Italian painter, born Giovanni Antonio Galli. He was the son of a swordsmith or frabbricante di spade, earning him the moniker, "Spadarino", or roughly "Little Sword". His family were from Florence, and he has previously been confused with his brother, Giacomo Galli, a picture-framer, painter and engraver about whom little is known. He was recorded alongside Bartolomeo Manfredi, Jusepe de Ribera, Cecco del Caravaggio and Carlo Saraceni as one of the closest of Caravaggio's followers c. 1620.
He is documented in 1603 as "painter in the PalazzoGLOSSARYPalaces: large urban dwellings, 'palazzo' in Italian carries no regal connotations. Alberti described the palace as a city in little, and, like cities, Italian Renaissance palaces vary in type according to differences of climate, tradition and social structure. On to these regional stocks were grafted new architectural strains, reflecting theoretical reinterpretations of antiquity and individually influential examples. The atrium and peristyle house described by Vitruvius and now known from Pompeii did not survive antiquity, and much of the interest of Renaissance designs lies in creative misunderstandings of Vitruvius's text. Medieval palace architecture probably inherited the insula type of ancient apartment house, related to the modest strip dwellings which never disappeared from Italian cities. In Florence a merchant palace developed from fortified beginnings, with vaulted shop openings on the ground floor, and the main apartments above, reached by internal stone staircases opening from an inner court. Renaissance developments regularized without changing the essential type, although large cloister-like courtyards were introduced, while shops came to be thought undignified. At Michelozzo's Medici Palace (1444) a square arcaded courtyard with axial entrance lies behind a façade of graduated rustication, with biforate windows, a classical cornice replacing the traditional wooden overhang. The apartments on the 'piano nobile' formed interconnecting suites of rooms of diminishing size and increasing privacy. The classical orders which Alberti introduced to the façade of the Palazzo Rucellai (c.1453) were not taken up by the conservative Florentines, who continued to build variations on the Medici Palace (Palazzo Pitti; Palazzo Strozzi). In the 16th century rustication was reduced to quoins and voussoirs, and large windows appeared on the ground floor, 'kneeling' on elongated volutes. At Urbino the Ducal Palace (1465) reflected Alberti's recommendations for the princely palace, and was in turn influential on late 15th century palaces in Rome (e.g. the Cancelleria). A harmonious Florentine courtyard and ample staircase replace the embattled spaces of medieval seigneurial castles, of which vestiges remain only in the towers flanking the balconies of the duke's private apartments, designed as a scholarly retreat. In the absence of a merchant class or a cultured nobility in 15th century Rome, the architectural pace was set by the papal court. Papal incentives to build, and large households, meant less compact plans for cardinals' palaces, often built next to their titular churches. Renaissance forms appear in the unfinished courtyard of the Palazzo Venezia (1460s), with its arcade system derived from the nearby Theatre of Marcellus, and in the delicately ordered stonework of the Cancelleria (1485). In the 16th century vestigial corner towers and shops disappear from cardinals' palaces, and Antonio da Sangallo's Palazzo Farnese (1516) introduces symmetrical planning and Vitrivuan elements, like the colonnaded vestibule, behind a sober Florentine façade, enlivened by Michelangelo's cornice. A smaller palace type supplied the needs of an enlarged papal bureaucracy, more ambitious for display than for domestic accommodation. Bramante's 'House of Raphael' sets the façade style not only for this new type, but also for Renaissance houses all over Europe. Raphael and Peruzzi made ingenious use of difficult sites (Palazzo da Brescia; Palazzo Massimi), and their sophisticated façades flattered the architectural pretensions of patron and pope (e.g. Palazzo Branconio dell'Aquila). Movement of patrons and architects, especially after the Sack of Rome, meant a diffusion of Roman forms to central and northern Italy, where Sanmicheli's palaces in Verona, and Palladio's in Vicenza, adapted Roman types to suit local conditions. Palladio's 4-columned atrium is a Vitruvian solution to the traditionally wide Veneto entrance hall, and his plan for the Palazzo da Porto-Festa contains explicit references to Vitruvius's House of the Greeks. In Venice, defended by its lagoon and a stable political system, the hereditary aristocracy built palaces open to trade and festivity on the Grand Canal. The traditional Venetian palace has a tripartite structure: long central halls above entrance vestibules used for unloading merchandise are lit on the canal façade by clusters of glazed windows (rare elsewhere), and at the back from small courts with external staircases (as in the Ca' d'Oro). Codussi's palaces introduced biforate windows and a grid of classical orders into the system, while Sansovino's Palazzo Cornaro retains vestiges of the Venetian type (small courtyard; tripartite façade) despite its Bramantesque coupled orders and licentious window surrounds. Other cities, like Genoa, evolved influential types. Through engravings and the illustrated treatises, Italian Renaissance ideas of palace planning, originally evolved in response to specific conditions, came to be applied all over Europe. San Marco, in the house of Cardinal Dolfin" and was still serving the Cardinal in 1620. The few other documents that relate to him attest to his presence in Rome in 1597, 1617, 1620, 1638, 1645 and 1651.
His only surviving documented work, until the discovery of the frescoes (1638) in the Palazzo Madama, was the SS Valeria and Martial, executed between October 1626 and November 1632. Around this Longhi (1943) grouped a number of other works: the Guardian Angel (Rieti, San Ruffo), recorded as early as 1620, St Anthony and the Christ Child (Rome, SS Cosma e Damiano), the St Thomas of Villanova Giving Alms (Ancona, Pinacoteca Comunale), St Homobonus and the Beggar (Rome, Vicariato) and Christ among the Doctors (Naples, Capodimonte). These are works of concentrated simplicity, remote from the violence of Caravaggio and characterized rather by the tender relationship between the figures and the softness and delicacy of the shadows. This group, probably painted between 1610 and 1615, before SS Valeria and Martial, has been enlarged to include the Repentant Magdalene (Baltimore,Walters Art GalleryGLOSSARYan upper story, similar to a tribune, running along the side of a building and open on one side to the interior; in a church (basilica) above the side aisles, over the ambulatory (central-plan building) and also over the west end. The gallery was used to keep certain groups of worshippers apart (women, noblemen).), St John the Baptist (untraced) and Narcissus (Rome, Palazzo Barberini). In this last, which was formerly attributed to Caravaggio and has attracted much controversy, the quality of lighting, the silky effects of the sleeves and elegiac tone of the work are typical of Spadarino's style. The Baptism of Constantine (Colle di Val d'Elsa e Borgo, Museo Civico) would also seem to belong to his early period.
