Page:The New International Encyclopædia 1st ed. v. 11.djvu/105

* JACOPO DA PONTA. JACOPO DA PONTE, yalcd-po da pin'ta. The name of tlie Italian painter commonly known by the title Bassano II. (q.v.). JACOPO DEI BARBAKI, da'e barTia re. or DE BARBARIS (c.14.50-1515). An Italian painter, called also the 'Master of the Caduceus,' from the sign on his plates, and sometimes Jacob Wakh. He was one of a family of painters, and was brought up and worked in Venice, where he was highly appreciated by his contemporaries. .About 1490 he went to Nuremberg, and remained there for several years. By 1500 he was back in ^■enice, for at this time he executed a large bird's-eye view of the city, engraved on wood. Afterwards he went to the Netherlands, where he was valet-de-chamhre and Court painter to the Regent ilargaret (1510), and where he died. There has been much discussion about the life fend works of this artist. He was one of the first to engrave on metal, and left twenty-nine plates, of which some are of mythological and some reli- gious subjects. His paintings are of less impor- tance, and very uncertain. He is also said to have been a sculptor. The interest of Barbari is largely on account of the curious union in him of the German and Venetian styles of art, most uncommon at that date. Consult Ephrussi, Xotes biographirjucs .5»c Jacopo di Barbarj (ISTfil. JACX)PO DELLA QUERCIA, del'lii kwar'- cha (c.1374-14.38). An Italian sculptor, born probably at Querela, near Siena. He was the pupil of liis father, a goldsmith, and does not seem to have left his native place until about 1391. He then went to Lucca, where he remained several years, and whence he returned about 1407. having failed in the competition for the doors of the baptistery in Florence. One of his best works was done at this time, the statue on the monument to Ilaria del Carretto, the wife of Paul Guinigi, in the Lucca Cathedral. An- other notable work was the fountain called "Fonte Gaia," at Siena, which he erected between the years 1409 and 1419, and which won him the surname of Delia Fonte. In this work his naturalistic treatment of the figures shows how- far he had departed from the conventional stand- ard of the day. From 1425 until his death he ■was occupied niainlv with the portal of San Pe- tronio at Bologna, a fine piece of direct and vigorous work, which is considered his master- piece. From the style and force of his art Querela has been called the "Herald of ilichel- angelo.' In the Cathedral and the Church of San Giovanni at Siena there are also reliefs by him. JACOPONE DA TODI, yirko-pC/na da tu'de, J.cop.is DE Bexedictis ( c. 1230- 1306) . An Ital- ian mystic and poet. He was born at Todi in L'mbria : was a lawyer, and successful in his profession. The sudden death of his wife, about 1268. wrought a complete change in his life. He abandoned his profession, distributed his goods among the poor, and sought the world's scorn by his strange behavior. At the same time he vigor- ousl.v denounced the corruptions of the times and the ambitions of the lofty. After ten years of penance he became a Franciscan monk. He joined the opponents of Boniface VIII., was captured at Palestrina in 1298. and kept in prison till the Pope's death in 1303. He died at Col- lazzone on Christmas night, 1306. .Jacopone's 89 JACOTOT. poetry was m.ost of it written in the Umbrian dialect. His hymns are characteristic of hi3 time, full of the fervor and the same exalted enthusiasm which are to be found in those of Saint Francis of Assist. The hymn '"Stabat mater dolorosa" is generally attributed to Jacopone, perhaps incorrectly. Consult: Sorio, Poesie scelte di Fra Jacopone da Todi (Verona, 1859) ; D'Ancona, "Jacopone da Todi, il giullare di Dio del secolo XIII.," in Htudj sitUa letteratura itul- iana de' prirni secoli (Ancona, 1884) ; Gebhart, L'ltalie mystique (Paris, 1890). JACOTOT, zha'kS'to', .Je.x .JcsEPn (1770- 1841). The originator of a "universal' method in education, born at Uijon, France, in 1770. He turned his attention at first to philology, and after having studied that subject for some time became a teacher of the classic languages in his native town. Subsequently he took up the study of law and became an attorney. In 1792 he en- tered the army and rose to the rank of captain of artiller.v: he "was then made secretary to the ilinister of War, and finally a substitute director and professor of mathematics at the Polytechnic School in Paris. In 1815 he went to Brussels, and three ,vears later accepted the position of professor of French language and literature at the L'niversity of Louvain. In 1827 he became a director of the advanced military school in that city. He returned to France in 1830, and died in Paris. His system of universal instruction was em- pirical, propounded in general rules which are unintelligible without his own explanation. It consists in directing the student's exertion to particular subjects, encouraging and exciting him in every possible manner to make use of his men- tal powers. The teacher is not to become an expounder, but after setting the student on the right track, is to leave him to explain away his own difficulties. His ideas were an outgrowth of his own intellectual development and of his experience at Louvain. where he, though French, and anderstanding no Flemish, taug'nt the Flem- ish boys by books having French and Flemish in parallel columns, largely through one book, the Trl^maqiie. There he saw that the pupils learned, though he did not teach them. "This plan was applied to other subjects, with the idea that one could teach all subjects, even these of which he might have no knowledge himself. There were four steps insisted upon in the process of learn- ing: First, learn: second, repeat; third, reflect: fourth, verify. His famous maxims. "Pupils must learn something and refer to that all the rest," and "All is in all," meant that all things in nature are united in one great whole, the knowledge of which may be acquired through any of its parts. His ideas are empirical ap- proaches to the ideas of concentration, interest. etc.. of Herbart. though expressed in exaggerated or paradoxical form. His method of language- teaching is quite similar to the popular plans of Hamilton and of Ollendorf. Jacotot expounded his ideas in Enseignement unirersel (1822), and in the Journal de VEman- cipation IntellectueUe. Others of his works are Musique, dessin et peinture (1824) and Mafhf- watiques (1828). For his lifi> and works, eon- suit: Quick. Educational Reformers (London, 1868) : and his English disciple Payne. Lectures on the Bistort/ of Education (London, 1892).