Sustris, Lambert (Alberto da Olanda) (c. 1515/20–c.
1584) Netherlands painter
Sustris was born in Amsterdam but nothing is known of
his training prior to his arrival at TITIAN’s Venetian studio
in the mid-1540s. There he seems to have specialized in
the painting of landscape backgrounds. In 1548 and
1550–51 he accompanied Titian to Augsburg. The por-
traits which he painted in Germany are a successful syn-
thesis of the northern tradition and the style of Titian. On
his return to Italy, Sustris was influenced by the manner-
ist styles of TINTORETTOand SCHIAVONE, as well as by the
prints of PARMIGIANINO. Although thoroughly Italianized,
the mature Sustris remained expert in the quintessentially
Netherlandish genre of the extensive landscape peopled
with numerous little figures. After moving to Padua in
1554, Sustris returned to Venice during the late 1560s.
There he superseded Tintoretto as a painter of official por-
traits, of which the latest known is dated 1584.
Sweelinck, Jan Pietersz. (1562–1621) Dutch composer
Sweelinck was born in Deventer in the Netherlands and
his family moved to Amsterdam two years later. He began
his musical education with Jacob Buyck at the Oude Kerk
(Old Church) in Amsterdam where he succeeded his fa-
ther as organist (c. 1580). He remained in this position
until his death and led a sedentary life; his only recorded
excursion was a visit to Antwerp to purchase a harpsi-
chord.
Sweelinck was not, however, cut off from the musical
traditions of Europe. He collected manuscripts of English
variations and fantasias, Italian toccatas and canzonas,
and keyboard music from Spain. He was especially influ-
enced by the work of CABEZÓNand probably met the ex-
iled English composer John BULL, who wrote a Fantasia on
a Theme of Sweelinck. He synthesized the techniques and
styles from all these different sources to create his own in-
novative style which, in turn, was disseminated to differ-
ent parts of Europe, especially Germany. His compositions
include secular and sacred choral music, including chan-
sons, madrigals, psalm settings, and a collection of motets,
Cantiones sacrae (1619). However, it is for his keyboard
music that he is now best known, although nothing of it
was published during his lifetime. The keyboard works
consist mainly of fantasias and toccatas influenced by the
Venetian School, in addition to sets of variations on secu-
lar melodies.
Sweelinck was an influential and sought-after teacher
whose pupils included the oragnist-composers Heinrich
Schiedemann (c. 1596–1663) and Samuel Scheidt (1587–
1654). Through these members of the north German
organ school, Sweelinck had an influence on both J. S.
Bach and Handel. He was thus one of the great transitional
figures in the development of organ music from Renais-
sance to BAROQUEcompositional styles. He was acclaimed
by a contemporary poet as “the Orpheus of Amsterdam.”Swiss Guard The special military guardians of the pope
and the Vatican Palace since the early 16th century. JULIUS
II(pope 1503–13) agreed to pay Swiss cantons for the ser-
vices of Swiss soldiers, who were excellent fighters and
had the advantage of being unlikely to become involved in
Roman politics. The Swiss Guard now consists of about
100 men recruited from the Swiss cantons. They wear a
distinctive parade uniform, designed by MICHELANGELO, of
tunic, breeches, and boldly striped stockings.Sylvester, Joshua (1563–1618) English poet and
translator
Born in Kent, Sylvester was sent to school in Southamp-
ton, where he acquired an excellent knowledge of French.
He earned a living in trade, but infinitely preferred poetry,
at which he was prolific if undistinguished. His fame rests
on his translations of the French poet DU BARTAS; parts of
his translation of La Semaine appeared from 1592 onward
and the first complete version, Du Bartas his Devine
Weekes and Works, was issued in 1605–06. In 1606 Prince
Henry gave him a small pension, but on the prince’s death
(1612) he obtained a post in the Company of Merchant
Venturers (1613) and was sent to Middelburg in Holland,
where he died. Sylvester’s version of Du Bartas’s long poem
remained influential in England until the Restoration.SSyyllvveesstteerr,, JJoosshhuuaa 4 45555