Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/383

1525] of Perugino, when he was in Florence, but soon joined Franciabigio, and followed in the steps of Andrea del Sarto, whose smooth colouring and grey flesh-tones he adopted. He painted many predelle and cassoni, and six panels with different scenes from the story of Joseph, which were his share towards the decoration of the Borgherini chamber, are now in the Borghese Villa in Rome, while two others are in the National Gallery. Among his other works are an Adam and Eve in Signor Frizzoni's possession at Milan, a large Madonna in Sir Francis Cook's collection, and a small panel of Moses striking the Rock, containing no less than forty figures, and birds and beasts of every description, in the Giovanelli Palace at Venice. Bacchiacca was frequently employed by the Medici princes to adorn triumphal arches and decorate halls on festive occasions, and after Franciabigio's death, paid a visit to Rome, where he became intimate with Giulio Romano and Benvenuto Cellini, who mentions him in his autobiography.

Two other artists were employed in the Annunziata with Andrea del Sarto. One of these was Giovanbattista, known as il Rosso, who afterwards entered the service of Francis I., and went to France, where he was called le Maitre Roux, and died in 1541. He painted a fresco of the Assumption in the court of the Servite church, but is better known by his graceful little panel of the rival songs of the Muses and Pierides on Parnassus, in the Louvre. The other master employed by the Servi friars was Jacopo Carrucci, commonly known as Pontormo, from his native village near Empoli, who remained during many years the favourite scholar