Benedetto da Maiano (1442–1497) Italian sculptor
A member of a notable artistic family of Florence,
Benedetto trained as a stone carver and developed a style
of decorative realism that reflected the influence of his
master Antonio ROSSELLINO. His earliest surviving work
was the shrine of San Savino (1472; Faenza cathedral),
upon which he worked with his brother, the architect GIU-
LIANO DA MAIANO. His best-known work, however, was his
series of marble reliefs on the pulpit in Sta. Croce, Flo-
rence (1472–75), sketches of which survive in the Victo-
ria and Albert Museum in London; this shows the
influence of DESIDERIO DA SETTIGNANO, DONATELLO,
Lorenzo GHIBERTI, and antique pieces. At about the same
time he also worked on an altar for Sta. Fina in the Colle-
giata at San Gimignano where he became familiar with the
naturalistic style of Ghirlandaio. Benedetto’s other works
included a number of portrait busts, including one of
Pietro Mellini (1474; Bargello, Florence), who commis-
sioned the marble reliefs in Sta. Croce, contributions to
churches in Naples, the tomb of Mary of Aragon, a portrait
bust of Filippo STROZZI(Louvre, Paris), and the altar of
San Bartolo in Sant’ Agostino at San Gimignano (1494).
His architectural pieces included the Palazzo Strozzi
(begun c. 1490) in Florence.
Benivieni, Girolamo (1453–1542) Italian poet and
humanist
A Florentine by birth, he joined the scholarly circle under
the patronage of Lorenzo de’ Medici. He is mainly remem-
bered for his Canzone d’amore (“Ode to love”; c. 1487), a
versification of FICINO’s translation of Plato’s Symposium.
When PICO DELLA MIRANDOLAproduced an extensive com-
mentary on the poem, Benivieni’s fame was assured. The
poem greatly assisted the spread of NEOPLATONISMand had
an enormous influence on many other writers. After be-
coming a follower of SAVONAROLA, Benivieni wrote some
religious poetry, undertook a study of Dante’s Inferno, and
translated one of Savonarola’s treatises. He died in Flo-
rence and lies buried next to his friend Pico in the church
of San Marco.
Bentivoglio family A powerful family in 15th-century
Bologna. Giovanni I ruled for a short time (1401–02)
before the VISCONTI overthrew him. His son, Anton-
galeazzo, held power briefly in 1420 before Pope Martin V
expelled him. Annibale (died 1445) successfully ejected
the papal forces, and after his assassination his cousin,
Sante, controlled Bologna (1445–63). Sante established a
close relationship with the SFORZAand defined the extent
of Bologna’s independence from the papacy (1447).
Giovanni II then governed Bologna, improving buildings
and waterways, encouraging the arts and learning, and
strengthening the army until he was forced into exile in
Ferrara by Pope JULIUS II(1506). Giovanni’s son, Annibale
II, was temporarily restored by the French (1511–12).Bermejo, Bartolomé (died 1498) Spanish painter and
designer of stained glass
He came from Cordova but is documented as being active
in Barcelona from 1486. His Pietà (1490), commissioned
for the cathedral there, is his masterpiece and shows both
Flemish and Italian influence.Bernardines See FEUILLANTSBernardino of Siena, St. (1380–1444) Italian
Franciscan reformer
Born at Massa di Carrara, between La Spezia and Pisa,
Bernardino took charge of a hospital at Siena during an
epidemic there. In 1402 he entered the Franciscan Order
and became a popular preacher, exhorting his brethren to
a stricter observance of their rule and condemning the
evils of his time, especially usury and party strife. His de-
votion to the Holy Name of Jesus gave rise to the sobriquet
“Apostle of the Holy Name.” Suspected of heresy by the
theologians of Bologna university, he was eventually ex-
onerated. In 1439 he was present at the Council of FLO-
RENCE, at which he played an active part. His simplicity
led him to accept conventional notions about the guilt of
the JEWSand the power of WITCHCRAFT. He died at Aquila
degli Abruzzi, on his way to preach at Naples.
Further reading: Franco Mormando, The Preacher’s
Demons: Bernardino of Siena and the Social Underworld of
Renaissance Italy (Chicago, Ill.: University of Chicago
Press, 1999); Cynthia L. Polecritti, Preaching Peace in Re-
naissance Italy: Bernardino of Siena and His Audience (Wash-
ington, D.C.: Catholic University of America Press, 2000).bernesco A type of lyric burlesque named after the Flo-
rentine poet Francesco BERNI. It was anti-Petrarchan in
spirit and consisted of a caricature of manners marked by
grotesque details, outrageous comparisons, and bold para-
dox. Berni drew on a long tradition of humorous vernac-
ular poetry and also on his immediate literary forebears
Domenico di Giovanni (1404–49) and Luigi PULCI. No
character, however exalted, was safe from his biting satire.
His best-known successor in the mode was Charles de Sy-
gognes (1560–1611).Berni, Francesco (c. 1497–1535) Italian poet
Born at Lamporrechio, Berni became a canon in Florence
(c. 1530). It is said that his death there was occasioned by
his being poisoned by Duke Alessandro de’ Medici when
he refused that worthy’s order to poison a cousin of the
duke’s. Berni’s poems are mainly satirical and jocose, often
on occasional topics (see BERNESCO). He was also famous
for his Rifacimento (recasting) of BOIARDO’s Orlando in-
namorato into his own Tuscan dialect. The Rifacimento,5522 BBeenneeddeettttoo ddaa MMaaiiaannoo