IL See also:

• IL SODOMA (1477-1549)

SODOMA (1477-1549)  , the name given to the See also:

• ITALIAN

Italian painter Giovanni See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Bazzi (who until See also:

• RECENT

recent years was erroneously named Razzi) . He is said to have See also:

• BORNE, KARL LUDWIG (1786–1837)

borne also the name of "Sodona " as a See also:

• FAMILY

family name, and likewise the name Tizzioni; Sodona is signed upon some of his pictures . While "Bazzi " was corrupted into " Razzi," " Sodona " may have been corrupted into " See also:

• SODOMA, IL (1477-1549)

Sodoma "; See also:

• VASARI, GIORGIO (1511-1571)

Vasari, however, accounted for the name differently, as a See also:

• NICKNAME

nickname from his See also:

• PERSONAL

personal See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . This version appears to have been inspired by Bazzi's See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil and subsequent See also:

• RIVAL

rival See also:

• BECCAFUMI, DOMENICO DI PACE (1486-1551)

Beccafumi . In R . H . Cust's recent See also:

• WORK

work on the painter another See also:

• SUGGESTION

suggestion is made . Vasari tells a See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story that, Bazzi's See also:

• HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse having won a See also:

• RACE

race at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, a cry of " Who is the owner ? " went up, and Bazzi contemptuously answered " Sodoma," in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to insult the Florentines (according to See also:

• MILANESI, GAETANO (1813-1895)

Milanesi); and Mr Cust offers the suggestion of the Italian friend, that the racing name was really a clipped See also:

• FORM (Lat. forma)

form of So doma, " I am the trainer." Whatever the real origin, the name was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long supposed to indicate an immoral character . Bazzi was of the family de Bazis, and was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• VERCELLI (anc. Vercellae)

Vercelli in See also:

• LOMBARDY

Lombardy in 1477 . His first See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master was Martino Spanzotto, by whom one signed picture is known; and he appears to have been in his native See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place a See also:

• SCHOLAR, SCHOLARSHIP

scholar of the painter Giovenone . Acquiring thus the strong colouring and other distinctive marks of the Lombard school, he was brought to See also:

• SIENA

Siena towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century by some agents of the Spannocchi family; and, as the bulk of his professional See also:

• LIFE

life was passed in this Tuscan See also:

• CITY (through Fr. cite, from Lat. civitas)

city, he See also:

• COUNTS

counts as a member of the Sienese school, although not strictly affined to it in point of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style .

He does not seem to have been a steady or laborious student in Siena, apart from some See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention which he bestowed upon the sculptures of Jacopo della Quercia . Along with See also:

• PINTURICCHIO (1454–1513)

Pinturicchio, he was one of the first to establish there the matured style of the Cinquecento . His earliest See also:

• WORKS

works of repute are seventeen frescoes in the See also:

• BENEDICTINE

Benedictine monastery of See also:

• MONTE

Monte Oliveto, on the road from Siena to See also:

• ROME
• ROME (Roma)

Rome, illustrating the life of St See also:

• BENEDICT (BENEDICTUS)
• BENEDICT, SIR JULIUS (1804-1885)

Benedict, in continuation of the See also:

• SERIES (a Latin word from serere, to join)

series which Luca See also:

• SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli had begun in 1498; Bazzi completed the set in 1502 . Hence he was invited to Rome by the celebrated Sienese See also:

• MERCHANT (O. Fr. marcheant, modern marchand; from Lat. mercari, to trade, merx, goods, merchandise)

merchant See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino Chigi, and was employed by See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• JULIUS

Julius II. in the See also:

• CAMERA (a Latin adaptation of Gr. Kagapa, an arched chamber)

Camera della Segnatura in the Vatican . He executed two See also:

• GREAT

great compositions and various ornaments and grotesques . The latter are still extant; but the larger works did not satisfy the pope, who engaged See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael to substitute his " See also:

• JUSTICE (Lat. justitia)

Justice," " See also:

• POETRY

Poetry," and " See also:

• THEOLOGY

Theology." In the Chigi See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace (now Farnesina) Bazzi painted some subjects from the life of See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander the Great; "Alexander in the See also:

• TENT

Tent of See also:

• DARIUS (Pers. Darayavaush; Old Test. Daryavesh)

Darius " and the " Nuptials of the Conqueror with See also:

• ROXANA, or ROXANE

Roxana " (by some considered his masterpiece) are more particularly noticed . When See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo X. was made pope (1513) Bazzi presented him with a picture of the " See also:

• DEATH

Death of See also:

• LUCRETIA

Lucretia " (or of See also:

• CLEOPATRA

Cleopatra, according to some accounts); Leo gave him a large sum of See also:

• MONEY

money in recompense and created him a See also:

• CAVALIERE, EMILIO DEL

cavaliere . Bazzi afterwards returned to Siena and at a later date went in quest of work to See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, Vol-terra, and See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca . From Lucca he returned to Siena, not long before his death, which took place on the 14th of See also:

• FEBRUARY

February 1549 (the older narratives say 1554) . He had squandered his See also:

• PROPERTY

property and is said (rather dubiously) to have died in penury in the great See also:

• HOSPITAL (Lat. haspitalis, the adjective of hospes, host or guest)

hospital of Siena . Bazzi had married in youth a ladyof See also:

• GOOD, JOHN MASON (1764-1827)

good position, but the spouses disagreed and separated See also:

• PRETTY

pretty soon afterwards . A daughter of theirs married Bartolommeo Neroni, named also Riccio Sanese or See also:

• MAESTRO

Maestro Riccio, one of Bazzi's See also:

• PRINCIPAL

principal pupils .

