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	Alessandro Algardi - Wikipedia, the free encyclopedia
		Alessandro Algardi (July 31, 1598 - June 10, 1654), was an Italian sculptor and architect.
		The most important of Algardi's other works are in the Vatican: the monument of Pope Leo XI, a bronze statue of Innocent X for the capitol, and most prominently La Fuga d'Attila or Papa Leone ferma Attila (the flight of Attila or Pope Leo meeting Atilla).
		Algardi was also known for his portraiture which shows a obssesive attention to detail ultimately causing serene classic visages, a sober but immediate naturalism, such as in the busts of Laudivio Zacchia, Camillo Pamphilj, and Muzio Frangipane and his two sons Lello and Roberto [1].
	en.wikipedia.org /wiki/Alessandro_Algardi (639 words)

	ALESSANDRO ALGARDI - LoveToKnow Article on ALESSANDRO ALGARDI
		The turning point in Algardi's fortune was the accession of Innocent X., of the Bolognese house of Panfili, to the papal throne in 1644.
		The most important of Algardi's other works were the mpnument of Leo XL, a bronze statue of Innocent X. for the capitol, and, above all, La Fuega d'Attila, the largest alto-relievo in the world; the two principal figures being about 10 ft. high.
		Thus there are four chimneys by Algardi in the palace of Aranjuez, where also the figures on the fountain of Neptune were executed by him.
	www.1911encyclopedia.org /A/AL/ALGARDI_ALESSANDRO.htm (551 words)

	Alessandro Algardi -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-21)
		Alessandro Algardi (July 31,1598 - June 10, 1654), was an (A native or inhabitant of Italy) Italian (An artist who creates sculptures) sculptor.
		The turning point in Algardi's fortune was the accession of (Click link for more info and facts about Pope Innocent X) Pope Innocent X, of the Bolognese house of Panfili, to the papal throne in 1644.
		There are four chimneys by Algardi in the palace of (Click link for more info and facts about Aranjuez) Aranjuez, where the figures on the fountain of (A giant planet with a ring of ice particles; the 8th planet from the sun) Neptune were also by him.
	www.absoluteastronomy.com /encyclopedia/a/al/alessandro_algardi.htm (453 words)

	Sculptures
		Alessandro Algardi (Bologna 1598 - Rome 1654), Bust of Bishop Ulpiano Volpi.
		The Bolognese sculptor Alessandro Algardi, author of this powerful portrait, was a significant figure in the Roman Baroque period.
		His aspect in Algardi's portrait presents us with some characteristic features (the bony head, the stretched skin on the cheekbones and the long mouth), which suggest that this bust was almost certainly derived from a mortuary mask, namely a chalk cast taken directly from the cadaver.
	www.museopoldipezzoli.it /PP_inglese/museo/collezioni/scultura/scultura.htm (926 words)

	Three busts by Alessandro Algardi
		Alessandro Algardi was born in 1595 in Bologna where he studied with Ludovico Carracci.
		Muzio and his sons Roberto and Lello were all dead when Alessandro Algardi was commissioned their busts, so either he worked by looking at portraits of them or he felt free to represent them as ideal models of a military leader (Muzio), a man of culture (Roberto), a young hero (Lello).
		Algardi was famous for his ability to represent details which usually believed to be outside the scope of sculpture.
	www.romeartlover.it /Algardi.html (949 words)

	Baroque High Reliefs
		This general view was shaken by Alessandro Algardi in 1646 when he prepared a stucco model for a relief to be placed on an altar in St Peter's.
		Algardi and Borromini were highly praised by Pope Innocentius X and they both were involved in the design of S. Agnese in Agone.
		Algardi died in 1654 and the altar-pieces were designed and executed by Domenico Guidi, a scholar of Algardi, and by other sculptors who often worked also with Gian Lorenzo Bernini (Ferrata, Caffà, Raggi).
	www.romeartlover.it /Altar.html (790 words)

