Lives of the Most Excellent Painters, Sculptors, and Architects/Francesco Francia

by Giorgio Vasari

 

THE GOLDSMITH AND PAINTER, FRANCESCO FRANCIA,^[1] OF BOLOGNA.

[born 1450—died 1517.]

Francesco Francia was horn in Bologna, in the year 1450, of parents in the rank of artisans, but respectable and wellconducted people. In his first youth he was destined to the calling of the goldsmith; and labouring at the same with ability and good will, his progress in his art kept fair proportion with his increase of stature. His manner and conversation were so gentle and obliging, that he kept all around him in good humour, and had the gift of dissipating the heavy thoughts of the most melancholy by the charms of his conversation: for these reasons he was not only beloved by all who were acquainted with him, but in the course of time he obtained the favour of many princes and nobles, Italian and others. While still working at his trade of a goldsmith, Francesco applied himself to design, in which he took much pleasure, and the desire for greater things becoming awakened within him, he made extraordinary progress therein, as may still be seen in his native city of Bologna, from the many works he there executed in silver, more particularly from certain specimens of niello, which are most excellent.^[2] In this branch of art Francesco often grouped twenty well-proportioned and beautiful figures together, within a space only two inches high, and but little more in length; he also produced many works in silver enamelled, but these were destroyed at the time of the ruin and exile of the Bentivoglio; and to say all in a word, he executed every thing that is most beautiful, and which can be performed in that art, more perfectly than any other master had ever done.

But that in which Francesco delighted above all else, and in which he was indeed excellent, was cutting dies for medals; in this he was highly distinguished, and his works are most admirable, as may be judged from some, on which is the head of Pope Julius II., so life-like, that these medals will bear comparison with those of Caradosso;^[3] if he also struck medals of Signor Giovanni Bentivoglio, which seem to be alive; and of a vast number of princes, who, passing through Bologna, made a certain delay, when he took their portraits in wax, and afterwards, having finished the matrices for the dies, he despatched these to their destination, whereby he obtained, not only the immortality of fame, but also very handsome presents.^[4]

During the better part of his life, Francesco was Director of the Mint at Bologna; all the dies for the coins, used at the time when the Bentivogli governed there, were prepared by him, as were those struck for Pope Julius II., after their departure, and during the whole of that Pontiff’s after life: of these may be instanced the money coined by the Pope on his entrance into the city, and which bears the head of his Holiness, taken from the life on one side, with the inscription, Bononia per Julium a Tyranno liberata, on the other.^[5] And so excellent was Francesco considered to be in this matter, that he continued to make the dies for the coinage, even down to the time of Pope Leo; the impress of his dies is, indeed, in such esteem, and so highly are they valued by those who possess them, that they are not now to be obtained for money.^[6]

But Francia still became desirous of greater glory; wherefore, having been acquainted with Andrea Mantegna and many other painters, who had attained to riches and lionours by means of their art, he resolved to try whether he could not succeed in that part of painting which belongs to colour, seeing that he had reached to such a point in design, that he might safely assume a place beside any one of them. By way of making an attempt, therefore, he executed a few portraits and other small things, entertaining masters of the art many months in his house, to the end that they might teach him the method and processes of colouring.^[7] In this manner Francesco, who had remarkable intelligence and excellent judgment, very rapidly acquired the requisite practice. The first work which he executed was a picture of no great size, for Messer Bartolommeo Felicini, who placed it in the Misericordia, a church just without the gate of Bologna. The subject of this painting is a Madonna seated, with many figures around her; among whom is Messer Bartolommeo, portrayed from the life.^[8] The work was executed in oil with great care, and when it was finished, in the year 1490, it gave so much satisfaction in Bologna, that Messer Giovanni Bentivoglio became desirous to see his chapel in the church of San Jacopo, of that city, adorned with the works of this new painter; he therefore commissioned Francia to execute a picture, the subject of which was Our Lady appearing in the heavens, with a figure on each side, and two Angels, playing on musical instruments below.^[9] This picture also was so admirably painted by Francia, that he not only received many praises from Messer Giovanni, but also a very handsome and most honourable gift. The merits of tliis work, meanwhile, induced Monsignore de’ Bentivogli^[10] to give the master a commission for a picture, to be placed over tlie high altar of the Misericordia. The subject of this painting is the Birth of Christ; it has been highly extolled, and the drawing is very fine, while the invention and colouring are also worthy of praise.^[11] The portrait of Monsignore de’ Bentivogli is given in the picture, and, according to those who know him, is an excellent likeness; he wears the dress of a pilgrim, in which he had returned from Jerusalem.^[12] For the church of the Nunziata, outside the gate of San Mammolo, Francesco painted a picture, representing the Virgin, when receiving the Annunciation from the Angel: on each side of Our Lady stands a figure, and this work also is esteemed to be very well executed.^[13]

