by printing on colored paper and adding white height-
ening by hand.ISAAC MAJOR
Frankfurt-am-Main 1588-Vienna after 1642
The son of a goldsmith who emigrated t o Frankfurt from
the south Netherlands, Major was baptized in that city
in 1588. His life and work remain largely unresearched.
During the first decade of the 1600s he was in Prague,
where he probably trained with Aegidius Sadeler and/or
Roelandt Savery. In 1614 he was in Vienna and in 1615 in
Prague again; he visited Poznan in 1618 and appears to
have settled permanently in Vienna during the 16205; he
is still recorded there in 1642. Major's twenty-one etch-
ings of the Turkish war (1591-1606) containing topo-
graphically accurate views of Hungary indicate that he
made a trip there at some point; he is known to have re-
turned to Frankfurt in 1633. Major produced landscape
prints after Savery and Pieter Stevens as well as prints of
his own invention. His drawings include a signed series
of twenty-five pen-and-ink landscapes (Albertina) as
well as landscapes drawn with the brush and colored
washes after the fashion of Savery and Stevens. Major
appears to have been active exclusively as a graphic artist,
as there are no known paintings by him.MORAZZONE (Pier Francesco Mazzuchelli)
Morazzone 1573-Piacenza 1626
At a young age Morazzone moved from the Lombard
town of that name to Rome. There he studied with the
Sienese painter Ventura Salimbeni and perhaps with the
Cavalière dArpino. By 1598 Morazzone had returned to
Lombardy, where he spent the remainder of his career.
He worked throughout Lombardy and Piedmont, paint-
ing frescoes and altarpieces for churches and other reli-
gious organizations in Várese, Orta, and Como in addi-
tion to rhany other places. The Road to Calvary frescoes
of circa 1605 for a chapel in Sacro Monte, Varallo, com-
prise one of his early commissions. Circa 1612 Moraz-
zone completed four paintings devoted to the Life of the
Virgin for the Cappella délia Cintura, SantAgostino,
Como. One of his most famous paintings is a Pentecost
of circa 1615 (Castello Sforzesco), originally painted for
the Sala délie Congregazioni, Milan.JAN HARMENSZ. MULLER
Amsterdam 1571-1628
Jan Muller was the son of Harmenjansz. Muller, a prom-
inent Amsterdam publisher, printmaker, and art dealer.
He received his earliest training from his father. His
youthful engravings and drawings exhibit the Mannerist
figure style of Hendrick Goltzius and Cornelis van Haar-
lem. Although it is often assumed that Muller studied in
Haarlem, he could have mastered their styles by copying,
as in the drawing Tityus of 1588 (Musées Royaux des
Beaux-Arts de Belgique, Collection de Grez),which is
based on a work by Cornelis van Haarlem. During the
early 15905 Muller made engravings after the Prague
Mannerists Adriaen de Vries, Bartholomeus Spranger,
and Hans van Aachen. He also made prints after his own
inventions, such as The Adoration of the Magi of 1598,
which is typical in its innovative effects of illumination.
Between 1594 and 1602 Muller visited Rome and Naples,
after which he spent the remainder of his career at the
prosperous family publishing firm in Amsterdam.GIOVANNI BATTISTA NALDINI
Fiesole circa i53y-Florence 1591
Naldini joined Jacopo Pontormo's studio at the age of
twelve and remained there until 1557. He is documented
in Rome in 1560-61. He was back in Florence by 1564 ,
when he entered the Accademia delle Arti del Disegno.
From 1565 to 1569 he worked in the Salone dei Cinque-
cento in the Palazzo Vecchio, under the direction of Gior-
gio Vasari. In the early 15705 Naldini contributed two
paintings, The Allegory of Dreams and The Gathering of
Ambergris, to the studiolo of Francesco I de' Medici (Flor-
ence, Palazzo Vecchio). In the late 15705 he was again in
Rome, working at the church of San Giovanni Decol-
late. On his return to Florence, Naldini painted four al-
tarpieces for the churches of Santa Maria Novella and
Santa Croce as part of Vasari's renovation plans, includ-
ing a Deposition of 1583 (Santa Croce). One of his late
works is the Calling of Saint Matthew of 1584-88 (Flor-
ence, San Marco), painted for the Cappella Salviati.NICOLO DELL'ABATE
Modena 15 09/12 (?)-Fontainebleau or Paris 1571
As a youth Nicolô trained with the sculptor Antonio Be-
garelli in Modena. One of the most notable works Ni-
colô completed as an independent master in Modena was
the decoration in 1546 of the Sala del Fuoco in the Palazzo
dei Conservatori. Circa 1548 he moved to Bologna and
soon thereafter received commissions for decorative
schemes in the Palazzo Torfanini (circa 1548-50) and Pal-
azzo Poggi (circa 1550-52). The primary influences on
Nicole's early painting style were Dosso Dossi, Porden-
one, Correggio, and Parmigianino. In 1552 Nicolô ar-
rived in France to work at the court of Henry II on the
recommendation of Francesco Primaticcio, whose assis-
tant he became. There he worked on numerous projects,
most notably the Salle de Bal (1554) and Galerie d'Ulysse338 ARTISTS BIOGRAPHIES