TIBALDI, PELLEGRINO. — Also known as Pellegrino de' Pellegrini, painter and architect, born in Puria (Valsolda) in 1527, died in Milan on 27 May 1596.
He began his artistic career in painting in Bologna, within the dominant Raphael tradition, as evidenced by *The Betrothal of St. Catherine* and *The Virgin and Saints* (both in the Pinacoteca di Bologna); his presence is documented in Rome from 1549 to 1553. From 1549 is *The Adoration of the Shepherds* (Rome, Galleria Borghese), inspired by Michelangelo and Daniele da Volterra, with whom T. collaborated in the Cappella Rovere at Trinità dei Monti; but soon, while decorating (c. 1550–53) the vault of the Cappella di S. Dionigi at S. Luigi dei Francesi and the Sala Paolina in Castel S. Angelo (*Stories of Alexander, the Archangel Michael, Trajan*), he turned, under the influence of the imaginative painting of Francesco Salviati, to impetuous, bizarre expressions, perfectly suited to his uninhibited and fiery imagination. This tendency strengthened after his return to Bologna, in the decoration of the Cappella Poggi in S. Giacomo Maggiore (c. 1555, *Stories of the Baptist*) and especially in the frescoes of Palazzo Poggi (1554–55, *Stories of Ulysses and St. Paul*), executed with biting wit, vivid colors, and muscular figures in contorted, exaggerated, almost caricatured poses.
During a stay in the Marches (c. 1558 and following), he worked in Ancona, painting at Palazzo Ferretti the frieze with the muscular *Deities of Olympus*, the frescoes of the Loggia dei Mercanti (1558–61, now dilapidated), and the weak and chromatically bland *Baptism of Christ* (c. 1560, Ancona, Pinacoteca; formerly in S. Agostino), whose predella, now dismembered, consisted of *The Visitation* (Urbino, Galleria), *The Birth of the Baptist* (private Emilian collection), and *The Beheading* (at Brera), where T.’s whimsical fantasy is combined with refined elegance and delicate observations of reality. After turning to architecture, he returned to painting intermittently; first, during another stay in Bologna, with works (*Lucretia*, 1569, Bologna, Pinacoteca; *Silence*, fresco, ibid., Museo civico) that indicate a temporary adaptation to the Mannerism of the second half of the century; and later, during his residence in Madrid (where in 1588 he was summoned by Philip II), with the decoration of the Escorial (*Stories of Christ* in the Cloister of the Evangelists and *Allegories* in the Library), in which the exuberance of his early Bolognese frescoes seems to revive.
He devoted himself to architecture during his Lombard sojourn from 1564 to 1588, encouraged by the enlightened patronage of St. Charles Borromeo, who in 1567 appointed him architect of the Fabbrica del Duomo.
Tiarini, Alessandro — *The Madonna Delivers the Scapular to St. Simon Stock* — Bologna, Pinacoteca.
A robust movement of architectural members characterizes his principal works, which are in Pavia: the Collegio Borromeo, arranged around a courtyard with loggias on coupled columns, which Richini would later take as a model for that of Brera; and in Milan: the Canonica of the Duomo (from 1565 onward) with its rustic *a bagno* courtyard; the baptistery, the crypt, the picturesque choir in the Cathedral, as well as various altars and the design for the façade, executed only in part, which earned him a heated controversy with Martino Bassi; the church of S. Fedele (begun in 1569 and completed by M. Bassi and F. M. Richini), notable for its height accentuated by the dome. After his second stay in Bologna, he worked, among other projects, on designs for the massive circular temple of S. Sebastiano, vowed after the plague of 1560, of clear classical inspiration, for the sanctuaries of Saronno, Rho, and Caravaggio, and for the sacellum of S. Carlo at the Lazzaretto, completed in 1591. — See pl. VI.