A BIOGRAPHICAL DICTIONARY OF
Norfolk and other English counties, frequently
introducing cattle. He died in 1837.
BAYUCO, Juan Bautista, was a painter of some repute at Valencia, where lie was born in 1664. His best works were his pictures in the cloister of the convent of St-< Sebastian, illustrative of the ' Life of San Francisco de Paula.'
BAZAN, Mariana SILVA. See Silva Bazan.
BAZICALUVE, Ebcole, (or Bazzicaldve,) an eminent engraver of Pisa, and pupil of G. Parigi, flourished about the year 1640, and became cas- tellan of the castle of Leghorn. Bartsch describes seven of his prints, and BruUiot others which had escaped the notice of that writer. Of his works may be mentioned a 'Triumphal Procession,' and twelve landscapes.
BAZIN, Charles Louis, a French painter, sculptor, engraver, and lithographer, was bom in Paris in 1802, where he died in 1859. He was a pupil of Girodet-Trioson and of Gerard, after the latter of whom he engraved a portrait of Albertine de Stael, Diichesse de Broglie.
BAZIN, Nicolas, a Frencli engraver, was bom at Troj'es, in Champagne, in 1633, where he died in 1710. He was a pupil of Claude Mellan, and estab- lished himself in Paris as an engraver and print- seller. He worked principally with (lie graver, in rather a stiff, dry manner, and published several plates, executed by himself and others, chiefly engraved by the young artists he emploj'ed. His plates are portraits and historical subjects, of which the following are the principal :
portraits. Madame Helyot, an abbess ; after his own design, Madame Guyon, a celebrated visionary. Jean du Houssay de Chaillot, a hermit. Father Emanuel Magnan. Father Anthony Verjus, a Jesuit ; after J. P. de Cany. Jean Crasset, a Jesuit ; after Du M4e. St. Francis Xavier. St. Ignatius de Loyola, founder of the Jesuits. Louis XIV., on horseback. 1682. Maria Theresa of Austria, wife of Louis XIV. ; after Le Felnire. 1681. Louis, Dauphin of France ; after Martin. 1686. Francois Barreme, arithmetician.
VABIODS SUBJECTS. St. Francis receiving the Stigmata ; after Baroeci. St. Isabella, foundress of the Abbey of Longchamps; after Philippe de Champagne. The Virgin Mary suckling the Infant Saviour ; after Correggio. Two Ladies, one going into a Bath ; after J. Dieii. St. Anne teaching St. Elisabeth to read ; after Le Brun. St. Mary, of Egypt, and St. Zozima ; after the same. St. Jerome and St. Peter, two plates ; after Lichery. The Holy Virgin. The Annunciation. Christ crowned with Thorns. The Crucifixion.
BAZZANI, Giuseppe, was born at Reggio in 1701 (or 1690), and was a scholar of Giovanni Canti. According to Lanzi, he studied the works and imitated the style in which Rubens had painted in Italy ; at Mantua and in the neigh- bouring convents he executed many frescoes with great spirit and freedom. He was director of the Academy at Mantua, in which city he died in 1769.
BAZZ'l, Giovanni Antonio, or de' BAZZI (frequently miscalled RAZZI, and generally known as 'Sodoma'), was born at Vercelli, in Piedmont in 1477. His father, Giacomo de' Bazzi (who, it has been suggested, was a humble cadet of the noble Piedmontese house of Tiz^oni, since his son in later days lays claim to that name), was a shoemaker, who, coming from Briandate, had married and settled in Vercelli. Giovanni Antonio, his eldest son, was, on November 28, 1490, at the age of thirteen, apprenticed for seven years to a glass painter from Casale of the name of Martino Spanzotti, whose only known work may be seen (acquired quite recently) in the Public Picture Gallery in Turin. With this artist he removed to Casale until the end of his articles, and his father dying that same year, he appears to have finally left home for Milan, where even if not actually his pupil he came under the direct influence of Leonardo da Vinci, and received from that master artistic impressions of such strength that, during the whole of his subsequent career, they are never entirely absent from his works. About the year 1600-01 he came, at the invitation of certain Sienese merchants named Spannocchi, who had agents in Milan, to their city ; which, in spite of frequent absences, became henceforth his home and the scene of his greatest achievements. Vasari complains that he wasted too much of his time on his first arrival in making drawings from the sculptures, then recently executed, by the famous Giacomo delta Querela, especially those on the celebrated Fonte Gaia in the Piazzo del Campo ; and that this influence was very visible in his early paintings. However, nearly all the works recorded as having been executed during this period seem to have disappeared or perished. The most important one generally supposed to have originated at this time is the great 'Deposition from the Cross,' painted for the church of St Francesco, and now in the Siena Academy. Other smaller paintings, which probably belong to the same period, exist, but upon this point authorities differ. In 1503 he adorned the refectory of the small Olivetan Convent of St. Anna in Greta, near Pienza, with charming frescoes, the largest of which is the 'Miracle of the Loaves and Fishes,' in three sections. Here his Lombard instincts may be seen struggling with local Tuscan influences. In 1505 he was further employed by the Mother-Convent of Monte Oliveto Maggiore, near Chiusure, to take up the work commenced by Signorelli, and to continue the series of ' Scenes from the Life of St. Benedict ' frescoed in the cloister there. There he not only painted twenty-five subjects from the Life of this Saint, but also other works in the same medium in various parts of the Convent In these frescoes he showed, in spite of great inequality in execution, at the same time his unsurpassable feeling for beauty of a most exquisite, even sensuous type ; his vigorous power of portraiture, and his ungovernable passion for rollicking humour and jokes of every description. This last trait won him the nickname of ' U Mattaccio' (the Arch Fool) from the Olivetan brethren. About 1507 he was attracted to Rome among the bevy of artists employed by Julius II. to adorn the Vatican Palace. There he designed and executed the ceiling of the Camera della Segnatura, portions of which, however, were by the Pope's orders removed to make way for other work by Raphael, but of which the centre panel, the decorative grotesques, and some of the smaller scenes still remain. Authorities differ as to Bazzi's Roman visits, but it is generally considered that, after leaving for Siena about 1510, he returned again between 1513 and 1515 to execute for Agostino Chigi, the wealthy Sienese banker, the beautiful frescoes
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