DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0090
68
BANDINELLI — BARBARIS.
His designs were powerful, and his treatment bold, but he had much
mannerism. He hated Michael Angelo, whom he never could equal.
He was envious, false, and calumnious, full of silly vanity, his onlv
virtue being that of industry. But all that has passed away, and his
works remain to claim for him his due distinction. The best of these
are a bas-relief on the screen of the choir (or the high altar) of the
Florence Oath., which represents the Prophets, the Apostles, the
Virtues, etc.; a bas-relief on a pedestal in the Piazza of S. Lorenzo,
at Florence ; and a group representing “ Nicodemus supporting
Christ,” which he intended for his own monument. This last is in
the ch. of the Annunziata, at Florence, and the Nicodemus is a
portrait of Bandinelli himself.
Banks, Thomas, born at Lambeth (1738-1805). He served his
apprenticeship to a wood carver. He obtained several premiums
from the Society for the Encouragement of the Arts, for models in
sculpture. He then entered himself a student of the Royal Acad.,
and obtained their gold medal. This entitled him to study in Rome
three years. He applied himself closely to the study of the antique,
and there executed two of his best works in marble : “ Cupid catch-
ing a Butterfly,” purchased by Catherine II. of Russia; and “ Ca-
ractacus brought Prisoner to Rome.” He returned to England, and
attempted to indulge his fancy in works of a lofty and heroic style,
but he was compelled to adopt the more lucrative employment of
monumental sculpture. He was invited to Russia by the Empress, and
remained two years. Monuments executed by him are in several
churches in England; and in the Hall of the British Institution is the
model of “ Achilles mourning the Loss of Briseis,” never executed in
marble. His life was one of disappointment. His poetic groups were
received with coldness, and he lacked that encouragement which
stimulates to the highest attainment.
Baptiste. See Monnoyer.
Barabbino, Simone, born near Genoa about 1585. Pupil of Ber-
nardo Castello, who became jealous of his talent, and expelled him
from his Acad. He then painted a picture for the Annunziata del
Guastato, representing S. Diego, which has been much praised.
He removed to Milan, where he received the honor due to his ability.
One of his finest works is a “Madonna,” with the dead Christ, and
Saints, in the ch. of S. Girolamo. Lanzi says lie became a mer-
chant, and died in jail.
Barbalunga. See Ricci.
Barbarelli. See Giorgione.
Barbaris, Jacopo de (1504). Little can be told of this painter;
indeed, it is doubtful by what name, he should be called, for he is
thought to be identical with Jacomo Barberino Veneziano, and with
Jacob Walch, an artist alluded to by Purer in his correspondence.
His signature and emblem (a wand of Mercury), are on a panel in
BANDINELLI — BARBARIS.
His designs were powerful, and his treatment bold, but he had much
mannerism. He hated Michael Angelo, whom he never could equal.
He was envious, false, and calumnious, full of silly vanity, his onlv
virtue being that of industry. But all that has passed away, and his
works remain to claim for him his due distinction. The best of these
are a bas-relief on the screen of the choir (or the high altar) of the
Florence Oath., which represents the Prophets, the Apostles, the
Virtues, etc.; a bas-relief on a pedestal in the Piazza of S. Lorenzo,
at Florence ; and a group representing “ Nicodemus supporting
Christ,” which he intended for his own monument. This last is in
the ch. of the Annunziata, at Florence, and the Nicodemus is a
portrait of Bandinelli himself.
Banks, Thomas, born at Lambeth (1738-1805). He served his
apprenticeship to a wood carver. He obtained several premiums
from the Society for the Encouragement of the Arts, for models in
sculpture. He then entered himself a student of the Royal Acad.,
and obtained their gold medal. This entitled him to study in Rome
three years. He applied himself closely to the study of the antique,
and there executed two of his best works in marble : “ Cupid catch-
ing a Butterfly,” purchased by Catherine II. of Russia; and “ Ca-
ractacus brought Prisoner to Rome.” He returned to England, and
attempted to indulge his fancy in works of a lofty and heroic style,
but he was compelled to adopt the more lucrative employment of
monumental sculpture. He was invited to Russia by the Empress, and
remained two years. Monuments executed by him are in several
churches in England; and in the Hall of the British Institution is the
model of “ Achilles mourning the Loss of Briseis,” never executed in
marble. His life was one of disappointment. His poetic groups were
received with coldness, and he lacked that encouragement which
stimulates to the highest attainment.
Baptiste. See Monnoyer.
Barabbino, Simone, born near Genoa about 1585. Pupil of Ber-
nardo Castello, who became jealous of his talent, and expelled him
from his Acad. He then painted a picture for the Annunziata del
Guastato, representing S. Diego, which has been much praised.
He removed to Milan, where he received the honor due to his ability.
One of his finest works is a “Madonna,” with the dead Christ, and
Saints, in the ch. of S. Girolamo. Lanzi says lie became a mer-
chant, and died in jail.
Barbalunga. See Ricci.
Barbarelli. See Giorgione.
Barbaris, Jacopo de (1504). Little can be told of this painter;
indeed, it is doubtful by what name, he should be called, for he is
thought to be identical with Jacomo Barberino Veneziano, and with
Jacob Walch, an artist alluded to by Purer in his correspondence.
His signature and emblem (a wand of Mercury), are on a panel in