Two of his early paintings were placed in the church of S. Piero Maggiore, one a Virgin and Child of great beauty. The infant clasps its arms round its mother's neck—a charming attitude—which suggests a playful effort to hide from the young S. John, who is running towards him, by nestling closer to the dearer resting place. The picture is now in the Uffizi and has been long known as Raphael's Madonna del Pozzo. [Footnote: Crowe and Cavalcaselle, History of Painting, vol. iii. chap. xv. p. 501.] No greater testimony to Francia Bigio's excellence can be given than the frequency of his works being mistaken for those of Raphael, but the influence of his contemporaries was always strong upon him. The Annunciation, painted for the same church, is also described by Vasari as a carefully designed work, though somewhat feeble in manner. The angel is lightly poised in air, the Virgin kneeling before a foreshortened building. The picture was lost sight of in the demolition of the church, but Crowe and Cavalcaselle [Footnote: Crowe and Cavalcaselle, History of Painting, Vol. iii. p. 500.] believe they have discovered it in a picture at Turin, the authorship of which is avowedly doubtful. They mention, however, a celestial group of the Eternal Father in a cherub-peopled cloud, sending his blessing in the form of a dove, with a ray of glory. Surely if this be the one described by Vasari [Footnote: Vasari, vol. iii. p. 336] so minutely, he would not have omitted a part of the subject so important to the picture.
In 1509 we may presumably date the partnership with Andrea del Sarto, that being about the time when they began to work together in the Scalzo. Francia Bigio painted some frescoes in the church of S. Giobbe, behind the Servite Monastery. A Visitation was in a tabernacle at the corner of the church, and subjects from Job's life on a pilaster within it: these have long ago disappeared. The altar-piece of the Madonna and Job, which he painted in oil for the same church, has been more fortunate, as it still exists in the Tuscan School in the Uffizi. Though much injured, it shows his earlier style. The Calumny of Apelles in the same gallery is a curious picture. It is hard and dull in colouring, the prevailing tone being a heavy drab; there are several nude figures, of doubtful forms as to beauty of drawing, the flesh is painted in a smooth glazed style, without relief or tenderness.
Francia Bigio shines more in fresco than in oil; his hardness is less apparent, and he gains in freedom and brilliance of colouring in the more congenial medium. The finest of his frescoes is, unfortunately, spoiled by his own hand, and remains as a memorial of his genius and hasty temper. I allude to the Sposalizio (A.D. 1513) in the courtyard of the Servite church, where Andrea did his series of frescoes from the life of Filippo Benizzi. The composition is grand and carefully thought out, the colouring bright and pleasing; perhaps in emulating Andrea's luxurious style of drapery he has gone a little too far, and crowded the folds. The bridegroom is a noble figure, and shows in his face his gladness in the blossoming rod. A man in the foreground breaks a stick across his knees. The commentators of Vasari have taken this to emblematize the Roman Catholic legend of the Virgin having given rods to each of her suitors, and chosen him whose rod blossomed. Graceful women surround the Virgin, but there is perhaps a too marked sentimentality about these which suggests a striving after Raphael's style. There is, however, a great touch of nature in a mother with a naughty child, who sits crying on the ground, much to the mother's distress. Francia Bigio commenced this in Andrea's absence in France, which so excited his former comrade's emulation that he did his Visitation in great haste, to get it uncovered as soon as Francia Bigio's. In fact, Andrea's works were ready by the date of the annual festa of the Servites, and the monks, being anxious to uncover all the new frescoes for that day, took upon them to remove the mattings from that of Francia Bigio as well, without his permission, for he wished to give a few more finishing touches. So angry was he, on arriving in the cloister, to see a crowd of people admiring his work in what he felt to be an imperfect condition, that in an excess of rage he mounted on the scaffolding which still remained, and, seizing a hammer, beat the head of the Madonna to pieces, and ruined the nude figure breaking the rod. The monks hastened to the scene in an uproar of remonstrance, the frantic artist's destructive hand was stayed by the bystanders, but so deep was his displeasure that he refused to restore the picture, and no other hand having touched it, the fresco remains to this day a fine work mutilated. It shows him artistically in his very best, and morally, at his worst, phase. In 1518, while Andrea was in France, the monks of the Scalzo employed Francia Bigio to fill two compartments in their pretty little cloister, where Andrea had commenced his Life of S. John Baptist. These are spoken of more at length in the life of that master, who on his return took the work again in his own hands. In 1521 Bigio competed with Andrea and Pontormo, in the Medici Villa at Poggio a Cajano; Andrea's Cæsar receiving Tribute occupies one wall of the hall, and Francia Bigio's Triumph of Cicero another. The subjects were selected by the historian, Messer Paolo Giovio, Bishop of Nocera; it only remained for the artists to make the most of the chosen themes. Francia Bigio filled his background with a careful architectural perspective, and a crowd of muscular Romans are grouped before it. This also was left unfinished at the Pope's death, and Allori completed it in 1582. Francia Bigio, however, did many of the gilded decorations of the hall.
In the Dresden Gallery is a work, Scenes from the Life of David, signed A. S., MDXXIII., and his monogram, a painting very much in the style of Andrea del Sarto's Life of Joseph. Reumont [Footnote: Life of Andrea del Sarto, p. 138 et seq.] claims it as the joint work of Andrea and Francia Bigio, founding his opinion on the letters A. S. before the date; but the letters mean only Anno salutis, and are used in very many of Francia Bigio's signed paintings. He had the commission from Gio Maria Benintendi in 1523. It is one of those curious pictures which have many scenes in one—a style which militates greatly against artistic unity. On the right is David's palace, on the left Uriah's; David is at his door watching Bathsheba and her maidens bathing. In the centre is the siege of Rabbah; another well-draped group represents David receiving Uriah's homage. In the foreground David gives wine to Uriah at a banquet. There is careful painting and ingenious composition, but a less finished manner of colouring than in Andrea's Joseph, which was painted about the same time for Pier Borgherini.
Like Ridolfo Ghirlandajo, Francia Bigio fell off in his later style, partly because his ambition failed him, and also because he began to look on art as a means of livelihood—a motive which is certain death to high art.
He was especially celebrated as a portrait painter, several of his works having been attributed to Raphael. Among these are one at the Louvre and one at the Pitti Palace, both portraits of a youth in tunic and black cap, with long hair flowing over his shoulders; one in the National Gallery, formerly in Mr. Fuller Maitland's collection; the portrait of a jeweller, dated A. S., MDXVI. in Lord Yarborough's gallery; that in the Berlin Museum, of a man sitting at a desk, dated 1522; and the likeness of Pier Francesco de Medici at Windsor—all of which bear Francia Bigio's monogram, often with the letters A. S. (Anno salutis) before the date. He died on January 14th, 1525.
CHAPTER X. RIDOLFO GHIRLANDAJO. A.D. 1483—1560.
RIDOLFO (DI DOMENICO) BIGORDI, called GHIRLANDAJO, &c., was born on the 4th of January, 1483. Although not strictly a scholar, he is one of Fra Bartolommeo's principal followers. When quite a child he lost his father, the famous Domenico, who died of fever, on January 11th, 1494; his mother and uncle Benedetto only lived a few years after; and Ridolfo, with his three sisters and two brothers, was left to the guardianship of his uncle Davide.