While the works of Francia were thus increasing his fame, he determined, finding that painting in oil had brought him so much honour and profit, to try if he could obtain equal success in fresco. Now at that time Messer Giovanni Bentivoglio had caused his palace to be decorated with paintings by different masters from Ferrara, Bologna, and Modena; but having seen the attempts of Francia in fresco, he resolved that the latter should paint the walls of an apartment which was one of those used by himself. Here the master represented the Camp of Holofernes, with numerous Sentinels on foot and on horseback, who are watching the tents. While the attention of these guards is given to other parts, a woman, clothed in the garb of a widow, is seen to approach the sleeping Holofernes; she has seized his hair, heavy with the damps of sleep and the heat of wine, in her left hand, and Avith the right she is striking the blow that is to destroy her enemy; close beside her there stands an old wrinkled handmaid, in Avhose face there is, of a truth, the expression of most faithful servitude; she fixes her eyes intently on those of her mistress, Avhom she seeks to encourage, and she bends herself down as she holds a basket, in which to receive the head of the sleeping lover. This Avas considered one of the best and most finely executed pictures ever painted by Francia, but was destroyed when the palace was demolished, on the departure of the Bentivogli,^[14] together with one in the apartment aboA^e. The subject of the last-mentioned work, Avhich Avas coloured to resemble bronze, was a disputation of philosophers; it Avas admirably executed, and expressed the thought of the master Avith great effect. All these works caused Francia to be held in the highest esteem and admiration by Messer Giovanni and every one of his house, nay, not only by them, but by all the citizens of Bologna.

In the chapel of Santa Cecilia, which is attached to the church of San Jacopo, Francesco painted two historical pictures in fresco; in one of these he represented Our Lady, espoused by Joseph;^[15] and in the other the death of Santa Cecilia,^[16] a work held in very great estimation by the people of Bologna;^[17] and of a truth, Francia acquired so much facility, and was so much encouraged by seeing his productions attain to the perfection he desired for them, that he executed numberless paintings, of which I cannot record the particulars, it must suffice me to indicate to those who may Avish to see his works, the most celebrated and best only. Nor did he permit his painting to interfere with his other works in medals, or to prevent him from giving his attention to the affairs of the mint, as he had done from the beginning. The departure of Messer Giovanni Bentivoglio from the city, caused Francia great sorrow, as it is said; the exile of one from whom he had received such important benefits grieving him exceedingly;^[18] but yet, like a prudent and moderate person as he Avas, he continued to pursue his labours^[19] with his usual assiduity. After Messer Giovanni had gone therefore, be painted three pictures, which were taken to Modena; in one of these is the Baptism of Christ by St. John, in the second a most beautiful Annunciation,^[20] and in the third a Madonna in the heavens, with many other figures; this last Avas placed in the church belonging to the Frati dell’ Osservanza.

By such works, the fame of this excellent master became bruited abroad, and the different cities contended Avith each other for the possession of his pictures: accordingly he executed one in Parma, for the Black Friars of San Giovanni; the subject is the Pieta, or Christ lying dead in the lap of the Virgin, with numerous figures around. This work is universally admitted to be most beautiful.^[21] The same monks, therefore, considering themselves well served in this matter, determined that Francia should paint another in a house of theirs at Reggio in Lombardy, where he also depicted a Madonna, with many figures.^[22] At Cesena likewise, in a church belonging to the Black Friars, this master painted a Circumcision of Christ, the colouring of which is exceedingly beautiful^[23]I Nor would the people of Ferrara consent to remain behind their neighbours, but determined to adorn their cathedral with the works of Francia; whereupon they commissioned him to paint a picture with a large number of figures, and this they entitled the picture of Ognissanti (All Saints.ì^[24]) For the church of San Lorenzo, in Bologna, Francia painted a Madonna, with two figures on each side, and two children beneath.^[25] This work was highly extolled, and he had scarcely completed it, when he was called on to execute another in Sant’ lobbe (Job), representing a Crucifix, with Sant’ lobbe kneeling at the foot, and two figures at the sides.^[26]

