where he painted for S. Agostino a Descent of the Holy Spirit; for S. Francesco a Virgin and Child, now in the Perugia Academy; 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; Lübke, Gesch. ital. Mal., i. 178; Meyer, Künst. Lex., iii. 58; Vasari, ed. Mil., ii. 33; W. & W., i. 472.
BARTOLO DI FREDI, born about 1330,
buried Jan. 26, 1409. Sienese school; sometimes
called Bartolommeo di Manfredi.
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 previously
(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 mixture
of the styles of Simone and Lorenzetti.
Adoration of the Magi by him in the Academy;
St. Peter, in the Louvre, Paris. Both
drawing and colour are hard, and the latter
is flat and red in the shadows. Gold is lavished
on the accessories and ornaments.—C.
& C., Italy, ii. 148; Meyer, Künst. Lex.,
iii. 61; Vasari, ed. Le Mon., ii. 218, N. 1;
219, N. 4; Baldinucci, i. 297; Gaz. des
B. Arts (1870), ii. 29.
BARTOLOMMEO BOLGHARINI, or
BOLOGHINI. See Bulgarini.
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BARTOLOMMEO, Fra, born probably at
Suffignano, near Florence, in 1475, died in
Florence, Oct. 31, 1517. Real name Bartolommeo
di Paolo di Jacopo del Fattorino;
commonly called
della Porta from
the vicinity of
his house to the
gate of S. Pier
Gattolino. Apprenticed
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 friendship
with Mariotto Albertinelli, the two entered
into a partnership which ceased in
October, 1499, when Bartolommeo, under
the influence of Savonarola, gave up painting.
In obedience to Savonarola's command
he had in 1497 burned his drawings
from the nude, and in 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 cemetery
of S. M. Nuova to be finished by Albertinelli.
Retiring into the convent of S.
Marco, Fra Bartolommeo, as he was thenceforward
called, renounced painting altogether
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 in stateliness of composi-
