Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/370

362 362 LIVES OF THE ARTISTS. studying in Rome, lie was careful to examine all the works, ancient and modern, to be found in that city, but more particularly did he hold those of Michelagnolo Buonarroti and Raffaello da Urbino in the highest veneration. The spirit of the last-named master had indeed, as was afterwards said, passed into the body of Francesco, and this opinion was entertained, because, though still so young, the latter was seen to be highly distinguished in art, as well as graceful and amiable in manners and deportment, exactly as Kaffaello had been. This opinion was further strengthened by the pains which Francesco was reported to give himself in the imitation of the works of Raffaello, nor were these labours and that study in vain, seeing that many pictures painted in Rome by Francesco, and the greater part of which afterwards came into the hands of Ippolito de’ Medici, are indeed most admirable.

Among the works thus executed in that city is a circular picture of great beauty exhibiting the Annunciation, this the artist painted for Messer Angelo Cesis, and it is now preserved with great care in the house of that family, as an exceedingly valuable work. He likewise painted a picture on panel, representing the Madonna with San Giuseppe and angels; singularly beautiful figures, whether we consider their grace, the beauty of their colouring, or the care and delicacy with which they are finished; the expression of the faces also is of exquisite beauty. This picture was formerly in the possession of Luigi Gaddi, and must now be in that of his heirs.

Hearing the fame of Francesco, Lorenzo Cibo, captain of the Papal Guard, and a very handsome man, caused that artist to paint his portrait; and the latter may be said not to have depicted this likeness, but to have made it of the living flesh. He afterwards received a commission from Madonna Maria Bufalina of the Citta di Gastello, for a picture to be placed in the church of San Salvatore del Lauro, and in a chapel near the entrance of that building. In this work