Last Judgment, in which he
was assisted by his friend Mariotto Albertinelli. While he was engaged upon
some pieces for the convent of the Dominican friars, he made the
acquaintance of Savonarola, who quickly acquired great influence over him,
and Bartolommeo was so affected by his cruel death, that he soon after
entered the convent, and for some years gave up his art. He had not long
resumed it, in obedience to his superior, when Raphael came to Florence and
formed a close friendship with him. Bartolommeo learned from the younger
artist the rules of perspective, in which he was so skilled, while Raphael
owes to the _frate_ the improvement in his colouring and handling of
drapery, which was noticeable in the works he produced after their meeting.
Some years afterwards he visited Rome, and was struck with admiration and a
feeling of his own inferiority when he contemplated the masterpieces of
Michelangelo and Raphael. With the latter, however, he remained on the most
friendly terms, and when he departed from Rome, left in his hands two
unfinished pictures which Raphael completed. Fra Bartolommeo's figures had
generally been small and draped. These qualities were alleged against him
as defects, and to prove that his style was not the result of want of
power, he painted the magnificent figure of St Mark (his masterpiece, at
Florence), and the undraped figure of St Sebastian. The latter was so well
designed, so naturally and beautifully coloured, and so strongly expressive
of suffering and agony, that it was found necessary to remove it from the
place where it had been exhibited in the chapel of a convent. The majority
of Bartolommeo's compositions are altar-pieces. They are remarkable for
skill in the massing of light and shade, richness and delicacy of
colouring, and for the admirable style in which the drapery of the figures
is handled, Bartolommeo having been the first to introduce and use the
lay-figure with joints.

BARTOLOZZI, FRANCESCO (1725-1815), Italian engraver, was born at Florence.
He was originally destined to follow the profession of his father, who was
a gold- and silver-smith; but he manifested so much skill and taste in
designing that he was placed under the superintendence of two Florentine
artists, who instructed him in painting. After devoting three years to that
art, he went to Venice and studied engraving. He made very rapid progress,
and executed some works of considerable importance at Venice.. He th