Chap. XV. In the Departure of S. John for the desert, and the Meeting of Christ with the Baptist, the figures are de signed with neglectful ease, in proportions far too curt and pinguid to please the eye; and the absence of breadth and mass in light and shadows which alone produce a perfect semblance of relief, as well as coarse features and festooned draperies, place Francia Bigio in unfavour able contrast with his rival. 1 When both men subsequently competed (1521) at the Medici palace in Poggio a Cajano, the same comparison might have been made; and although Francia Bigio showed that he possessed the power of animating his personages, and distributing them with propriety, he not only pro claimed a decline from the standard erected by himself at the Servi, but he fell into greater coarseness and heavi ness than was consistent with his duty. His triumph of Cicero, with all its apparatus of obelisks, rostra and tem ples, is coloured without much harmony or transparence; and the supernatural proportions of his people are com mon and square. But, in spite of this he surpasses Pon tormo, and shines by the side of the later Allori; and the general division .of the decoration which he planned is not altogether amiss. 2 Francia Bigio’s endeavour at last was, it is clear, to make a livelihood by rapidity of hand. On Vasari’s own showing, his first wish had been to lay a strong founda tion by the constant. study of nude and anatomy, 3 but finally he accepted on principle every order that was given to him; having come to the conclusion that he had riot the stuff for rivalling men of superior genius. Still, to the last he kept at a respectable level, especially in small 1 These two subjects at the Scalzo were begun in 1518, and finished in March 1519. The ornament in the court, of arabesques, festoons and cherubs’ heads, where they are not repainted, seem to us to be by Francia Bigio. 2 Andrea del Sarto did his fresco in 1521 as is shown by the inscription, and Vitsari says he and Francia Bigio painted to gether (IX. 101). Pontormo’s work dates 1532; Allori’s 1582. The waggon roof, witli white relief or nament, on gold ground, and the Medici arms are Francia Bigio’s. 3 Vas. IX. 101.