Italian painter, printmaker and draughtsman. After training in Florence in the Neo-classical tradition, he won a scholarship and settled in Rome between 1789 and 1794. His patron Tommaso Puccini was an intellectual and connoisseur who later became Director of the Gallerie Fiorentine. He was first attracted to the constructive rigour of François-Guillaume Ménageot, who taught at the Académie de France, but later he became interested in a more contemporary classicism in the style of David, and in particular in the rather austere variant represented by such pupils of David's in Rome as François-Xavier Fabre. Sabatelli borrowed explicitly from Classical works, as can be seen in his reconstruction of the furnishings, clothing and hairstyles of the Roman period, and in his use of a type of drawing practised by the followers of David. His borrowings were more from the style of Classical art than from its philology, yet his paintings were nonetheless clearly liberated from tradition. There was an emphasis on severity and intensity, sparse, angular, compositions and pronounced contrasts. After a stay in Venice, he returned to Florence in 1795 and began to introduce into his painting elements borrowed from Antoine-Jean Gros and animated his compositions and altered the figures in his style. From Gros, Sabatelli learnt to admire Rubens and also to absorb the emphasis on colour that was characteristic of the Venetian Renaissance and that he had avidly studied in 1794-95. Under Gros's influence he also learnt to draw on such aspects of contemporary English painting as the representation of the Sublime, absorbing the particular inventions and the 'terrible' poses as in the works of Benjamin West, Alexander Runciman and John Flaxman. Sabatelli's paintings of the 1790s and early 1800s, for example the Florentine Plaque (1801), the Plague Victims of Jaffa and the large-scale battles painted for Tommaso Puccini, are closely related to the Napoleonic 'battle' scenes of Gros and Anne-Louis Girodet. Although Sabatelli's interest in West is evident in the frescoes he executed at Doccia in 1802, he interpreted the sublime tone not so much in the sense of the 'terrible' common to the English but more in the manner of the profound and incisive mental rigour and the stylistic integrity inspired by Neo-classicism. //