Page:Biographical catalogue of the principal Italian painters.djvu/50

Rh tained : and some of his works are, in composition and general grandeur of design, equal to Baphael himself. The Madonna della Miseiicordia at Lucca was mistaken by Pietro da Cortona for a work of Eaphael. The Presentation in the Temple, at Vienna, is quite worthy of the prince of painters : the St. Mark, in the Pitti Palace, wants force and decision, or, otherwise, it would be one of the noblest single figures of modem art His figures are distinguished by simplicity, dignity, and grace ; individually, and in their general attitudes in groups. His dis- position of draperies is admirable ; he id said to have been the first who taught the use of lay figures (of wood, with joints,) for the more convenient disposal of drapery. His pictmres, for the most part, consist of Holy Families, or Madonnas ib Glory, surrounded by Saints and Angels, and frequently adorned with very beautiful architectural compositions. It has been remarked by Mrs. Jameson as somewhat strange, "that the earliest examples of undraped boy-angels are by this artist." In 1509 he entered into a contract with Mariotto Albertinelli, and from this date for three years several pictures were painted by the two conjointly, or in partnership : they had previously joined before, 1494, but separated on account of Savonarola; Albertinelli did not approve of that reformer: the compositions were always by II Frate. Fra Bartolomeo visited Venice in 1508, and Home in 1513.

Works. Florence, Uffizj, two small (early) pictures of the Birth and Circumcision of Christ; Sketch of the Presentation in the Temple, at Vienna; the Virgin and the Patron Saints of Florence, in chiaroscuro; two figures of Prophets, Job and Isaiah, in the Tribune: Pitti Palace, St. Mark; Christ after the Resurrection, surrounded by the Evangelists; Holy Family, with St. Anne; a Madonna Enthroned, with Saints: Gallery of the Academy, the Dead Christ mourned by St. John and the Maiys; San Vincenzio, Dominican ; the Virgin appearing to St Bernard, 1507; the Virgin and infant Jesus, St Catharine, and other Saints; a Pietli; five portraits of Saints, including that of Savonarola; and five other similar portraits in fresco: on the wall of a chapel in a small court of Sta. Maria Nuova, the Last Judgment, in fresco, 1499: church of San Marco, the Madonna, with Saints. Naples, the Studj Gallery, the Assumption of the Virgin. Rome, in. the Quirinal Palace, St Peter and St Paul: Corsini Gallery, the Madonna. Lucca, San Bomano, the Madonna della Misericordia, 1515; God the Father surrounded by Cherubim, with Mary Magdalen and St. Catherine of Siena below, 1508: San Martino, the Madonna, with Saints, 1509. Pisa, Santa Caterina, the Virgin, with Saints, 1511. Siena, Academy, St Catherine of Alexandria, 1512; St Mary Magdalen. Vienna, Imperial Gallery, the Presentation in the Temple, 1516. Berlin Gallery, the Assumption of the Virgin (painted in conjunction with Mariotto Albertinelli). Louvre, the Salutation, 1515; the Marriage of St. Catherine, 1511. Besançon Cathedral, a Madonna, with Saints. England, Panshanger, a Madonna, with Christ and the Baptist. (Vasari. Marchese.)

BARTOLOMEO, Maestro, lived at Florence in 1236. He is said to have been the painter of the celebrated miracle-performing picture of the Annunciation in the church de' Servi, at Florence, attributed by Vasari to Pietro Cavallini.

BASAITI, Mabgo, painted from about 1470 to 1520. Venetian School, probably a pupil of Bartolomeo Vivarini. He was the able competitor