The fame and works of this master were efiectually extended over Lombardy, and from Tuscany also he received applications for his paintings, as he did from Lucca, whither he dispatched a picture representing Sant’ Anna, Our Lady, and many other figures, with Christ lying dead in the lap of the Virgin Mother. This work is in the Church of San Fridiano, and is considered by the people of Lucca to be one of great value.^[27] For the Church of the Nunziata, in Bologna, this master painted two pictures, which were very carefully executed,^[28] and for the Misericordia, outside the gate of Strà Castione;^[29] he also painted one, at the request of a lady of the Manzuoli family: in this he depicted Our Lady with the Child in her arms, San Giorgio, San Giovanni Batista, San Stefano, and Sant’ Agostino, with an angel beneath: the hands of the last mentioned are folded in an attitude of so much grace that he seems, indeed, to belong to Paradise.^[30] For the Brotherhood of San Francesco, in the same city, Francia painted a picture,^[31] as he also did one for the Brotherhood of San Girolamo. ^[32] This master lived in close intimacy with Messer Polo Zambeccaro, and, for the sake of that friendship, the latter requested him, as a memorial of himself, to paint a tolerably large picture representing the Birth of Christ: this work was much extolled, and is among the most celebrated of his performances,^[33] for which cause Messer Polo commissioned him to paint two hgures in fresco, at his villa, and these also are exceedingly beautiful.^[34]

Another admirable work in fresco was executed by Francia in the Palace of Messer Geronimo Bolognino:^[35] it comprises many varied and beautiful figures, and all these things had obtained for the master so extraordinary a degree of reverence in that city that he was held to be a kind of god,^[36] more particularly after he had painted a set of caparisons for the Duke of Urbino, on which he depicted a great forest all on fire, and whence there rushes forth an immense number of every kind of animal, with several human figures. This terrific, yet truly beautiful representation, was all the more highly esteemed for the time that had been expended on it, in the plumage of the birds and other minutiae, in the delineation of the different animals, and in the diversity of the branches and leaves of the various trees seen therein: the work was rewarded with gifts of great value, and the duke always considered himself obliged to the master, moreover, for the great commendations that were constantly bestowed on it.^[37] The Duke Guido Baldo has also a picture^[38] by the hand of this master: it represents the Roman Lucretia; it is much esteemed by the duke, and is in his guardaroba, with many other pictures, of v/hich mention will be made in the proper place.

After these things Francia painted a picture for the Altar of the Madonna in the Church of San Yitale and Agricola: in this there are two angels playing on the lute, which are very beautiful.^[39] Of the paintings scattered throughout Bologna, in the houses of the citizens, I will not speak, still less of the vast number of portraits painted by this master; for I should thus become too prolix. Let it suffice to say they were very numerous.

