published posthumously in 1541, contains interpolated
stanzas of Berni’s own. Although much lauded by contem-
poraries, Berni’s version is now rejected in favor of
Boiardo’s original.
Berruguete, Alonso Gonzales (c. 1488–1561) Spanish
sculptor
Born at Paredes de Nava and may have studied in Naples,
the son of Pedro BERRUGUETE, Alonso followed his father’s
footsteps in visiting Italy (c. 1504–17). In Florence he was
highly impressed by MICHELANGELO’s sculptural style, as is
evident from his alabaster Resurrection in Valencia. Al-
though Berruguete was appointed a court artist to CHARLES
Vin 1518, he did not accompany the emperor when he
moved to Germany in 1520, but remained in Valladolid
where he enjoyed considerable patronage. His numerous
large sculptured altarpieces, such as those for the
monastery of La Mejorada (1526) and for San Benito at
Valladolid (1527–32), reveal a debt to DONATELLO. Al-
though Berruguete’s stylistic vocabulary was distinctly
Italianate, the format of the large Spanish altarpiece with
numerous subdivisions, bright colors, and ornate decora-
tion was essentially late Gothic. The exaggerated, con-
torted style of his figures is decidedly anticlassical and
reminiscent both of 15th-century wood carving and con-
temporary Italian MANNERISM. Berruguete had numerous
pupils but his style defied imitation.
Berruguete, Pedro (active 1483–1504) Spanish painter
Documents indicate that Berruguete, who was born at
Paredes de Nava and may have studied in Naples, was em-
ployed at the cathedrals of Toledo and Avila between 1483
and 1500 and that in 1502 he became a court painter to
Philip the Handsome, later king of Spain. He specialized
in large painted altarpieces of many panels, some of which
were painted in collaboration with other artists. He was
responsible for the massive altarpiece in Ávila cathedral,
its three registers depicting (from the top) the Passion,
scenes from the life of Christ, and saints, all set in richly
deorated golden frames. His altarpiece for the monastery
of San Tomás in Ávila (1499–1503; Prado, Madrid) is con-
sidered his masterpiece. Berruguete’s attributed works in-
dicate points of contact with the painted decorations of
the studies of Federico da Montefeltro in Urbino and Gub-
bio in Italy (1473–80); he is recorded as being at work in
the ducal palace of Urbino in 1477. However, Berruguete’s
Spanish oeuvre is not of such high quality as these deco-
rations, which should more properly be ascribed to JUSTUS
OF GHENT, as whose assistant Berruguete probably worked
in Spain. Berruguete’s hybrid Italo-Flemish style is an im-
portant pointer to the early 16th-century reorientation of
Spanish painting, away from Netherlandish and towards
Italian models. His son, Alonso Gonzales BERRUGUETE,
was an important sculptor.
Bersuire, Pierre (c. 1290–1362) French biblical scholar
He was born at St.-Pierre-du-Chemin, but little else is
known about his life. A friend of PETRARCH, whom he met
at Avignon, Bersuire was probably a Franciscan monk and
was apparently imprisoned for heresy at one time, before
becoming prior of St.-Éloi in Paris. He is remembered as
the author of a widely influential translation of the Roman
historian Livy, made in the 1350s, and also as one of the
first scholars to use a classical model to dignify the ver-
nacular. His biblical guide, the Reductorium repertorium et
dictionarium moral utriusque testament (c. 1340) enjoyed
considerable success, being issued 12 times by 1526.Bertaut, Jean (1552–1611) French poet
He was born near Caen and, as tutor to the children of a
noble family, was introduced to court life as a young man.
Soon he was writing lyric and elegiac poetry strongly in-
fluenced by RONSARDand DESPORTES. He was appointed
official court poet under Henry III, and again under Henry
IV, and composed many occasional poems admired for
their polished, graceful style. Later he turned to religious
subjects and paraphrases of the psalms. Bertaut published
two collections: Recueil des œuvres poétiques (1601) and
Recueil de quelques vers amoureux (1602). He also held var-
ious positions at court and was eventually made bishop of
Sées (1606) in Normandy, where he spent his last years.Bertoldo di Giovanni (c. 1440–1491) Italian maker of
bronze statuettes and medals
Of obscure origin, perhaps born in Florence as an illegiti-
mate son of Giovanni di Cosimo de’ Medici, Bertoldo
worked mainly in the circle of the MEDICI, especially of
Lorenzo the Magnificent, and was influenced by the el-
derly Donatello. His earliest dated piece is a medal of 1469
showing Emperor Frederick III, while his most original
one shows the scene in Florence cathedral of the PAZZI
CONSPIRACY(1478) when Giuliano de’ Medici was assassi-
nated. His most famous work is a bronze panel showing a
Cavalry Battle (Bargello), based on a fragmentary Roman
sarcophagus in Pisa; it once decorated a mantelpiece in
the Medici palace. His finest bronze group, cast by ADRI-
ANO FIORENTINO, is Bellerophon and Pegasus (Vienna),
which is indebted to the Horse-tamers of the Quirinal Hill,
Rome. Bertoldo’s several statuettes of Hercules show his
firm grasp of the masculine anatomy in action. He was cu-
rator of the Medici sculpture collection.Bérulle, Pierre de (1575–1629) French cardinal and
statesman
He was born at Serilly, near Troyes, and educated by the
Jesuits at the university of Paris. Bérulle later emerged as
one of the leading lights of the COUNTER-REFORMATION. In
1611 he established the Congregation of the French Ora-
tory, an institution for the study of church history, Hebrew,
and biblical criticism. As statesman he helped arrangeBBeeíí rruullllee,, PPiieerrrree ddee 5533