Antiveduto Grammatica

[1] According to Giovanni Baglione the artist was given the name Antiveduto ("foreseen") because his father had a premonition that he would soon be born during a journey between his native Siena and Rome.

His apprenticeship with the Perugian artist Giovanni Domenico Angelini (Giandomenico Perugino)[2] introduced him to small-scale work, mostly on copper.

Grammatica's earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour with St. Stanislaus of Krakow, St. Adalbert of Prague and St Hyacinth Odrowaz, was painted for the high altar of Santo Stanislao dei Polacchi.

He gained great familiarity with the two protectors of the Academy, Cardinals Federico Borromeo and Francesco Maria Del Monte, and was closely attached to the latter; so much that he was elected to the highest office of the association as "principe" in 1624.

The machinations of Grammatica's enemy Tommaso Salini over the attempt to sell off the Accademia's altarpiece, thought to be by Raphael, brought about a humiliating retreat, when Cardinal Del Monte intervened to re-establish the constitution of the institution.