	Alessandro Algardi Online
		Alessandro Algardi at the Detroit Institute of Arts, Michigan
		Alessandro Algardi at the Metropolitan Museum of Art, New York City
		All images and text on this Alessandro Algardi page are copyright 1999-2005 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/algardi_alessandro.html (291 words)

	Encyclopedia: Alessandro Algardi
		Leo XI, né Alessandro Ottaviano de Medici (June 2, 1535–April 27, 1605), was pope from April 1, 1605 to April 27 of the same year.
		In St. Peters Basilica, he was responsible for the tomb of Leo XI (completed 1644).
		Leo XI, born Alessandro Ottaviano de Medici (2 June 1535—27 April 1605), was pope from April 1, 1605 to April 27 of the same year.
	www.nationmaster.com /encyclopedia/Alessandro-Algardi (1245 words)

	Cleveland Museum of Art - Baptism of Christ (Alessandro Algardi)
		When Innocent X (ruled 1644-55) became pope, Alessandro Algardi endeavored to obtain his patronage.
		This bronze Baptism of Christ is a casting from the molds used for an original silver sculpture that Algardi presented to the new pope to gain his support.
		Algardi worked carefully to make this piece exciting from a number of points of view.
	www.clemusart.com /explore/work.asp?accno=1965.471 (129 words)

	AllRefer.com - Alessandro Algardi (European Art, 1600 To The Present, Biography) - Encyclopedia
		Alessandro Algardi, European Art, 1600 To The Present, Biographies
		When Bernini temporarily fell from favor, Algardi replaced him c.1644 as the most important sculptor in Rome under Pope Innocent X and received numerous commissions, including some from Spain.
		An example of Algardi's work in relief is The Meeting of Leo and Attila (St. Peter's).
	reference.allrefer.com /encyclopedia/A/Algardi.html (243 words)

	St Peter's - Altar of Leo the Great (Site not responding. Last check: 2007-10-21)
		On January 27, 1646 the Congregation of the Reverenda Fabbrica, on a decision of Pope Innocent X Pamphilj, commissioned the work to the Bolognaise Alessandro Algardi with the condition that it would be delivered by the Holy Year 1650.
		Algardi used five marble blocks and divided the narration into two registers: the scene in which the Pope stops Attila; and the supernatural meaning of the event, with the presence of Sts Peter and Paul.
		Algardi's work of art, started in 1645 and inaugurated in 1653, inaugurated a new type of art which had a great success in the 17th and 18th centuries, mainly in Rome.
	www.stpetersbasilica.org /Altars/LeotheGreat/LeotheGreat.htm (611 words)

	Alessandro -- Encyclopædia Britannica
		Alessandro was an illegitimate child, whose paternity is ascribed either to Lorenzo de' Medici (1492–1519), Duke di Urbino, or, with more likelihood, to Cardinal Giulio, nephew of Lorenzo the Magnificent.
		Alessandro Manzoni was an Italian poet and novelist who often wrote on religious themes.
		His son Domenico Scarlatti was a virtuoso performer on the harpsichord and is known for his 555 sonatas that changed and expanded the...
	www.britannica.com /eb/article-9005575?tocId=9005575 (561 words)

	A.Algardi (Site not responding. Last check: 2007-10-21)
		Alessandro Algardi, Italian sculptor, was born in Bologna in 1595 and died in Rome in 1654.
		The influence on his future artistic style was received in the years when he was a student of Ludovico Carracci, and in 1622 of Conzaga in Mantova.
		Already during his life he was considered as a champion in classic "decor" of 17th century sculpture, so he had numerous students and imitators, who brought to a great success in 17-18th centuries the artistic style created by Algardi.
	www.italycyberguide.com /Art/artistsarchite/algardi.htm (155 words)

	Alessandro Fei ( - ) Artwork Images, Exhibitions, Reviews
		Alessandro Magnasco - The Exorcism of the Waves 1735 oil on canvas Memorial Art Gallery of the University of Rochester Italian
		Alessandro Magnasco - Interior of a Synagogue c.
		Alessandro Magnasco - Monks Praying in a Grotto c.
	www.wwar.com /masters/f/fei-alessandro.html (468 words)