While Francia was thus living in so much glory, and was peacefully enjoying the fruits of his labours, Raffaello da Urbino was working in Rome, where there daily flocked around him numerous foreigners from various parts, and among them many gentlemen of Bologna, anxious to see the works of that master. And as it most commonly happens that every one is ready to extol the distinguished persons of his native place, so these Bolognese began to entertain Raphael with praises of the life, genius, and works of Francia, until so much friendship ivas established between those two masters, by means of words, that they saluted each other by letter. ^[40] Then Francia, having heard so much discourse concerning the divine paintings of Raphael, desired to see his works, but he was now old and enjoying his ease in his beloved Bologna. It so chanced, however, that Raphael painted a picture of St. Cecilia in Rome, for the Cardinal of Pucci Santi Quattro, and this was to be sent to Bologna, there to be placed in one of the chapels of San Giovanni-in-Monte, where the tomb of the Beata Elena dell’ Olio is to be seen.^[41] Having packed up his work, therefore, Raphael addressed it to the care of Francia, who, as being his friend, was to see it placed on the altar of the chapel for which the picture was destined; with the proper framework and ornaments, which had been already prepared for it. This was an office which pleased Francia greatly, since he would thus have the long-desired opportunity of seeing the works of Raphael. Wherefore, having opened the letter written to him by the latter, wherein that master begged him to repair any scratch that might be found on the painting, and further requested, that, if he perceived any defect, he would, as a friend, correct it for him, Francia caused the picture, with the greatest joy, to be taken into a good light, and had it removed from its case. But such was the astonishment it caused him, and so great was his admiration for it, that, perceiving his own error and the foolish presumption with which he had weakly believed in his own superiority, he took it deeply to heart, and, falling ill with his grief, in a very short time he died of its effects.^[42]

The picture of Raphael was, indeed, divine—not painted, but absolutely alive: he had executed and finished it to such perfection that among all the admirable works performed by him in his whole life, though every one is beautiful, this may well be called the most exquisite. Comparing the beauties of this most exquisite picture with his own works, which he saw around him, Francia felt as one terrified and half deprived of life: he was, indeed, utterly confounded, but, nevertheless, caused the painting to be placed, with all care and diligence, in the chapel for which it was intended in the church of San Giovanni-in-Monte; but, having become like a man beside himself, he took to his bed a few days after, appearing to himself to be now almost as nothing in art, when compared with what he had believed himself, and what he had always been considered. Thus he died, as many believe,^[43] of grief and vexation, incurring the same fate from so earnestly contemplating the living picture of Raphael, as that w'hich befell Fivizzano, from too fixedly regarding his own beautiful painting of Death,^[44] and on which the following epigram was composed:—

Me veram pictor divinm mente recepit.
Admota est operi deinde perita manus.
Diimque opere in facto defigit lumina pictor,
Intentus nimium, palluit et moritur.
Viva igitur sum mors, non mortua mortis imago
Si fungor, quo mors fungitur officio.

There are, nevertheless, many who declare his death to have been so sudden as to give rise to the belief, which was confirmed by various appearances, that it was caused by poison, or apoplexy, rather than anything else.^[45] Francia was a man of great prudence: he led a most regular life, and was of a robust constitution. At his death, in the year 1518,^[46] he received honourable interment from his sons in Bologna. .

