154 ROTARI— SABBATINI. His works are not common in Italy. He etched a few plates. (Lanri.) BUSTIGI, Francesco, called Bus- TicHiNO, b, at Siena, about 1600, d, 1625. Sienese School. The son of Cristoforo BusUci, a fresco and orna- mental painter, an able follower of Michelangelo da Carayaggio; and a student of the Caracci and of Guido. He also excelled in torch lights in the style of Honthorst, the Gherardo della Notte of the Italians. At Siena, in the Madonna di Provenzano, the Annim- ciation is one of his master-pieces: some of his best works are also in the collections of the grand Duke of Tus- cany, as the Death of the Magdalen; and in the Palazzo Borghese at Bome, St. Sebastian. (Baldimtcci,) SABBATINI, Andbea, called An- DBEA. DA. Salebno, b, at Salcmo about 1480, d, at Naples about 1545. Neapo- litan School. Though one of the prin- cipal painters of Naples, little is known of Sabbatini. He was first the scholar of Baimo Epifanio at Naples, where he also studied the works of SiWestro Buono ; his great guide was, however, the Assumption of the Virgin by Pietro Perugino in the cathedral of Naples. He was so engrossed by this picture that he determined about 1509-10 to set out for Perugia, and become one of Pietro's scholars. But in a road-side inn on the way he fell among some painters just arrived from Bome, and they spoke with such extraordinary praise*of the ^Mivine" Baphael and his « School of Athens," that Sabbatini changed his course and hastened to see the great works of Baphael, which at once dispelled all idea of seeking out Pietro. He became the devoted admirer and scholar of Baphael, and it is said a favourite, and an assistant of that great painter: he aided him in the Sibyls of the Chiesa della Pace. After, however, working with Bapbael for some time, seven years, says Domi- nici, Andrea was called home by the illness of his father, who died shortly after his arrival at Salerno, and from this time he settled in Naples, notwith- standing invitations from Baphael to return to Bome. Sabbatini was an excellent firesoo- painter, and had acquired much of the style of Baphael, so much so, that the Madonna of Santa Maria delle Grazie at Naples was commonly supposed to have been a work of the great Roman painter. True, however, to his first impressions, Sabbatini mastered only the style of Baphael's Florentine pe- riod. The Museo Borbonico, and the churches at Naples possess many pic- tures by him; highly-finished works, evincing a refined feeling, and they are distinguished by their beautifal drawing and delicate but warm colour- ing. The Adoration of the Kings, in the Stu4j Gallery, is a good example. His latest productions of his more influen- tial time at Naples, are less careful, more in the ordinary Boman taste of Baphael's school, anatomically man- nered; but they, too, are excellent in some respects, especially in the heads. Works. Naples, the Adoration of the Kings; the Baptism of Christ; the Deposition from the Gross; the As- sumption of the Virgin ; subjects from the life of San Placido; St. Martin dividing his mantle with the Devil ; St Nicholas of Mira ; and others. Santa Maria delle Grazie, the Madonna and Child, with Saints adoring. (DominicL) SABBATINI, or SABADINI. Lo- RENzo, called also, from his small sta- ture, LOBENZINO DA BoLOONA, alsO Lo- BENZiKo DI TiziANo, b, at Bologna, about 1530, d. at Bome, 1577. Bolognese School. He was the scholar of Titian, and studied also in Florence, where he assisted Vasari in 1566; and in his second edition Vasari speaks in veiy
