Page:Cyclopedia of painters and paintings - Volume I.djvu/148

• tion. His altarpieces have that nobility of

character which springs from the symmetry of their arrangement and the perfect balance of their parts. Their beauty is the beauty of repose, of self-contained though earnest expression, of harmony between attitude and action. Works before 1501: Portrait of Savonarola (1496), Sig. Rubieri, Florence; Last Judgment (1498-9), fresco in the little Museum of S. M. Nuova; Triptych (1500), Poldi Collection, Milan. Works after 1505: Assumption of the Virgin, Besançon Cathedral, France; Ecce Homo, Descent from Cross, St. Mark, Christ and Evangelists (1516), Madonna with Saints (1512), Holy Family, Palazzo Pitti, Florence; Isaiah, Job, Madonna and Patron Saints of Florence, Uffizi, Florence; Meeting of Christ and Apostles at Emmaus, Lunette (1507-8), S. Marco; altarpiece, Madonna with Saints (1509), S. Martino, Lucca; God the Father with Saints (1509), Madonna della Misericordia (1515), Lucca Gallery; Madonna, Hermitage, St. Petersburg; Marriage of St. Catherine (1511), Annunciation (1515), Louvre; The Virgin Mary Appearing to St. Bernard, Portrait of Savonarola as St. Peter Martyr, Christ Bearing his Cross, St. Vincent, Florence Academy; Paul and Peter, Quirinal, Rome; Holy Family, Palazzo Corsini; Assumption (1516), Museum, Naples; do., Museum, Berlin; Holy Family, Panshanger, England; Madonna del Cappuccino, Gallerie Abel, Paris; Presentation in Temple (1516), Vienna Museum.—C. & C., Italy, iii. 427; Vasari, ed. Mil., iv. 175, 212; Meyer, Künst. Lex., iii. 63; Rio, 479; Dohme, 2iii.; Burckhardt, 630; Marchesi, ii. 1.

BARTOLOMMEO DELLA GATTA. See Gatta.

BARTOLOMMEO DI MANFREDI See Bartolo di Fredi.

BARTOLOMMEO DA MURANO. See Vivarini, Bartolommeo.

BARZAGHI-CATTANEO, ANTONIO, born at Lugano, Ticino, in 1835. History, genre, and portrait painter; pupil of the Milan Academy, but took chiefly the Venetian masters for his models; painted at first portraits and genre scenes with small figures, and was gradually led to monumental and fresco painting, in which he has achieved his greatest success. Works: Beatrice Cenci (1861); Tasso, Basle Museum; Republicans in Florence Overthrowing Statues of the Medici, Diana of Poitiers (1870); Page (1873); Musing Girl (1873); Old and New Correspondence (1873); in fresco: Moses as Law-*giver, Sermon on the Mount (1874, Church at Horgen, Lake of Zürich).—Meyer, Künst. Lex., iii. 87; Müller, 29.

BASAITI, MARCO, born about 1450, died after 1520. Venetian school. Born in Venice of Greek parents, according to Vasari, but according to others a native of Friuli. He laboured in Venice between 1490 and 1520, and was probably a scholar and assistant of Luigi Vivarini, though he differed much from him. After the death of Luigi (1503), he finished his Apotheosis of St. Ambrose in the Frari, Venice, without improving it essentially. Later he was an assistant of Giovanni Bellini, whose peculiarities he adopted after 1510. Still later he imitated Palma, but without his richness of colour, and in 1520 Carpaccio. Charles Blanc calls him a worthy rival of Giovanni Bellini and of Carpaccio; but Crowe and Cavalcaselle think his work only a superficial imitation, without "the pure ring of the choicest metal." His pictures are in many galleries. Among his best are the Calling of the Apostles James and John (1510), Christ in the Garden (1510), Venice Academy; St. George and the Dragon (1520), in San Pietro di Castello, Venice; Assumption, S. Pietro Martire, Murano; Madonna Adoring the Child, Museo Civico, Padua; Christ Crowned with Thorns, Rovigo Gallery; Calling of Apostles James and John