TIARINI, ALES3ANDRO. 



TIBERIUS CLAUDIUS NERO. 



M 



wandering life for some years, he died at last in a convent at Cologne, 

 at the age of sixty-six, in 1506. He was an advocate for the pretended 

 sciences of alchemy and uromancy, and his whole history (like that of 

 most similar characters) is a proof of tho influence that may be 

 acquired in an ignorant age by a bold and enterprising man, when he 

 possesses some little information above the generality of his contem- 

 poraries. His writings were numerous, but of little worth, and they 

 are now very seldom looked into. Tho titles of twelve of them are 

 given in the ' Biographie Mddicale,' from which work the preceding 

 account is taken. 



TIARI'NI, ALESSANDRO, one of the most celebrated painters of 

 the Boloa-neso school, was born at Bologna in 1577. He first studied 

 under Prospero Fontana, and, after Fontana's death in 1597, under 

 Bartolomeo Cesi ; but haying in a quarrel discharged a pistol or similar 

 weapon at a fellow-scholar, without however doing him any injury, ho 

 was obliged to fly from Bologna. He went to Florence, and there 

 engaged himself with a portrait-painter, for whom he painted hands 

 and draperies, and some of his performances having attracted the 

 notice of Domenico da Passignano, he was admitted by that painter 

 into his studio as a scholar. Tiarini remained with Passignano seven 

 years, and by that time acquired so great a reputation, that he received 

 invitations from Bologna to return to that city. In Bologna his works 

 excited universal admiration for their invention and earnestness of 

 character, and for their boldness of foreshortening, correctness of design, 

 and propriety of colouring : the tone of Tiarini's pictures is sombre ; he 

 used little red, and avoided gay colours generally. His works, which 

 are very numerous, consist, chiefly in oil-paintings; he executed com- 

 paratively little in fresco : those in public places alone, in Bologna and 

 its vicinity, and in Mantua, Modena, Reggio, Parma, Cremona, and 

 Pavia, amount to upwards of two hundred : their subjects are gene- 

 rally of a melancholy or serious nature. The following are the most 

 celebrated : A Miracle of St. Dominic, in the Capella del Rosario, 

 in the church of San Domenico at Bologua, painted in competition 

 with Lioncllo Spada, in which the saint restores a dead child to life; 

 tho exhumation of a dead monk, in the convent of San Michele in 

 Bosco ; and St. Peter repenting his Denial of Christ, standing out- 

 side the door of the house of the high priest, with the Mocking of 

 Christ in the background, illuminated by torchlight. 



Ludovico Caracci, whose style Tiarini ultimately adopted, was a 

 great admirer of his works : when he first saw Tiarini's picture of the 

 Miracle of San Domenico, he is reported to have exclaimed that he 

 knew no living master that could be compared with Tiarini. Many of 

 Tiarini' d pictures, out of Bologna, have been attributed to one or 

 other of the Caracci : such was the case with the celebrated Deposi- 

 tion from the Cross, now in the Gallery of the Academy of Bologna, 

 formerly in the church of the college of Montalto : it is engraved in 

 the work of Kosaspini, ' La Pinacoteca della Ponteficia Accademia 

 dcllo Belle Arti in Bologna.' 



Several of Tiarini's pictures have lost their colour, owing to his 

 practice of gLizing ; in some tho colouring consists entirely of glazed 

 tints, the design being executed in grey. He opened a life academy 

 in Bologna, and had many scholars. Malvasia has preserved the nam<3 

 of a famous model that he used frequently to engage, Valstrago. 

 Tiiirini died in 1G68, aged ninety-one. 



TIBALDPX). [TEBALDEO.] 



