a sketch from life followed by a full-scale perspective ren-
dering. Throughout this process he made numerous
subtle adjustments to spatial relationships and architec-
tural details, resulting in delicately calibrated effects of se-
renity and balance. Saenredam's output of paintings and
drawings is very small, with much of it signed and dated,
often to the day. On sketching trips to 's-Hertogenbosch
in 1632 and to Assendelft in 1633 and '34, he gathered ma-
terial for paintings such as Crossing and Nave of the Sint
Odulphuskerk, Assendelft of 1649 (Rijksmuseum). He vis-
ited Alkmaar in 1634 and 1661, Utrecht in 1636, Am-
sterdam in 1641, and Rhenen in 1644. Resultant paintings
include View through the Transept of the Sint Cunerakerk,
Rhenen of 1655 (Mauritshuis) and The Old Town Hall of
Amsterdam of 1657 (Rijksmuseum).CORNELIS SAFTLEVEN
Gorinchem 1607-Rotterdam 1681
Saftleven was the son and pupil of the painter Herman
Saftleven and the brother of the landscape painter Her-
man Saftleven the Younger. Soon after Cornelis's birth,
the family moved to Rotterdam. His earliest dated paint-
ings show fanciful animal allegories and scenes of hell.
Circa 1632/34 he traveled to Antwerp, where Anthony
van Dyck made a portrait drawing of him. By 1634 Saft-
leven was in Utrecht, where his brother, Herman, was
living, and the two began to paint stable interiors, a sub-
ject new to peasant genre painting. By 1637 Saftleven had
returned to Rotterdam. Paintings of the following de-
cades include landscapes with shepherds and cows and
animal satires such as Allegory of the Condemnation ofOld-
enbarnevelt of 1663 (Rijksmuseum). As a draughtsman
Saftleven is best known for his black chalk drawings of
single figures, usually young men, and his studies of an-
imals, which show the influence of Roelandt Savery.
Saftleven remained in Rotterdam until his death.
FRANCESCO SALVIATI (Francesco dei
Rossi)
Florence circa isio-Rome 1563
Salviati studied with several artists in Florence before he
entered Andrea del S arto 's workshop in 1529. After the
latter's death in 1530, Salviati went to Rome. A fresco of
the Visitation of 1538 (Rome, San Giovanni Decollate) is
one of the few identifiable works from his first Roman
sojourn. From 1539 to 1543 Salviati traveled between
Florence, Bologna, Venice, and Rome. From 1543 to
1548 he was in Florence, where he painted portraits and
altarpieces in a typically sophisticated Mannerist style.
Salviati's principal commission, and one of the most im-portant examples of Florentine Mannerism, was the
fresco decoration of the Sala dell'Udienza in the Palazzo
Vecchio, painted for Cosimo de'Medici. The highly or-
namental and complex Triumph of Camillus of 1543-45
is a major scene from this cycle. Salviati returned to
Rome in 1548 and worked primarily for the Farnese car-
dinals and their circle, completing fresco cycles in the Pal-
azzo Farnese in the early 15505 and in the Palazzo Ricci-
Sacchetti circa 1555. He took a brief trip to France circa
1556. An inveterate draughtsman, Salviati made designs
for engravings and tapestries throughout his career. His
final commission, never realized, was for a portion of the
Sala Regia in the Vatican.SANTI DI TITO
San Sepolcro 1536-Florence 1603
In Florence by 1550, Santi di Tito trained with a follower
of Raffaellino del Garbo before entering Agnolo Bron-
zino's studio. In 1558 Santi left Florence for a six-year stay
in Rome, where he painted frescoes in the Palazzo Sal-
viati, Casino Pio, and Vatican Belvedere. He returned to
Florence in 1564 and participated in the production of the
temporary decorations for Michelangelo's funeral. Santi
synthesized High Renaissance and Mannerist conven-
tions during the 15605 and '705, as is apparent in the Sacra
Conversazione of circa 1565 (Florence, Ognissanti). An
ornamental fresco for the Cappella di San Lúea, SS. An-
nunziata, and the two paintings he contributed to the stu-
diolo of Francesco I in the Palazzo Vecchio are his most
important works from the 15705. Santi painted several
altarpieces for the churches of Santa Croce and Santa
Maria Novella. Among these The Resurrection of circa
1572-7 3 (Florence, Santa Croce), with its relatively clear
narrative approach, is an important example of his ma-
ture style. Sand's late works, such as The Crucifixion of
1588 (Santa Croce), are rather sober and devout, as he in-
creasingly worked toward a reform of Florentine Man-
nerism as demanded by the Counter-Reformation.GIOVANNI GIROLAMO SAVOLDO
Brescia circa 1480-Venice or Brescia 1548
Savoldo was among the leading masters of the Veneto-
Lombard school that included Moretto da Brescia and
Girolamo Romanino. He matriculated into the Floren-
tine painters' guild in 1508, although no works by him
can be connected with this period. Savoldo had returned
to Brescia by 1514, dividing his career between his native
city and Venice, where he moved in 1521. He probably
worked in Milan sometime between 1530 and 1532,
when he enjoyed the patronage of Duke Francesco IIARTISTS BIOGRAPHIES 345