T I B 
TIARTN1 (Alessandro), an historical painter, who was 
horn at Bologna, in 1577. He was first a disciple of Pros- 
,pero Fontana, but on the death of that master, he received 
instructions from Bartolomio Cesi, from whom, being obliged 
to leave Bologna on account of a quarrel, he went to study 
under Passignano at Florence. After some time, about seven 
years, as the influence of the circumstance which had driven 
him from his native city subsided, he ventured to return 
there, and became a pupil of the Caracci; and he princi¬ 
pally attached himself to Ludovico, more for the improve¬ 
ment of his style, than for practice. 
He had, during his residence at Florence, acquired con¬ 
siderable fame, and painted several pictures for churches and 
convents in places within and round about that city. On 
his return to Bologna, his talents acquired him considerable 
employment. 
The colouring adopted by Tiarini in his best time, is clear 
and rich; his design tasteful and agreeable, though of a 
serious cast; and his expression just and natural: and there 
are not many artists who have done more credit to the Bo¬ 
lognese school. He died in 1668, at the advanced age 
of 91. 
TIAUME, a river of Quito, in the province of Esmeral- 
das, which runs from south to north, and enters the river of 
Esmeraldas, near its mouth, in lat. 0. 56. N. 
TIBACUI, a settlement of New Granada, in the province 
of Panches, which contains 100 house-keepers, and 60 In¬ 
dians ; 30 miles west of Santa Fe. 
TIBALDI (Pellegrino), was born at Bologna, in 1527. 
He was the pupil of Bagnacavallo, and copied w'ith much 
attention the works of Vasari, in the refectory of S. Michele 
in Bosco. At the age of twenty, he went to Rome, chiefly 
to study the works of Michael Angelo. The pictures he 
produced at Rome obtained for him the patronage of the 
cardinal Poggi, who employed him in ornamenting his 
Vigna, near the Porto del Popolo, with works in fresco, and 
then sent him back to Bologna, to assist in the completion of 
his palace there, both as architect and painter; and in both 
characters it remains as the principal testimonial of his 
powers remaining in Italy. He also constructed and adorned 
a chapel for his patron in the church of S. Giacopo Mag- 
giore. One of the paintings he executed there, was the 
Preaching of St. John, and another, the Last Judgment; 
where, in the opinion of the Caracci, he almost equalled the 
majesty of Michael Angelo, and it w'as preferred by them to 
all the other works of Pellegrino, and served them and their 
scholars as a model of study. 
From Bologna, the cardinal sent him to Loretto,to super¬ 
intend the erection of a chapel in the church of La Madonna, 
which he also ornamented with stuccoes and paintings of 
the Nativity, the Presentation in the Temple, the Transfigu¬ 
ration, and the Decollation of St. John. From thence he 
went to Ancona, w here he wrought in the churches of S. 
Agostino and Ciriaco; and in the great hall of the mer¬ 
chants he painted one of his most celebrated pictures, the 
subject of which is Hercules overthrowing monsters. He 
also superintended, as military architect, the fortifications of 
the place, about the year 1560; and two years afterwards 
visited Pavia, where he constructed the palace of the Sa- 
pienza ; he then went to Milan, and there built the temple of 
S. Fidele, and before the year 1570, was elected architect of 
the cathedral. 
Here he disencumbered the dome of numerous Gothic 
monuments, sepulchral urns and trophies, and embellished 
it in their stead with various chapels and a majestic choir. 
He soon after received a commission from Philip II. to pre¬ 
pare designs and plans for adorning the Escurial, both 
architectural and pictorial. He followed them to Spain 
himself in 1586. There he superintended the work for nine 
years, painting a great number of pictures, particularly some 
in fresco in the lower cloister, whence he expunged the un¬ 
successful productions of F. Zucchero. The subjects were 
from scripture; the Purification; the Flight into Egypt; 
the Murder of the Innocents; Christ tempted in the Wil¬ 
derness ; the Election of the Apostles; the Resurrection of 
Vot. XXIV. No. 1621. 