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1. The family name of Francia was Raibolini. The name of Francia was that of his master in goldsmiths’ work, and was adopted by him from gratitude. The father and grandfather of Francesco Raibolini are inscribed as Masters of the Guild of Carpenters. — See Malvasia, Felsina Pittrice. See also Calvi, Memorie della vita e delle opere di Francesco Raibolini, detto il Francia. —Bologna, 1812.
2. Two of these are preserved in the rooms of the Secretary to the Bolognese Academy of the Fine Arts; they have been engraved by Vallardi of Milan, in the Manuale di Calcografia. — See also Zani, Materiali per servire alia Storia dell’ Intaglio, &c.
3. Ambrogio Foppa, called Caradosso, a native of Pavia, though frequently enumerated among the artists of Milan. He was not only distinguished for the beauty of his dies, but for his excellence in the plastic arts generally, and for goldsmiths’ work in particular. — See Cicognara, Storia della Scultura, Pagave, Sienese edition of Vasari; and Leoni, De Nobilitate Rerum.
4. For examples of these medals, see Litta, Famiglie celebri Italiane.
5. On the subject of this medal, see Cicognara and Litta, nt supra. See also the Tresor de Numismatique, &c.
6. The rarity of these medals and coins has constantly increased, as may be easily imagined.—Masselli.
7. Some writers, and among them Baldinucci, affirm Marco 'Zoppo to have been the master of Francia in painting; but this is denied by others, among whom is Förster (Kunstblatt), who point to the manifest influence of the Bellini and theVenetian School on this master, the resemblance of whose manner to that of Pietro Perugino they also insist on, although admitting that his connection with neither is to be clearly traced. —See Lanzi, ut supra, vol. iii. p. 17, ei seq. (English edition of 1847); see also Kugler, Handbook of Painting.
8. Now in the Gallery of the Academy at Bologna.
9. This most beautiful picture is still in its place.
10. Antonio Galeazzo, called the Protonotary, son of the above-named Giovanni. —Masselli.
11. After having been sometime in Milan, this picture also was restored to the Gallery of Bologna. Engravings, in different manners, will be found in the collection of pictures from that gallery, engraved by Rosaspina, and in the Pinacoteca di Milano, Scuola Bolognese.
12. Bottari affirms that the portrait of the painter himself is in an angle of this picture; but later writers consider the figure with folded hands, commonly called St. Francis, to be the portrait of Francia. —See the engraving in Litta, ut supra.— Famiglia Bentivoglio.
13. This admirable work is still over the high altar. Two other precious pictures of the same master also adorn the church. On one of them, a Crucifixion, are the words, Francia Aurifex. —Bottari.
14. The exile of the Bentivoglio family took place in the year 1507.
15. The subject of this painting is not the Mairiage of the Virgin, but that of St. Cecilia herself with the noble Roman, Valerian. The reader to whom the legend of this Saint is not familiar, will find it agreeably rendered into English by Mrs. Jameson, ut supra, vol. ii. p. 202.
16. The burial of her remains rather.—Masselli.
17. The little church of St. Cecilia is now a mere passage, and the frescoes have suffered greatly, they are indeed fast going to ruin. The Marriage and Burial of St. Cecilia, are by Francia himself, the rest are by his scholars. One, for example, is by Lorenzo Costa.
18. There is a letter from Raphael to Francia, wherein the former condoles with him on that subject. — See Calvi, Memorie, &c., p. h'l, ‘‘Take courage,” exhorts the amiable writer, “call your accustomed prudence to your aid, and believe that I feel your sorrow as my own.” This letter is dated Rome, Sept. 5, 1508.
19. Among these it is to be remembered was the preparation of dies for the new coinage struck by Julius II. on his entrance; no very agreeable occupation for the friend of the banished family.
20. The Annunciation is in the ducal palace of Modena; the Baptism of Christ was taken from that city to Dresden. Of the third picture we cannot speak with certainty, but there is one in the Royal Gallery of Berlin, wherein is the Virgin enthroned, and surrounded by Cherubim, with saints beneath, which may be that in question, and bears the inscription, Francia Aurifex Bon., md.ii.
21. Now in the ducal gallery of Parma.
22. The fate of this picture is not certainly known; but there is a work by Francia, the subject of which is similar in the Sanvitali Gallery in Parma.
23. Now in the Palazzo Publico of Cesena.
24. Still in the Cathedral of Ferrara.
25. Now in Bologna, in the Ercolani Gallery. —See Malvasia, Felsina Pittrice, and the continuation of that work by Crespi—See also Calvi, Memorie di Francia, &c.
26. This picture was in the Gallery of the Academy at Bologna, but has been sold, and is no longer in Italy.—Masselli.
27. There is a work of this master, who is by no means to be considered a despicable artist, at Milan (in the Brera); a Madonna seated, namely, with the Divine Child standing upright on her knee. Rumohr saw one, also a Madonna, on a gold ground, iu the parish church of Borgo la Bastia, 1840, and is now in the National Gallery, forming two pictures (Nos. 179, 180). Of the latter portion, there is a replica, according to Dr. Waagen, in the Berlin Gallery.
28. See note (§) p. 299. These pictures are those there mentioned.
29. Porta Castiglione.
30. After having been for some time in Milan, this picture was restored to Bologna, and is now in the Academy of the Fine Arts in that city_ Masselli.
31. Representing that saint with St. Jerome, and said to be nowin the Royal Gallery of Berlin. —Ibid.
32. San Girolamo di Miramonte that is; this picture, considered one of Francia's best, is now in the Gallery of Bologna.
33. In the Oratory of the Company of Gesu Christo, there was a Presepio (Birth of Christ), which was afterwards given in exchange to the city of Forli. This is supposed to be the work here alluded to. In the figure of one of the shepherds is said to be the portrait of Francia. — Schorn, German edition of Vasari. —See also Calvi, Memorie di Francia, &c.
34. These frescoes have perished.
35. These works are also destroyed.
36. Padre della Valle remarks, to the honour of the Bolognese, that en of genius have everi been protected and honoured il that city.
37. Of the works performed by Francia for the Duke of Urbino, nothing wnatever is now known.—Masselli.
38. Nor is anything now known of the work here alluded to. —Ibid.
39. Still in the church and at the altar here named. The two Angels are truly «Ruphaelesque».—Ed. Flor., 1832-8.
40. For details concerning these letters, see the Fehina Pittrice. See aho the Memorie della Vita di Francia, &c,, of Calvi; but for the delectation of the English reader “I will not account it trouble,” as saith our author on various occasions, to reproduce here certain parts of the onlyone by Raphael, which is acknowledged by all writers to be authentic:—
    “My dear Messer Francesco,— I have this moment received your portrait, which has been brought to me safely and without having suffered any injury Avhatever, by Bazotto. 1 thank you for it heartily, it is singularly beautiful, and so life-like, that I sometimes fancy myself to be near you, and listening to your words. I beg you to have patience with me, and to excuse the long delay of mine, which perpetual and weighty occupations have prevented me from executing with my own hand, as we agreed, and I did not think it becoming to permit that it should be done by my scholars, and only retouched by myself. On the contrary, it will be proper that all shall be able to perceive how little my work is capable of comparing with your own. I beg that you will grant me your friendly indulgence, you may yourself have experienced what it is to be deprived of one’s freedom, and to be obliged to live in the service of nobles. ***
    “Meanwhile, I send you, through the same person, who returns in about six days, another drawing, that of the Presepio, already kno-wn to you namely, but very different, as you will see, from the picture which you have honoured with so much praise. And this I constantly hear that you are pleased to bestow on my attempts, insomuch, that I must blush for myself, as indeed, I may well do with respect to the trifle I now send you, but you must accept it as a token of my respect and affection, rather than for any other cause. If I, on my part, might possess your story of Judith, I should certainly treasure it among my most valued and dearest possessions.
    ‘‘ The honourable Signor Datary is awaiting his little Madonna with great desire, as is the Cardinal Riario his larger one; of ail which Bazotto will inform you more minutely. I shall myself see them with all the pleasure and satisfaction with which I always see and commend your works, than which I find none more beautiful or executed better. Continue to hold me in affection as I hold you with my whole heart; being ever bound to your service, and truly your own, Raffaelle Sanzio. ”
    