It is said that Bazzi jeered at the See also:

• HISTORY

History of the Painters written by Vasari, and that Vasari consequently traduced him; certainly he gives a See also:

• BAD, BCD

bad See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Bazzi's morals and demeanour, and is niggardly towards the merits of his See also:

• ART

art . According to Vasari, the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary name by which Bazzi was known was Il Mattaccio " (the Madcap, the Maniac)—this epithet being first bestowed upon him by the monks of Monte Oliveto . He dressed gaudily, like a See also:

• MOUNTEBANK (Ital. montambanco, montimbanco, from montare, to climb up on, mount, and banco, bench, cf. saltimbanco, an acrobat' or dancer, one who dances or leaps on a bench)

mountebank; his See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house was a perfect See also:

• NOAH (ni, rest; Septuagint, New Testament, Philo, Josephus, Na*, N&i os, Nweos: Vulg. Noe)

Noah's See also:

• ARK (a word common to Teutonic languages, cf. Ger. Arche, adapted from the Lat. area, chest, cf. arcere, to shut up, enclose)„ a chest, basket or box. The Hebrew word tebah, translated in the' A.V. by " ark," is used in the Old Testament (1)

ark, owing to the See also:

• STRANGE, SIR ROBERT (1721-1792)

strange See also:

• MISCELLANY

miscellany of animals which he kept there . He was a See also:

• CRACKER (from " crack," a common Teutonic word, cf. Ger. krachen, Dutch kraken, meaning to break with a sharp sound)

cracker of jokes and fond of, See also:

• MUSIC

music, and sang some poems composed by himself on indecorous subjects . In his art Vasari alleges that Bazzi was always negligent—his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early success in Siena, where he painted many portraits, being partly due to want of competition . As he advanced in See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age he became too lazy to make any cartoons for his frescoes, but daubed them straight off upon the See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall . Vasari admits, nevertheless, that Bazzi produced at intervals some works of very See also:

• FINE

fine quality, and during his lifetime his reputation stood high . The See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• VERDICT (O. Fr. verdit, Lat. vere dictum, truly said, used in Late Latin in one word with its present significance)

verdict is that Bazzi was an able master in expression, See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion and See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . His See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste was something like that of Da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, especially in the figures of See also:

• WOMEN

women, which have See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace, sweetness and uncommon earnestness . He is not eminent for See also:

• DRAWING

drawing, grouping or general elegance of form . His easel pictures are rare; there are two in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery in See also:

• LONDON

London . It is uncertain whether Bazzi was a pupil of Leonardo da Vinci, though See also:

• MORELLI, GIOVANNI (1816-1891)

Morelli (in his Italian Pictures in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German Galleries) speaks of his having " only ripened into an artist during the two years (1498-1500) he spent at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan with Leonardo "; and some critics see in Bazzi's " Madonna " in the Brera (if it is really by Bazzi) the See also:

• DIRECT

direct See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of this master .

See also:

• MODERN

Modern See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism follows Morelli in supposing that Raphael painted Bazzi's portrait in "The School of See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens" ; and a drawing at See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church is supposed to be a portrait of Raphael by Bazzi . His most celebrated works are in Siena . In S . Domenico, in the See also:

• CHAPEL

chapel of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine of Siena, are two frescoes painted in 1526, showing Catherine in See also:

• ECSTASY (Gr. iarra(TLc, from i LarliU, put out of its place, alter)

ecstasy, and fainting as she is about to receive the See also:

• EUCHARIST (Gr. evXapurria, thanksgiving)

Eucharist from an See also:

• ANGEL

angel—a beautiful and pathetic treatment . In the See also:

• ORATORY (Lat. oratorio, sc. ors; from orare, to speak or pray)

oratory of S . Bernardino, scenes from the history of the Madonna, painted by Bazzi in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with See also:

• PACCHIA, GIROLAMO DEL

Pacchia and Beccafumi (1536-1538)—the " Visitation " and the "See also:

• ASSUMPTION, FEAST OF

Assumption "--are noticeable . In S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco are the " Deposition from the See also:

• CROSS

Cross " (1513) and " Christ Scourged "; by many critics one or other of these paintings is regarded as Bazzi's masterpiece . In the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of the See also:

• CATHEDRAL

cathedral at Pisa is the " See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

Sacrifice of See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

Abraham," and in the Uffizi Gallery of Florence as " St Sebastien." See for further details, Giovanni Antonio Bazzi, by See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert H . See also:

• HOBART
• HOBART, GARRET AUGUSTUS (1844–1899)
• HOBART, JOHN HENRY (1775-1830)

Hobart Cust (1906), which contains a full bibliography . (W . M .