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SODOMA, IL (1477-1549)
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See also:SODOMA, IL (1477-1549) , the name given to the See also:Italian painter Giovanni See also:Antonio Bazzi (who until See also:recent years was erroneously named Razzi). He is said to have See also:borne also the name of "Sodona " as a See also: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 " Sodoma "; See also:Vasari, however, accounted for the name differently, as a See also:nickname from his See also:personal See also:character. This version appears to have been inspired by Bazzi's See also:pupil and subsequent See also:rival See also:Beccafumi. In R. H. Cust's recent See also:work on the painter another See also:suggestion is made. Vasari tells a See also:story that, Bazzi's See also:horse having won a See also:race at See also:Florence, a cry of " Who is the owner ? " went up, and Bazzi contemptuously answered " Sodoma," in See also:order to insult the Florentines (according to See also:Milanesi); and Mr Cust offers the suggestion of the Italian friend, that the racing name was really a clipped See also:form of So doma, " I am the trainer." Whatever the real origin, the name was See also:long supposed to indicate an immoral character. Bazzi was of the family de Bazis, and was See also:born at See also:Vercelli in See also:Lombardy in 1477. His first See also:master was Martino Spanzotto, by whom one signed picture is known; and he appears to have been in his native See also:place a See also: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 towards the See also:close of the 15th See also:century by some agents of the Spannocchi family; and, as the bulk of his professional See also:life was passed in this Tuscan See also:city, he See also:counts as a member of the Sienese school, although not strictly affined to it in point of See also:style. He does not seem to have been a steady or laborious student in Siena, apart from some See also:attention which he bestowed upon the sculptures of Jacopo della Quercia. Along with See also:Pinturicchio, he was one of the first to establish there the matured style of the Cinquecento. His earliest See also:works of repute are seventeen frescoes in the See also:Benedictine monastery of See also:Monte Oliveto, on the road from Siena to See also:Rome, illustrating the life of St See also:Benedict, in continuation of the See also:series which Luca See also:Signorelli had begun in 1498; Bazzi completed the set in 1502. Hence he was invited to Rome by the celebrated Sienese See also:merchant See also:Agostino Chigi, and was employed by See also:Pope See also:Julius II. in the See also:Camera della Segnatura in the Vatican. He executed two See also: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 to substitute his " See also:Justice," " See also:Poetry," and " See also:Theology." In the Chigi See also:Palace (now Farnesina) Bazzi painted some subjects from the life of See also: It is said that Bazzi jeered at the See also:History of the Painters written by Vasari, and that Vasari consequently traduced him; certainly he gives a See also:bad See also:account of Bazzi's morals and demeanour, and is niggardly towards the merits of his See also:art. According to Vasari, the See also: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; his See also:house was a perfect See also:Noah's See also:ark, owing to the See also:strange See also:miscellany of animals which he kept there. He was a See also:cracker of jokes and fond of, See also: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 success in Siena, where he painted many portraits, being partly due to want of competition. As he advanced in See also:age he became too lazy to make any cartoons for his frescoes, but daubed them straight off upon the See also:wall. Vasari admits, nevertheless, that Bazzi produced at intervals some works of very See also:fine quality, and during his lifetime his reputation stood high. The See also:general See also:verdict is that Bazzi was an able master in expression, See also:motion and See also:colour. His See also:taste was something like that of Da See also:Vinci, especially in the figures of See also:women, which have See also:grace, sweetness and uncommon earnestness. He is not eminent for See also:drawing, grouping or general elegance of form. His easel pictures are rare; there are two in the See also:National See also:Gallery in See also:London. It is uncertain whether Bazzi was a pupil of Leonardo da Vinci, though See also:Morelli (in his Italian Pictures in See also:German Galleries) speaks of his having " only ripened into an artist during the two years (1498-1500) he spent at See also:Milan with Leonardo "; and some critics see in Bazzi's " Madonna " in the Brera (if it is really by Bazzi) the See also:direct See also:influence of this master. See also:Modern See also:criticism follows Morelli in supposing that Raphael painted Bazzi's portrait in "The School of See also:Athens" ; and a drawing at See also:Christ See also: Additional information and CommentsThere are no comments yet for this article.
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