    The above is taken from the German. The original Italian of Raphael not being for the moment within reach of the present writer. But the well-known conscientiousness of German translators is a sufficient guarantee for its fidelity.
41. The admirable picture of St. Cecilia remained in its place until 1796, when it was taken to Paris, but being restored ti, Bologna in 1815, now adorns the noble Gallery of that city. —Masselli. See also Giordani. Catalogo, &c., who gives a biographical sketch of Francia in No. 152 of that work.
42. This relation is declared by Malvasia, in his life of Francia, to be totally groundless. Other works of Raphael had, according to this writer, been seen by Francia before the arrival of the St. Cecilia in Bologna, and he lived eight years at least, says Malvasia, after that event. But this last assertion is shown by authors of a later period to be incorrect, the death of Francia having been proved by documents to have occurred on the 6th Jan., 1817, one year earlier, be it observed, than the date assigned by Vasari. Quatremere de Quincy, in his of life Raphael, remarks with justice, that, to a sensitive man as Francia was, and one ever accustomed to be considered first in his own country, the seeing himself surpassed by a more youthful competitor may have been a source of pain. That it was the cause of death even Vasari does not affirm by evidence, and it will be remarked that he afterwards considerably softens the force of his first assertion to that effect.
43. Here Vasari evidently intends to weaken the force of what he has previously said in respect to the death of Francia.
44. Della Valle and other Italian writers think this should be read la sua berlla morta. The picture of a beautiful woman that is to say, lying dead, rather than his “beautiful painting of Death,” as Vasari’s words would imply.
45. The uncertainty here expressed, gives further proof thac the previous narration was founded on no authentic information.
46. 1517, as we have said.—See ante, p. 301, note (†)