Giovan Francesco then came to Florence, and painted for Lodovico Capponi at Montughi, a place without the Porta a San Gallo, a shrine with a Madonna, which is much extolled.

Raffaello having meanwhile been overtaken by death, Giulio Romano and Giovan Francesco, who had been his disciples, remained together for a long time, and finished in company such of Raffaello's works as had been left unfinished, and in particular those that he had begun in the Vigna of the Pope, and likewise those of the Great Hall in the Palace, wherein are painted by the hands of these two masters the stories of Constantine, with excellent figures, executed in an able and beautiful manner, although the invention and the sketches of these stories came in part from Raffaello. While these works were in progress, Perino del Vaga, a very excellent painter, took to wife a sister of Giovan Francesco; on which account they executed many works in company. And afterwards Giulio and Giovan Francesco, continuing to work together, painted a panel in two parts, containing the Assumption of Our Lady, which went to Monteluci, near Perugia; and also other works and pictures for various places.

THE BAPTISM OF CONSTANTINE
(After the fresco by Giovanni Francesco Penni [Il Fattore].
Rome: The Vatican)
Anderson
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Then, receiving a commission from Pope Clement to paint a panel-picture like the one by Raffaello (which is in S. Pietro a Montorio), which was to be sent to France, whither Raffaello had meant to send the first, they began it; but soon afterwards, having fallen out with each other, they divided their inheritance of drawings and everything else left to them by Raffaello, and Giulio went off to Mantua, where he executed an endless number of works for the Marquis. Thither, not long afterwards, Giovan Francesco also made his way, drawn either by love of Giulio or by the hope of finding work; but he received so cold a welcome from Giulio that he soon departed, and, after travelling round Lombardy, he returned to Rome. And from Rome he went to Naples by ship in the train of the Marchese del Vasto, taking with him the now finished copy of the panel-picture of S. Pietro a Montorio, with other works, which he left in Ischia, an island belonging to the Marquis, while the panel was placed where it is at the present day, in the Church of S. Spirito degli Incurabili at Naples. Having thus settled in Naples, where he occupied himself with drawing and painting, Giovan Francesco was entertained and treated with great kindness by Tommaso Cambi, a Florentine merchant, who managed the affairs of that nobleman. But he did not live there long, because, being of a sickly habit of body, he fell ill and died, to the great grief of the noble Marquis and of all who knew him.

He had a brother called Luca, likewise a painter, who worked in Genoa with his brother-in-law Perino, as well as at Lucca and many other places in Italy. In the end he went to England, where, after executing certain works for the King and for some merchants, he finally devoted himself to making designs for copper-plates for sending abroad, which he had engraved by Flemings. Of such he sent abroad a great number, which are known by his name as well as by the manner; and by his hand, among others, is a print wherein are some women in a bath, the original of which, by the hand of Luca himself, is in our book.

A disciple of Giovan Francesco was Leonardo, called Il Pistoia because he came from that city, who executed some works at Lucca, and made many portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he painted another, which was placed on the high-altar, although it was afterwards removed to make room for a new one, similar in subject, by the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from these Neapolitan nobles, but he accumulated little, for he squandered it all as it came to his hand; and finally he died in Naples, leaving behind him the reputation of having been a good colourist, but not of having shown much excellence in draughtsmanship.

Giovan Francesco lived forty years, and his works date about 1528.

A friend of Giovan Francesco, and likewise a disciple of Raffaello, was Pellegrino da Modena, who, having acquired in his native city the name of a man of fine genius for painting, and having heard of the marvels of Raffaello da Urbino, determined, in order to justify by means of labour the hopes already conceived of him, to go to Rome. Arriving there, he placed himself under Raffaello, who never refused anything to men of ability. There were then in Rome very many young men who were working at painting and seeking in mutual rivalry to surpass one another in draughtsmanship, in order to win the favour of Raffaello and to gain a name among men; and thus Pellegrino, giving unceasing attention to his studies, became not only a good draughtsman, but also a well-practised master of the whole of his art. And when Leo X commissioned Raffaello to paint the Loggie, Pellegrino also worked there, in company with the other young men; and so well did he succeed, that Raffaello afterwards made use of him in many other things.