Page:Biographical catalogue of the principal Italian painters.djvu/173

142 RAPHAEL— KAZZI. Holy Family, della Eosa ; and others. Vienna, the Bepose. Munich Gallery, Holy Family, Canigiani, an early work ; Madonna della Tenda; Portrait uf Bindo Altoviti. Dresden, Madonna di San Sisto. Berlin Gallery, Adoration of the Kings, &c of the Anc^jani family, an early work (and perhaps more correctly attributed toLo Spagna) ; Holy Family, di Gasa Golonna (1508) ; and others. England, London, Na- tional Gallery, St. Catherine (1507); Julius II. : Bridgewater Gallery, Ma- donna del Passeggio; Madonna with the Palm Tree: Blenheim, Madonna Enthroned, Ansidei family. Hampton Court, the seven Cartoons : — ^The Mira- culous Draught ; the Charge to Peter ; Peter and John at the Beautiful Gate ; the Death of Ananias ; Paul and Bar- nabas at Lystra; Paul preaching at Athens; and Elymas struck BUnd. (Vasari^ PungUeoni^ Longhena^ Piuta- vant.) BATTI, Cav, Cablo Giuseppe, h, at Genoa, 1735, d, 1795. Genoese School. He was the son and scholar of GioYanni Agostino Batti, a good painter of Savona. Carlo studied at Borne, and acquired the friendship of Mengs and Battoni. He was a good copyist, but is more distinguished for his writings than his pictures. His principal work is a continuation of Soprani's lives of the Painters of Genoa x—Delle VUe de' PUtori, Scul tori, ed ArchUetti, Oenovesi. 4to. Gen. 1769. BAZZI, Cav, GiANNANTOKio, called II Sodoma, a corruption of his sur- name of SoDONA, as he has signed himself on some of his works, h, at Yercelli, in Piedmont, about 1479, d, at Siena, Feb. 14, 1549. Sienese School. He was settled in Siena, and had ac- quired the freedom of the dty. His education is obscure ; he seems to have been the scholar of Giovenone, at YercelU. He settled at Siena after a considerable sojourn at Borne, whither he had been invited by Agostino Chigi ; and he was employed by Julius II. in the Vatican Stanze. Bazzi was, with Pinturicchio, one of the first to esta- blish the cinquecento style in Siena; he excelled in colouring, in expres- sion, and in motion, but his farms were not elegant His taste somewhat resembles that of Leonardo da Yind, particularly in his women ; they unite grace and sweetness, with an earnest- ness of expression uncommon. Had his perception of beauty been more uniformly developed, and his drawing and grouping been more correct, he would have ranked among the greatest masters of the sixteenth century. His earUest works of repute are the seven- teen frescoes in the Benedictine Mo- nastery, Monte Oliveto, on the road from Siena to Borne, representing the History of St. Benedict, in continuation of the series commenced by Lnca Sig- noreUi, in 1498. Bazzi's were com- pleted in 1502; and it was through these works that he was invited to Bome. His later works are, however, more important; his best productions are at Siena, in San Domenioo, in the chapel of Santa Caterina da Siena ; two frescoes painted in 1526, which have been the constant admiration of pain- ters, from Baldassare Peruzzi and Annibal Carracd, down to the present time. On one side of the altar is St. Catherine in ecstasy, according to the legend; on the other side she is represented fainting, and about to receive the Eucharist from the Angel ; these are masterly compositions, the pathetic expression of the figures and countenances is very beautifal, the whole sentiment is unusually power- fully rendered. The scenes from the History of the Virgin, in the oratoiy of San Bernardino, executed by Bazzi, in conjunction with Pacchiaiotto and Beocafumi, in 1536-38, are also of