Forlì. The subject of this work was Our Lady, with St. Jerome and other Saints, and it was at that time considered to be one of the best among modern paintings. Francesco likewise imitated the works of Rondinino da Ravenna,[1] the most distinguished painter of the March, who, but a short time previous to that of which we now speak, had placed a very beautiful painting on the high altar of the cathedral of Forli, the subject being Our Saviour Christ dispensing the Last Supper to his Disciples, with a figure of the Dead Christ in the lunette above the picture. In the predella of this work, moreover, there are some very gracefully depicted stories in small figures, the subjects chosen being scenes from the life of Sant’ Elena.[2]
These studies enabled Francesco to make such important advances, that when Girolamo Genga repaired to Forli, as we have related, for the purpose of painting the chapel of San Francesco da Forli, for Messer Bartolommeo Lombardino, Menzochi was found competent to receive his instructions, and went to work with him accordingly. Nor did Francesco cease to avail himself of this opportunity for learning, or become weary of serving his master while the latter lived, but followed him to Urbino, to Pesaro, to the works of the Imperiale, or wherever else Girolamo might be employed, being constantly well esteemed and beloved by that artist. And the disciple did, of a truth, acquit himself most admirably, as may be clearly seen by the many pictures by his hand, executed at Forli, and now dispersed through the different parts of that city. Three of these, which are in the church of San Francesco, may more particularly be mentioned; there are also certain stories in fresco by this painter in the hall of the palace.
In the Romagna Francesco produced numerous works, with many others in Venice for the most Reverend Patriarch Grimani, for whom he executed four large pictures in oil, among other things these are placed in the ceiling of a vast
- ↑ Or rather Rondinello, as Vasari has himself called this artist in the life of Palma Vecchio.
- ↑ Lanzi considers that Vasari has been led by the similarity of style to attribute this work to Rondinello, but he remarks that it was in fact painted by Marco Palmegiani, and his opinion is supported by that of other good authorities.