	Landscape with Holy Family (Getty Museum) (Site not responding. Last check: 2007-10-21)
		Sculptor Alessandro Algardi added the figures after painter Francesco Grimaldi had created the landscape.
		To achieve greater luster, Algardi also may have added the brown wash throughout.
		Algardi drew his playful family grouping with a more delicate, graceful, even fragile line than Grimaldi's bold squiggles and hatching, which are especially evident in the dynamic, dominant tree.
	www.getty.edu /art/collections/objects/o453.html (179 words)

	Alessandro Algardi (1598 - 1654) Artwork Images, Exhibitions, Reviews
		Alessandro Algardi’s work strongly emulated the style of his originally master in Bologna, Ludovico Carracci.
		In 1625, Algardi settled in Rome, producing portrait busts that resembled ancient sculpture.
		At the age of forty, Algardi was commissioned to create the tomb of Pope Leo XI.
	wwar.com /masters/a/algardi-alessandro.html (555 words)

	Venice and Northern Italy, 1600-1800 A.D. \| Timeline of Art History \| The Metropolitan Museum of Art (Site not responding. Last check: 2007-10-21)
		Among his students are Guido Reni (1575–1642); Giacomo Cavedone (1577–1660), known for his monumental altarpieces; Francesco Albani (1578–1660), a painter of refined landscapes and lyrical mythological subjects; Domenichino (1581–1641); and the sculptor Alessandro Algardi (1598–1654).
		Sculptor and architect Alessandro Algardi (1598–1664) is commissioned by the influential Spada family to execute a freestanding sculptural group for Gian Lorenzo Bernini's high altar at San Paolo Maggiore in Bologna.
		Algardi's activity from 1625 is centered in Rome where, with his contemporary and sometime rival Bernini, he becomes one of the most important sculptors of the mid-seventeenth century.
	www.metmuseum.org /toah/ht/09/eustn/ht09eustn.htm (3518 words)

	artnet.com: Resource Library: Guidi, Domenico (Site not responding. Last check: 2007-10-21)
		He remained under Finelli’s tutelage for the next decade, during which time he was involved in the popular revolt led by Masaniello against the Spanish in 1647–8.
		He also collaborated with Ercole Ferrata and Francesco Baratta on the execution, from Algardi’s design, of the marble high altar (1653–4) of S Nicola da Tolentino in Rome.
		The compactness and cohesiveness recall Algardi’s Leo and Attila but Guidi’s figures are crowded together into a single shallow plane with little attempt at spatial illusion.
	www.artnet.com /library/03/0355/T035528.asp (331 words)

	The Baptism of Jesus
		The piece was sculpted by an artist by the name of Alessandro Algardi (1598-1654) in 1644-1645.
		Perhaps Algardi uses this technique to place a greater emphasis on the human face of Christ.
		John is also displaying great ease in the way that he is baptizing Christ, and he is being very careful as he baptizes, which is evident by the position of his left arm and also by the expression on his face.
	students.roanoke.edu /groups/IL277cc/paxton/baptism4.htm (1037 words)

	St. Peter's - Monument to Leo XI (Site not responding. Last check: 2007-10-21)
		This white marble Monument to Leo XI is by Alessandro Algardi (1595-1654).
		The wording "Sic floruit" accompanying a bunch of roses at the base, is an allusion to the brevity of Leo XI's Papacy (only 27 days) even though as a cardinal he had had a leading role in the previously mentioned conversion of the king of France.
		The tomb of Alessandro de' Medici, a member of a minor branch of the famous Florentine family, who was born in 1535 and reigned as pope for only twenty-seven days in 1605, was commissioned by his nephew Cardinal Roberto Ubaldini from Alessandro Algardi, who worked on it from 1634 to 1644.
	www.stpetersbasilica.org /Monuments/LeoXI/LeoXI.htm (693 words)

