made several surveying voyages along the coast southward, Bass was in 1797 sent out on a voyage of discovery, in a little whale boat, with only six of a crew. Though provisioned for only six weeks, he persevered in his expedition for eleven, and having sailed 600 miles, returned to Port Jackson with the news that Van Diemen's land was not part of New Holland, but a separate island. The discovery was confirmed in 1798, when Bass and Flinders made a voyage in company.—J. B.
BASSAL, Jean, born at Beziers in 1752, was early distinguished among the revolutionists of Paris, became curé constitutionnel of St. Louis at Versailles in 1790, and afterwards a member of the legislative assembly. In the convention he voted for the death of the king, and was made secretary to the assembly in 1794. In the same year, having been intrusted with a commission to suppress an insurrection in Jura, he fell under the suspicion of the Jacobins, but justified himself before their tribunal, and was elected president of the society. He was afterwards sent into Switzerland as a spy on the proceedings of Barthelemy, and on his return to Paris became secretary to General Championet. Died in 1802.—J. S., G.
BASSAND, Jean Baptiste, a physician, born in 1680 at Baume-les-Dames, a little town in Franche-Comté. He died at Vienna, Nov. 30, 1742. He studied medicine at Leyden under the celebrated Bœrhaave, with whom he formed a great friendship. He was appointed military surgeon in the service of Austria, and travelled over a great part of Germany, Italy, Hungary, and sent to Bœrhaave—with whom he kept up a correspondence—a great many minerals and plants. The correspondence of Bœrhaave with Bassand was published at Vienna in 1778, 8vo, from amongst the autographs presented in the library of that city.—E. L.
BASSANI, Giovanni Battista, a musician, was born at Bologna about 1657, and died at that city in 1705. He was a pupil of Carissimi, and the master of Corelli, in whose music the influence of his style is manifest. He taught this famous artist the violin, on which instrument he was a celebrated performer. He wrote six operas, and thirty-one other works, among which were several masses, and many pieces for his instrument. He was one of the first who wrote motets for a solo voice, with violin accompaniment, and many of his compositions of this class became extremely popular; one set in particular, his Op. 8, was in great vogue in England when Hawkins wrote in 1776. He was maestro di capella of the cathedral of Bologna, and held a similar appointment at Ferrara, where he was elected member of the Accademia della Morte.—G. A. M.
BASSANO, the surname of several celebrated painters of the Venetian school, whose family name was Da Ponte. The first of them was:—
Francesco da Ponte, born at Vicenza in 1475, studied at Venice, worked at Milan and at Bassano, where he ultimately established himself; whence the surname. His imitation of the Bellinis, especially of Giovanni, during the earliest part of his career, induced the belief that he was one of their pupils, yet no positive evidence exists that this was ever the case. The "St. Bartholomew" he painted for the cathedral of Bassano is the best specimen of this early manner. It is impressed with much of the dryness of the Germanic school, but it is admirable for design and finish. His style, however, soon underwent a wholesome modification, and became more and more mellow and free. Of this period the frescos he executed in Milan, although faulty as regards shading, are a fair example. Died at Bassano, 1530.