TIB 969 
Lazarus; the Expulsion of the Money Changers from the 
Temple; and the Resurrection of our Saviour. Besides 
these, he painted during his residence in Spain, several pic¬ 
tures for other places, particularly for the great church at 
Madrid, where there are five pictures by him. But his most 
renowned work, and which most contributed to establish his 
fame in Spain, was the ceiling of the library of the Escurial, 
w'here he appears to have rivalled the composition of the 
school of Athens by Raphael; with beautiful groups of chil¬ 
dren and figures supporting the cornices and festoons in great 
varieties, and foreshortenings worthy of an imitator of the 
style of Michael Angelo. For the extraordinary talents 
which he exhibited in these great works, Philip loaded him 
with riches and honours, and even gave him patents of nobi¬ 
lity, creating him Marquis of Valdelsa; a district in which 
his father and his uncle had laboured in the humble capacity 
of masons. He lived to an advanced age, but the exact year 
of his death is not known, though it is thought to have been 
about 1600. 
Pellegrini Tibaldi is considered, and with sufficient evi¬ 
dence from his works, as the greatest designer of the Bo¬ 
lognese and Lombard schools. He approaches the line of 
Michael Angelo nearer than all the rest of his imitators; but 
as he had decidedly adopted the technic without always 
penetrating the moral principles of his model, the manner 
of the master frequently became the style of the pupil; 
though it cannot be denied that he often united energy of 
attitude and grandeur of line, with sublimity of conception 
and dignity of motive. Of these he has given nowhere 
more signal proofs than in the ceilings and the compart¬ 
ments of the Academical Institute at Bologna. They repre¬ 
sent various scenes from the Odyssey; among them, Poly- 
pheme waking under the pangs of the fiery point, though 
painted with a sentiment of original expression, is evidently 
imitated from the newly created figure of Adam in the Sis- 
tina; but the same Cyclops groping at the entrance of his 
cave to prevent the escape of Ulysses and his associates, is 
in conception of the whole, and in the detail of the parts, an 
original invention; a form, than which Michael Angelo 
himself never conceived one of greater energy, with expres¬ 
sion, attitude, and limbs more in unison. With this may 
be placed that wonder of foreshortening, eccentricity, and 
rotundity, the figure of Elpenor, on one of the architraves of 
the Salotto, represented in the moment when, yet dreaming, 
he leaves his hold, and is precipitated from the roof. The 
air of originality which this figure in every view presents, 
and the elegance with which the imitator has reversed the 
figure in the Last Judgment of Michael Angelo, from which 
he borrowed the principal limbs of his own, place him on 
a level with the inventor. 
It was, however, less for the powers exerted by Pellegrino, 
in the decorations of the Institute, than for the eclectic 
principle which they discovered in his subsequent works, 
that the Caracci gave him the epithet of Michel Angelo 
riformato, and commended 
“ Del Tibaldo il decoro e il fondamento.” 
The compositions of the chapel Poggi, in St. Giacomo, 
where the imitation of Michael Angelo is blended with that 
of Raphael, Corregio, and D. da Volterra, contain the rudi¬ 
ments of their own system. 
Pellegrino Tibaldi is more known by his works in fresco 
than by his pictures in oil, which are extremely scarce: one 
of the earliest is the Nativity, already mentioned, in the 
Palace Borghese, of which the cartoon s'ill exists in a pri¬ 
vate collection of drawings. It is painted in a sober un¬ 
affected tone, and considered as the work of an artist jealous 
of his line, with great mellowness of touch. The figures of 
this are considerably less than the size of life; but there are 
pictures of his to be met with of diminutive dimensions, with 
all the finish of miniatures, though rich in figures, touched 
with great spirit and equal vivacity of colour: they are 
generally set off by backgrounds drawn from his favourite 
branch of art, architecture. Fuseli's Pillcington. 
TIBBERMUIK, or Tippemuir, a parish of Scotland, in, 
110 Perthshire, 
