait of Elizabeth in See also:fancy See also:dress, now at Hampton Court, is attributed to this painter, though very doubtfully. Another picture in the same collection appears to be a replica of his painting of the " See also:Allegory of Calumny," as suggested by See also:Lucian's description of a celebrated work by See also:Apelles; the See also:satire in the
'So spelt by Vasari.See also:original painting, directed against some of his courtier enemies, was the immediate cause of Federigo's temporary ratite :frenri Rome. His success as a painter of portraits and other See also:works in oil was more reasonable than the admiration expressed for his colossal frescoes. A portrait of a " See also:Man with Two See also:Dogs," in the Pitti Palace at Florence, is a work of some real merit, as is also the " Dead See also:Christ and Angels " in the See also:Borghese See also:Gallery in Rome. Federigo was soon recalled to Rome to finish his work on the vault of the Pauline chapel. In 1585 he accepted an offer by See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip II. of See also:Spain to decorate the new See also:Escorial at a yearly See also:salary of 2000 crowns, and worked at the Escorial from See also:January 1586 to the end of 1588, when he returned to Rome. He there founded in 1595, under a See also:charter confirmed by See also:Sixtus V., the See also:Academy of St See also:Luke, of which he was the first See also:president. Its organization suggested to Sir See also:Joshua See also:Reynolds his scheme for See also:founding the See also:English Royal Academy.
Like his contemporary Giorgio Vasari, Federigo aimed at being an art critic and historian, but with very different success. His See also:chief See also:book, L'See also:Idea de' Pittori, Scultori, ed Architetti (See also:Turin, 1607), is a senseless See also:mass of the most turgid bombast. Little can be said in praise of his smaller works, consisting of two volumes printed at See also:Bologna in 16o8, describing his visit to Parma and a See also:journey through central Italy. Federigo was raised to the See also:rank of a See also:cavaliere not See also:long before his See also:death, which took See also:place at See also:Ancona in 1609.
For both Taddeo and Federigo Zuccaro, see Vasari, pt. iii., and See also:Lanzi, Storia Pittorica, Roman School, See also:epoch iii. (J. H.
End of Article: ZUCCARO, or ZUCCHERO
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