Jacopo da Ponte, his son and pupil, born at Bassano in 1510, and commonly called Bassano the Elder, was the member of this gifted family that brought its fame to the highest climax. After having received the first artistical education from his father, he was sent to Venice to improve himself under the guidance of Bonifazio Veneziano. The peculiar habit of secretiveness of this artist, whilst at work, tried the ingenuity and patience of young Bassano very hard, but did not discourage him. Partly by making holes in the door of his master's studio, and peeping through them; partly having recourse to the easier and freer contemplation and copying of Titian's masterpieces; and lastly, from the fortunate opportunity of examining, studying, and copying Parmegiano's drawings, Jacopo, rich by his own nature in artistical elements, succeeded in forming for himself a style, which, though nearly akin to those of Titian, Bonifazio, and Tintoretto, bore always a peculiar and graceful stamp of his own individuality, most easily recognizable. This became still more evident when he, on the death of his father, was obliged to return and establish himself in his native place. It was there, at Bassano, from the beautiful spot he inhabited, overlooking the picturesque valley of the Brenta, rich in luxuriant meadows, spotted with peasants and cattle, bathed in a sea of sunlight, that he had full opportunity of studying nature, especially rustic nature, such as he, in his idiosyncrasy, preferred to all artificial display. From that time, neglecting the more pretentious branches of historical and portrait painting, in which he had shown himself equal to any of the best painters of the Venetian school of that period, he limited himself almost entirely to the reproduction of humble rural scenery, enlivened by figures and cattle, often made to illustrate scriptural subjects. In these Bassano displayed so much truth, so much graceful simplicity, combined with such a marvellous richness of colour and light, that he must be acknowledged to stand quite unique and unparalleled in it. One of the characteristics of his manner is the skilful blending of the local colours, brightened up by the boldness and liveliness of the final superposed touches. The heads of his figures, although not exhibiting any classical beauty or dignity, have a charm quite peculiar to this artist; they were generally taken from his own numerous children, whom he caused to sit in groups, out in the open air, and amidst the scenery he wanted to portray. And this, as well as all other features of his works, speaks of the homely, patriarchal life that the good-humoured painter used to lead.
The fame of his pictures became a household notion far and wide, and people used to flock to Bassano, as to a market, to purchase the familiar subjects of the jovial painter, who seemed inexhaustible in his wonderful productions. Amongst his historical masterpieces are now reckoned best the "Entombing of Christ," and the "Nativity;" amongst the portraits, that of Ariosto and Tasso; but above all, his own, surrounded by the whole of his family; but the superior specimens of the familiar style defy enumeration. This country alone possesses at least thirty-two of them, mostly in private collections.
Not a word of strife or envy pollutes the history of the life of Jacopo. Adored by his family, he was equally dear to all his friends and rivals, of whose high appreciation of him no better instance can be given than that of Paul Veronese intrusting him with the artistical education of his son, Carletto. His active and peaceful life was closed in 1592, while on a visit at Venice, when he was eighty-two years of age.
Four of his sons followed the paternal career:—
Francesco, born in Bassano in 1548, was distinguished for inventive powers, as clearly shown in his historical subjects executed at Venice, in which he vied not unsuccessfully with Tintoretto and Paul Veronese. His works, like those of his father, were justly sought for; and besides a great number for churches and palaces in the country, many were ordered for exportation. He would have reached even a greater fame had he not been afflicted by a strange melancholy and monomania that made him believe he was constantly followed and dogged by the archers of the secret tribunal. One day that this hallucination seized him, he threw himself out of a window, and was killed on the spot, being only forty-three years of age.
Giovanni Battista, also born at Bassano in 1553; died in the same place in 1613. He limited himself entirely to reproducing the works of the father and of the younger brother, Leandro.
Leandro, the cavalier, lived almost constantly at Venice, and excelled in portraits, and but for an evident tendency to mannerism, would have come nearer to his father in style and proficiency than any of his brothers. Knighted by the Doge Grimani, and appointed court-painter by Rudolph II. of Germany, he made a most brilliant career, surrounded with wealth and honours. He was passionately fond of music, and given to pomp and ostentation in the manner of his life. Although affected by a similar melancholy as his brother Francesco, by dint of activity and distractions he overcame it, so as to attain sixty-five years of age. Died in 1623.
Girolamo, Jacopo's youngest son, was born 1568; died 1622; followed painting with less energy, but often with more grace than his brothers. His style almost always recalls that of Leandro. He frequently assisted Giovanni Battista in his copies, thus promoting the extraordinary dissemination of the works of the Bassanos throughout the world.—R. M.
BASSANO, Duc de. See Maret.
BASSANTIN, James, a Scotch astronomer of the sixteenth
