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Chap. XV. FRANCIA BIGIO. 509 ready in movement, laid in witb a full sweep of strongly consistent colour, in which we miss too obviously an ab sence of transparence in tones merging from fair yellow in flesh light to a cool grey in the half-tones, and black in the shadows. We thus perceive how Francia Bigio modifies his style, and gradually disimproves by assuming bolder and easier habits. 1 It is in this phase that he found himself when he finished a bust of a male in a cap and dark laced dress, with falling auburn hair, catalogued as by Sebastian del Piombo at the Berlin Museum, a thoughtful face, well drawn and modelled, and of sub stantial impasto. 2 The latest example of the series is the half-length, in the same collection, of a man almost in full front, with a pen in his right hand, and his left arm on a desk, done with great freedom; and less pleasing in tone than successful in the swing of the pose and knack of the handling. The date of 1522 and the monogram leave no doubt that we see in this the most advanced and least perfect thing of its kind by our artist. 3 Whilst devoting himself, as occasion required, to por traits, Francia Bigio did not neglect the more difficult exercise of fresco. A much injured “Cena” in S. Gio vanni Battista della Oalza, 4 and another in S. Maria de’ Candeli, with the initials of his name, due perhaps to the industry of his assistants as much as to his own, ex hibit his talent in a less favourable light than at the 1 On the buck of the panel is the royal mark R. C. surmounted by the royal crown. The portrait is in the catalogue of king Charles’ col lection (copied in Waagen, Treasu res II. 478), under A. del Sarto’s name. Vasari speaks of it (IX. 103). The monogram is upside down on the chopper. The figure size of life. All the flesh shadows darkened, and part of the left cheek, right hand, and dress, restor ed. The background is a wall, the writing in the book not legible, and probably never intended to be so. 2 No. 235. Berlin Museum (wood, oil, life size), of a low grey and opaque tone. The background plain and of a dark brown. 3 Berlin Museum. No. 245 (wood, oil, life size). The hands repaint ed, the rest of a cold tone, at one painting; the landscape clear and pleasant. A paper on the desk contains the monogram of Francia Bigio and the words: “1522, a dl 24 d’ottobre”. 4 This fresco is in the refectory and has been injured by damp. It is mentioned by Vasari (IX. 100).