T I B 



421 



T I B 



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

 to his practice of plazmg ; in some the 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 name of a famous 

 model that he used frequently to engage, Valstrago. Tia- 

 lini died in 1668, aged ninety-one. 



(Malvasia, Felsina Pittrice; Lanzi, Storia Pitturica, 

 &c.) 



TIA'RIS, Crestlet, Mr. Swainson's name for a genus of 

 FKIMGILLID.E, placed by him in the subfamily Cocco- 

 thraustinee, between Amadina and its subgenera and 

 Carduelis. 



Generic Character. Bill perfectly conic, entire ; com- 

 missure sinuated, and consequently angulated. Nostrils 

 almost naked, round. Wings moderate ; first quill rather 

 shorter than the second, third, and fourth, which are equal 

 and longest. Tail even or slightly rounded. Feet mode- 

 rate. Middle toe and tarsus of equal length ; lateral toes 

 equal ; hinder toe much shorter than the tarsus. Claws 

 small, fully curved. Head crested. Locality, South 

 America only. 



Example, Tiaris nrnatus. PI. Col., 208 (Classification 

 of Bird*). 



Mr. G. R. Gray arranges this genus in the subfamily 

 Frnigillinee, between Pytelia, Sw., and Carduelis (Antiq.), 

 Briss. (list of the Genera of Birds.} 

 TIBALDEO. [TEBALDEO.] 



TIBALDI, PELLEGRFNO, otherwise called PeDegrino 

 Pellegrini, or sometimes Pellegrino da Bologna, distin- 

 guished himself both in painting and in architecture. He 

 was born in 1527, at Bologna, where his father, who ori- 

 ginally came from Valsolda in the Milanese territory, \v;is 

 only a common mason. 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 

 Vajra, 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 cer- 

 tainly studied his works very successfully, lor 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 Car- 

 racei the name of ' Michelagnolo Riformato,' and may be 

 considered as the originator of that style which they per- 

 fected. We must, however, conclude that although he 

 was employed there in the church of S. Lodovico di Fran- 

 cehi, he did not display any great ability with his pen- 

 cil during his residence at Rome, it being related of him 

 that he felt so 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 archi- 

 tecture, 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 Mascherinp'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 Poggi 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 

 Chape), which had been erected after Tibaldi's own de- 

 signs, and it was those productions which excited the ad- 

 miration of the Carracci. He was next employed at Lo- 

 retto and Ancona, where he executed several works in fresco, 

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

 Mcrcaiiti, or Exchange, in the last-mentioned city. 



HLs reputation as an architect in the meanwhile increased, 

 and after being employed to design, if not to execute, se- 

 veral buildings at Bologna, and the Palazzo della Sapienza, 

 or Collegio Borromeo, at Pavia (which last was begun by 

 Cardinal Carlo Borromeo in 1564), he restored the Archi- 

 1'alace at Milan, and was appointed chief archi- 

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

 suggested the idea or first design of the modern facade 

 lied to that celebrated Gothic structure, a design 

 which has obtained him both praise and censure in almost 

 equal degree. Among other 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 celebrated 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. Li- 

 berally rewarded by Philip, who also conferred on him the 

 title of Marquis of Valsolda (his birth-place), Tibaldi re- 

 turned 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, luiio or 

 1591, and others about as much later, viz. 1606. 

 (Tiraboschi ; Lanzi ; Milizia ; Nagler.) 

 TIBALDI, DOMENICO, younger brother, not son of 

 the preceding, as he is sometimes called, was born in 154Z, 

 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 Bo- 

 logna, the principal among which are the Palazzo Mag- 

 nani, the Dogana, or custom-house, the chapel in the 

 cathedral, so greatly admired by Clement VHI. as being 

 superior to anything of the kind at Rome, and the small 

 church of the Madonna del Borgo. Domenico also prac- 

 tised engraving with success, and in that branch of art 

 was the instructor of Agostino Carracci. He died at 

 Bologna in 1583. 

 (Milizia; Nagler.) 

 TIBBOOS. [SAHARA.] 

 TIBER. [PAPAL STATE.] 

 TIBE'RIAS. [PALESTINE; SYRIA.] 

 TIBE'RIUS CLAU'DIUS NERO was born in Rome, 

 on the 16th November, 42 B.C., 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 

 lather, Tiberius Claudius Nero, as well as his mother, Li via 

 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 Caecus. His father was quaestor to 

 C. Julius Caesar, and distinguished himself as commander 

 of the fleet in the Alexandrian war. He became succes- 

 sively praetor and pontifex, and in the civil troubles during 

 the triumvirate he followed the .party of M. Antonius. 

 Being compelled by Octavianus to fly from Rome, he es- 

 caped by sea, and hastened to M. Antonius, who was then 

 n Greece. His wife and his infant son accompanied him 

 n his flight, and they happily escaped. Tiberius the 

 ;lder soon made his peace with Octavianus ; he gave up 

 :o him his wife, Livia Drusilla, who was then pregnant 

 with Nero Claudius Drusus, and he died shortly afterwards 

 (38 B.C.). Thus Tiberius the younger and his brother Nero 

 Claudius Drusus became step-sons of Octavianus, who 

 "rom the year 27 B.C. was Augustus. 



The great talents of Tiberius were developed at a very 

 early age. In his ninth.year he delivered a public speech 

 in honour of his father ; in 29 B.C. he accompanied Octa- 

 vianus in his triumph after the battle of Actium, and rode 

 on his left side, Marcellus being on the right. After having 

 assumed the togavirilis,he distinguished himself bysplendid 

 entertainments which he gave to the people. He married 

 Vipsania Agrippina, the daughter of Agrippa, and the 

 granddaughter of Cicero's friend T. Pompomus 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 Caesar. (12 B.C.) Tiberius 

 obeyed reluctantly, but he never ceased to love Vipsania. 

 Such was his affection for her, that whenever he saw his 

 repudiated wile he would follow her with tears ; and ac- 

 cordingly 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 scandalous conduct of Julia soon dis- 

 gusted him, and he withdrew from all intimate intercourse 

 with her. 



