- ica, The Virgin Forest, Savages preparing
Curare Poison (1861); Festival of the Supreme Being (1864); The Mammoth, Quarrelsome Boatwomen (1867); Fishwives of Seguasson (1868); Death of Dupetit-Thouars, Travellers Annoyed by Mosquitoes (1869); Capture of an English Vessel, Death of Bisson (1870); Beginning of the Hunt (1873); Tardy Guests, Captain Pleville, A Spanish Palace (1874); The Avenger, Alsatian Exiles (1875); House to Let in Country (1876); Wrecked Passengers of the Lucie-Marguérite, Railway Compartment for Ladies only (1877); Captain Lacrosse's Oath, Vigil in Samoïs (1879); Savage Women Fishing (1881); Caricature Painter in Court, Classical Painter before his Model (1882).—Larousse, ii. 673; Meyer, Gesch., 690; Chronique des Arts (1882), 186.
BIBBIENA, BERNARDO DOVIZIO DA,
Cardinal, portrait, Raphael, Madrid Museum;
wood, H. 2 ft. 6 in. × 2 ft. A middle-*aged
person, half-length, nearly full face,
which is beardless; red cap, red collar,
white sleeve resting on a stone balustrade.
Long called Cardinal Granville, and by some
Giulio de' Medici (Clement VII.). Painted
in Rome about 1513. Cardinal Bibbiena
was the intimate friend of Raphael, whose
engagement to marry his niece Maria was
ended by her premature death. Raphael's
frescos of the history of Venus and Cupid
in an apartment in the Vatican were executed
for him. Replica in Palazzo Pitti;
carried to Paris in 1799; returned in 1815.
Engraved (Pitti) by Bedetti; Gruner.—Madrazo,
Cat. descrip. é histor., 189, 341; Gal.
du Pal. Pitti, iii. Pl. 97; Müntz, 283; Passavant,
ii. 146; Springer, 253.
BIBBIENA, FERDINANDO, born in
Bologna in 1657, died in 1743. Bolognese
school; son of Gio. Maria Galli, called Bibbiena;
pupil of Carlo Cignani. Devoted
himself to architectural and perspective
painting, and became the most celebrated
decorative painter of his time. Honoured by
all the princes of Europe; worked in Germany
and in Spain, and decorated churches,
palaces, and theatres in many Italian cities.
He was the inventor of improvements in
theatrical scenery and machinery. He
painted also some excellent easel pictures,
chiefly architectural and perspective views.
In these the figures were usually painted
by his brother Francesco (1659-1739), who
was almost as noted and honoured throughout
Europe as Ferdinand. Ferdinand left
three sons, Alessandro (died about 1760),
Antonio (1700-1774), who painted the
chapel frescos in monochrome, in S. Giacomo
Maggiore, and built the great theatre at
Bologna (1756), and Giuseppe (1696-1756),
all of whom followed his manner.—Lanzi, i.
177; Ch. Blanc, École bolonaise; Gualandi,
Guida di Bologna, 94.
BIBBIENA, GIOVANNI MARIA, born
at Bibbiena in 1625, died in 1665. Bolognese
school. Real name Gio. Maria
Galli, but commonly called Bibbiena, and
same surname used by his descendants.
Pupil of Francesco Albani; painted historical
pictures, some of which are in
churches in Bologna: e.g., St. Andrew
adoring the Cross, S. M. dei Servi; Ascension,
Campo Santo.—Lanzi, iii. 177; Ch.
Blanc, École bolonaise; Gualandi, Guida, 88.
BICCI, LORENZO DI, born at Arezzo
in 1350 (?), died in 1427. Florentine school;
eldest of the three Biccis, being father
of Bicci, and grandfather of Neri. No existing
pictures; but in 1386 he was paid
for paintings in the Duomo, Florence. The
ceiling of the choir in S. Francesco, Assisi,
assigned to Lorenzo by Vasari, is more probably
by his son Bicci, with whom he is constantly
confounded by that master. The
frescos in the Cathedral at Prato representing
scenes from the lives of SS. James and
Margaret, and others from the life of S. Cecilia
in the Carmine, Florence, are in an
earlier style, and possibly by Lorenzo.—C.
& C., Italy, ii. 28; Vasari, ed. Le Mon.,
ii. 225; ed. Mil., ii. 49; Lübke, Gesch. ital.
Mal., i. 166.
BICCI, BICCI DI LORENZO DI, born
in 1373, died at Arezzo, May 6, 1452 (?).
