BARTOLO where he painted for S. Agostino a Descent of the Holy Spirit ; for S. Francesco a Vir- gin and Child, now in the Perugia Acad- emy ; and for S. Domenico frescos of the life of S. Catherine, now obliterated. The next year he was again in Siena, where he laboured for several years in the Duomo and the Palazzo Pubblico. Taddeo stood at the head of the Sienese school, yet he did not cause it to progress nor exercise any improving influence upon his successors. Siena really gained less from him than from the Lorenzetti. C. & C., Italy, ii. 156; Lttbke, Gesch. ital. Mai., i. 178 ; Meyer, Kiinst. Lex., iii. 58 ; Vasari, ed. Mil., ii. 33 ; W. & W., i. 472. BARTOLO DI FREDI, born about 1330, buried Jan. 26, 1409. Sienese school ; some- times called Bartolomnieo di Maufredi. He was associated with Andrea Vanni in 1353, was registered in 1355 in the guild of Siena, and employed in 1361 in the Sala del Consiglio, Siena. From 1362 to 1366 he was at S. Gimignano, where he had pre- viously (1356) decorated part of the parish church with scenes from the Old Testament. On his return to Siena he was employed with Jacomo di Mino in decorating the cathedral, and in 1372 he became a member of the government. Of his extant pictures a Descent from the Cross (dated 1382), in the Sacristy of S. Francesco of Montalcino, and an altarpiece, part in the sacristy and part in the Sienese Academy, show a mixt- ure of the styles of Simone and Lorenzetti. Adoration of the Magi by him in the Acad- emy ; St. Peter, in the Louvre, Paris. Both drawing and colour are hard, and the latter is flat and red in the shadows. Gold is lav- ished on the accessories and ornaments. C. & C., Italy, ii. 148 ; Meyer, Kunst. Lex., iii. 61 ; Vasari, el. Le Hon., ii. 218, N. 1 ; 219, N. 4 ; Baldinucci, i. 297 ; Gaz. des B. Arts (1870), ii. 29. BARTOLOMMEO BOLGHARINI, or BOLOGHINI. See Bulgarini. BARTOLOMMEO, Fra, born probably at Suffiguano, near Florence, in 1475, died in Florence, Oct. 31, 1517. Real name Bar- tolommeo di Paolo di Jacopo del Fattorino ; commonly called della Porta from the vicinity of his house to the
gate of S. Pier
Gattolino. Ap- prenticed when nine years old to Cosimo Roselli, with whom he remained until 1490, meanwhile studying the frescos of Masaccio and Filippino at the Carmine and the works of Perugino and Leonardo da Vinci. On leaving the studio of Rosselli, where Bartolommeo had formed what proved to be a life-long friend- ship with Mariotto Albertinelli, the two en- tered into a partnership which ceased in October, 1499, when Bartolommeo, under the influence of Savonarola, gave up paint- ing. In obedience to Savonarola's com- mand he had iii 1497 burned his draw- ings from the nude, and iu the following year, when the Convent of S. Marco was besieged, had vowed that if he survived he would join the Dominicans. This he did July 26, 1500, leaving his commenced fresco of the Last Judgment in the ceme- tery of S. M Nuova to be finished by Al- bertiuelli. Retiring into the convent of S. Marco, Fra Bartolommeo, as he was thence- forward called, renounced painting alto- gether until 1506, after which, with the assistance of Fra Paolino and Albertinelli (1508-1512), he painted a noble series of altarpieces and devotional pictures. In 1508 he went to Venice, in 1510 to Rome, and in 1512 and 1517 to Pian di Mugnone. With these exceptions he lived in Florence until his death. After Leonardo, to whom he was greatly indebted, Fra Bartolommeo may be considered the greatest painter of the Florentine school. None excelled him in dignity of style, none equalled him in the management of drapery, the harmonious use of colour, or iu stateUness of composi- 108