	Alessandro Algardi (Getty Museum) (Site not responding. Last check: 2007-10-21)
		Initial training under the Bolognese Lodovico Carracci decisively influenced Alessandro Algardi's art: he never strayed far from the stylistic tendencies shared by many of the artists from Bologna.
		Unlike most contemporary sculptors, Algardi was an accomplished draftsman and also worked as an architect.
		Algardi received his first major sculptural commission at age forty, the tomb of Pope Leo XI.
	www.getty.edu /art/collections/bio/a3029-1.html (201 words)

	Amazon.ca: Books: Alessandro Algardi (Site not responding. Last check: 2007-10-21)
		A welcome scholarly study in English on this 17th-century Italian sculptor who, although always overshadowed by the genius of Bernini, was still an important artist of the period with sev eral papal commissions among his oeu vre.
		Basing her text on documentary evidence as well as on the visual evi dence of the artist's work, Montagu re vises misconceptions that have been handed down from Algardi's early biog raphers.
		The superb catalogue raisonne of the sculpture and decorative works includes documentation from the pri mary sources, information on lost works, and a careful tracing of the vari ous versions, casts, and derivative works.
	www.amazon.ca /exec/obidos/ASIN/0300031734 (200 words)

	Biography (Site not responding. Last check: 2007-10-21)
		During Algardi’s first years in Rome, Bernini was the principal sculptor in demand at the court of Urban VIII,
		and Algardi had to be content with relatively modest commissions given to him by patrons with connections to his native Bologna.
		It was only during the papacy of Innocent X (1644–55) that he came to true artistic prominence, revealing himself to be one of his
	www.nelepets.com /art/sculptors/algardi01.htm (173 words)

	Philadelphia Museum of Art (Site not responding. Last check: 2007-10-21)
		This is a working study for the figure of the executioner in the Beheading of St. Paul, a two-figure marble group on the high altar of the church of S. Paolo Maggiore in Bologna.
		In this study from early in the creative process, Algardi has achieved many features of the pose of his figure, but the exact position of the raised right shoulder and the way it effects the legibility of the executioner's expression is still an issue.
		Typical of Algardi's studies in the planning stage is the figure's lithe build and dance-like pose.
	www.philamuseum.org /exhibitions/exhibits/hermitage.shtml (769 words)

	artnet.com: Resource Library: Algardi, Alessandro (Site not responding. Last check: 2007-10-21)
		After the early death of François Duquesnoy in 1643, Algardi’s work came to represent the classicizing stylistic antithesis to the High Baroque sculpture of Bernini, and the two artists were perceived by their contemporaries as equals and rivals.
		During Algardi’s first years in Rome, Bernini was the principal sculptor in demand at the court of Urban VIII, and Algardi had to be content with relatively modest commissions given to him by patrons with connections to his native Bologna.
		It was only during the papacy of Innocent X (1644–55) that he came to true artistic prominence, revealing himself to be one of his century’s greatest relief and portrait sculptors.
	www.artnet.com /library/00/0017/T001772.asp (416 words)

	ARTH slides
		Algardi, Alessandro, 1595-1654, (Italian), St. Philip Neri with and an Angel, c1636
		Algardi, Alessandro, 1595-1654, (Italian), The Encounter of St. Leo the Great and Attila.
		Algardi, Alessandro, 1595-1654, (Italian), Altar of Nicholas of Tolentino, 1651-1654
	www.arth.upenn.edu /spr02/475601/475algardi.html (200 words)

	Praying Statues
		Algardi did not sculpt the kneeling-stool, but in seeing the statue we get the impression that it is a full body statue of which we see only the upper part.
		Maria dell'Anima we can compare a work by Alessandro Algardi, the leader of the classical school, with a work by Ercole Ferrata, one of Bernini's best scholars.
		He was the preferred pupil of Alessandro Algardi and at his death he inherited his "customers".
	www.romeartlover.it /Prayer.html (1080 words)

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