TIBALDI, PELLEGRI'NO, otherwise called Pelligrino Pellegrini, 

 or sometimes Pellegrino da Bologna, distinguished himself both in 

 painting and in architecture. He was born in 1527, at Bologna, 

 where his father, who originally came from Valsolda in the Milanese 

 territory, was only a common usason. How, so circumstanced, the 

 father was able to bring up his son to a profession requiring means 

 beyond those of his own condition in life, does not appear; neither is 

 it known from whom Tibaldi received his first instruction in painting. 

 In 1547 he visited Rome, with the intention, it is said, of studying 

 under Pierino del Vaga, but as the latter died in that same year, he 

 could hardly have received any lessons from him. Whether he became 

 a pupil of Michael Agnolo is unknown : he certainly studied his 

 works very successfully, for while he caught from them grandeur of 

 style and energy of forms, he so attempered their severity by the 

 freedom and grace of his pencil, that he afterwards acquired from the 

 Caracci the name of ' Michelagnolo Riformato,' and may be considered 

 as the originator of that style which they perfected. We must how- 

 ever conclude that although he was employed there in the church of 

 S. Lodovico cli Frances!, he did not display any great ability with his 

 pencil during his residence at Rome, it being related of him that he 

 felt go discouraged as to have determined to starve himself to death, 

 from which desperate resolution he was withheld only by Ottaviano 

 Mascherino, who advised him to give up painting and devote himself 

 entirely to architecture, for which he had shown considerable taste. 

 In all probability this anecdote has been strangely exaggerated, nor 

 are we informed how he set about putting Mascherino's advice into 

 practice. That he partly adopted it, is certain, and equally certain 

 that if he renounced painting for a while, he returned to it : in fact, 

 not very long after the circumstance just spoken of, he was sent to 

 Bologna by Cardinal Poggio to adorn his palace (afterwards occupied by 

 the Academia Clementina), where he painted the history of Ulysses. 

 For the same prelate he also painted the Poggi Chapel, which had 

 been erected after Tibaldi's own designs, and it was those productions 



which excited tho admiration of the Caracci. He was next employed 

 at Loretto and Aucona, where ho executed several works in fresco, 

 and among them those with which he adorned the Sala de' Mercauti, 

 or Exchange, in the last-mentioned city. 



His reputation as an architect in the meanwhile increased, and after 

 being employed to design, if not to execute, several buildings at 

 Bologna, and the Palazzo della Sapiensa, or Collegio Borromeo, at 

 Pavia (which last was begun by Cardinal Carlo Borromeo in 1564), he 

 restored the Archiepiscopal Palace at Milan, and was appointed 

 chief architect of the Duomo, or cathedral, in that city (1570). He 

 suggested the idea or first design of the modern fa9ade attached to 

 that celebrated Gothic structure, a design which has obtained him 

 both praise and censure in almost equal degree. Among otlirr 

 buildings by him at Milan are the church of San Lorenzo, that of 

 S. Fedele, and that of the Jesuits. But the work which, if less cele- 

 brated than some of his others, is considered by one of his critics his 

 chef-d'oeuvre, and a masterpiece for the contrivance and ability shown 

 in it, is the ' Casa Professa,' or that of the Jesuits at Genoa, with its 

 church, &c., where he completely mastered all the difficulties arising 

 from the inconvenience of the site. Neither his fame nor his works 

 were confined to Italy, for the former caused him to be invited to 

 Spain in 1586, by Philip II., where he was employed both in his 

 capacity of architect and in that of painter, in which last he executed 

 many admirable frescoes in the Escurial. Liberally rewarded by 

 Philip, who also conferred on him the title of Marquis of Valsolda (his 

 birthplace), Tibaldi returned to Italy after passing about nine years in 

 Spain, and died at Milan in 1598; such at least is the date assigned 

 by Tiraboschi, though some make it much earlier, 1590 or 1591, and 

 others about as much later, viz. 1606. 



(Tiraboschi ; Lanzi ; Milizia ; Zanotti ; Nagler.) 



