army, and became full professor of philosophy at West Point, which office he held until he retired from active service in 1871. He was an original member of the National Academy of Sciences. His works include: Treatise on Optics (1839); Synthetical Mechanics (1850-58); Acoustics and Optics (1852-59); Analytical Mechanics (1853-59); and Spherical Astronomy (1855-58).
BAR'TOL, Cyrus Augustus (1813-1900). A Unitarian minister, born at Freeport, Me. He graduated at Bowdoin College, 1832, and at the Cambridge Divinity School, 1835, and from 1837, for fifty years, was a pastor in Boston. His works include: Radical Problems (1872); The Rising Faith (1875); and Principles and Portraits (1880).
BARTOLI, biir'to-le,
Adolfo (1833-94). An Italian author, born at Fivizzano. He at first studied law, but afterwards became associate editor of the Archivio storica italiano (1856-59), principal of the gymnasium in Alessandria, director of the naval academies at Leghorn, Piacenza, and Venice, and professor at the Instituto degli studi superiori at Florence (1874). Besides his valuable editions of the earlier Italian authors, he published several original works, among which may be mentioned: I viaggi di Marco Polo (1859); I primi due secoli della letteratura italiana (1870-79); I precursori del Boccaccio (1876); Storia della letteratura italiana (vols, i-viii., 1878-89).
BARTOLI, Daniello (1608-85). A learned Italian .lesuit. He was born at Ferrara, and died at Rome. He was for many years rector of the Jesuit College at Rome, but is best known as author of an Istoria dell Compagnia di Gesù ("History of .Jesuits"), vols, i.-iii., covering the history of the Order in Africa, China, and other parts of the East, and vols, iv.-v., England and Italy. He also wrote numerous biographies, books on religion and morals, and on physical phenomena, which have been highly commended. "He has been sharply criticised, however, and no less an authority than Ruggiero Bonghi has pronounced his historical work "labored, obscure, and unsystematic." His complete
works appeared at Turin in 34 volumes (1823-44).
BARTOLINI, bar'to-le'ne,
Lorenzo (1777-1850). An Italian sculptor. He was born in Saviniana, near Prato, and studied chiefly under Lemot in Paris, where (with a bas-relief of Cleobis and Biton) he obtained a prize at the Institute, which brought him commissions for a relief for the Vendôme Column and a bust of Napoleon for the Institute. In 1808 the Emperor sent him to Carrara to establish there a school of sculpture. After his patron's fall, he was appointed professor of sculpture in the Florentine Academy. Although his work had hitherto been in the classical style of the First Empire, he now sought to reform this by the application of the realistic principles of the fifteenth-century Florentines. Their influence is evident in his later works, which thus form a transition from classicism to modern realism, Among the principal are the statues of "Charity," in the Pitti Palace, Macchiavelli in the Uffizi, and two important tombs in Santa Croce, Florence; "Faith," in the Poldi-Pezzoli Museum, Milan; a colossal statue of Napoleon, now in the United States, and many busts, including those of Denon, Byron, Rossini, Cherubini, and Thiers.
BARTOLOMMEO, bar'to-lom-ma'o, Fra
(1475-1517). One of the principal painters of
the Florentine Renaissance. The son of a
sculptor, he was born near the gate of San
Piero Gattolino, whence, before becoming a friar,
he was called Baceio ( Bartolommeo ) della
Porta (gate). On the advice of Benedetto da
Majano, who discovered his precocious talent,
he was placed in the atelier of Cosimo Roselli.
There he came into contact with Piero di Cosimo,
who, according to Berenson, was his master, and
formed his lifelong friendship with Albertinelli.
With all the fervor of a pious nature, he embraced
the cause of Savonarola : of this devotion the
well-known portrait of the reformer, long cher-
ished by the brethren of San ilarco, but now in
the Academy, bears eloquent testimou}'. To the
same period belongs his fresco of the "Last
Judgment" (Santa Maria Nuova), finished by
Albertinelli. After Savonarola's death, he re-
nounced painting and in 1500 joined the Domini-
cans at San Marco. Yielding to the persuasion of
his prior, the learned Sante Pagnani, he took
up the brush again in 1504, and created the
beautiful "Apparition of the Virgin to Saint
Bernard" (Florentine Academy). He was much
influenced by the works of Leonardo, and by the
young Rapliael, whom he, in turn, influenced to
a still greater degree. On a visit to Venice in
1508 he received the commission for his "Saints
Mary Magdalen and Catharine adoring God"
(1509, Lucca). From 1509 to 1512, he was again
associated with Albertinelli ; among their joint
works are the "Madonna and Saints" in the Pitti
and the "Assumption" in Berlin, but the line
"Marriage of Saint Catharine" in the Louvre is
by Bartolommeo alone. On a brief visit to Rome
(1514) his art was transformed by the Sistine
frescoes of Michelangelo, whose colossal forms
he thenceforth imitated. After his return to
Florence occurred the well-known episode of his
"Saint Sebastian." the nudity of which proved
so disturbing to the good brethren of San Marco
as to cause its removal: it is now in private
possession at Pézenas. Among the most famous
of his latest works are a "Saint Mark" (1517,
Pitti) and the fine "Madonna della Misericordia"
(1515, Lucca). He died October 6, 1517. in his
convent at Florence. He was the first to portray
with highest excellence that majestic combina-
tion of character, form, and strict architectural
composition so characteristic of the High Ren-
aissance. He excelled especially in draperies,
and was among the first to use the lay figure,
which he is said to have invented. As is evident
rather in his drawings than in his paintings, he
was one of the greatest masters of compostion
Italy ever produced. It was chiefly from him
that Raphael acquired his wonderful mastery of
arrangement. Although the color in his paint-
ings has suffered much through his use of dark
shadows, it is rich and delicate, and belongs to
the very best achieved by Florentine painters.
Consult' the biographies of Frantz (Regenshurg,
1870), Scott (London, 1881), and Gruyer (Paris,
1886).
BARTOLOZZI, b-ir'tA-lot'se,
Francesco (1727-1815). An Italian designer and engraver. He was born at Florence, and studied painting there and engraving with Joseph Wagner at Venice. He spent a short time in Rome also, and in 1764 proceeded to London. The forty years of his life spent in that city were productive of his finest