TIBALDI, DOMENICO, younger brother, not son of the preceding, 

 as he is sometimes called, was born in 1541, and was, if not equally 

 celebrated, like him both a painter and architect, but ranks far higher 

 in the latter than in the other character. He executed many buildings 

 at Bologna, the principal among which are the Palazzo Magnani, the 

 Dogana, or custom-house, the chapel in the cathedral, so greatly 

 admired by Clement VIII. as being superior to anything of the kind 

 at Rome, and the small church of the Madonna del Borgo. Domenico 

 also practised engraving with success, and in that branch of art w.is 

 the instructor of Agostino Caracci. He died at Bologna in 1583. 



TIBE'RIUS CLAU'DIUS NERO was born in Rome, on the 16th 

 November, B.C. 42, according to Suetonius. He belonged to the gens 

 Claudia, an old patrician family of great distinction, which was known 

 for its aristocratical pride. Tiberius belonged to this house by the 

 side of his father, Tiberius Claudius Nero, as well as his mother, 

 Livia Drusilla, who was the niece of her husband, being the daughter 

 of Appius Pulcher. This Appius Pulcher was a brother of Tiberius 

 Claudius Nero the elder, and they were both sons of Appius Csecus. 

 His father was quaostor to C. Julius Caesar, and distinguished himself 

 as commander of the fleet in the Alexandrian w/ir. He became succes- 

 sively proctor and pontifex, and in the civil troubles during the 

 triumvirate he followed the party of M. Antouius. Being compelled 

 by Octavianua to fly from Rome, he escaped by sea, and hastened to 

 M. Antonius, who "was then in Greece. His wife and his infant son 

 accompanied him in his flight, and they happily escaped. Tiberius 

 the elder soon made his peace with Octavianus ; he gave up to him 

 his wife, Livia Drusilla, who was then pregnant with Nero Claudius 

 Drusus, and he died shortly afterwards (B.C. 38). Thus Tiberius the 

 younger and his brother Nero Claudius Drusus became stepsons of 

 Octavianus, who from the year B.C. 27 was Augustus. 



The great talents of Tiberius were developed at a very early age. 

 In his ninth year he delivered a public speech iu honour of his father ; 

 in B.C. 29 he accompanied Octavianus in his triumph after the battle of 

 Actium, and rode on his left side, Marcellus being ou the right. After 

 having assumed the toga virilis, he distinguished hiinsalf by splendid 

 entertainments which he gave to the people. He married Vipsania 

 Agrippina, the daughter of Agrippa, and the granddaughter of Cicero's 

 friend T. Pomponius Atticus. She brought him a son, Drusus, and 

 she was again with child when Tiberius was obliged to sacrifice her to 

 the policy of Augustus, who compelled him ,to marry his daughter 

 Julia, the widow of Marcellus and of Agrippa, and the mother of 

 Caius and Lucius Csesar. (B.C. 12.) Tiberius obeyed reluctantly, but 

 he never ceased to love Vipaania. Such was his affection for her, that 

 whenever he saw his repudiated wife he would follow her with tears ; 

 and accordingly an order was given that Agrippina should never 

 appear in sight of Tiberius. For some time Tiberius lived in harmony 

 with Julia, and had a son by her, who died young. But the scanda- 

 lous conduct of Julia soon disgusted him, and he withdrew from all 

 intimate intercourse with her. 



During this time Tiberius took an active part in public affairs. He 

 defended the interests of King Archelaus (of Judaea, or of Cappadocia), 

 of the Tralliani, and of the Thessalians ; he was active in obtaining 

 relief for the inhabitants of Laodicea, of Thyatira, and of Chios, who, 

 having suffered from an earthquake, had implored the assistance of the 

 senate : he pleaded against Fannius Ctepio, who had conspired against 

 Augustus, and who was condemned for high treason; and he was 

 twice intrusted with the ' cura annonrc.' Tiberius made his first 

 campaign as Tribunus militum in the Cantabriau war. From Spain 



