which has the appearance of being carved in relief on the panel; thus painting an ornament, which served as a frame to the figure which he had executed in the middle of his work; he did the same thing for the San Vincenzio, as well as for the San Marco, of which we shall speak again hereafter. Fra Bartolommeo painted a figure in oil over the door which leads into the sacristy of the Convent, the subject being San Vincenzio, who was a Monk of his own order, preaching on the rigours of the Divine Justice. In the attitude of this figure, but still more in the head, there is all that sternness and imposing severity, usually manifest in the countenance of the preacher who is labouring to induce men, obstinate in their sins, to amendment of life, by setting before them the terrors of the justice of God;[1] not painted, but really in life, does this admirable figure appear to him who regards it attentively, so powerful is the relief with which it is executed, and very much is it to be lamented, that the painting is rapidly becoming a ruin, being cracked all over from having been painted with fresh colours on a fresh ground, as I have remarked respecting the works of Pietro Perugino, painted in the Ingesuati.[2]
Our artist had been told that his manner was minute, and felt inclined to show that he was not unequal to the delineation of large figures; he therefore painted a picture on panel for the wall in which is the door of the choir, representing St. Mark the Evangelist, a figure five braccia high, in which he exhibited admirable design and great mastery of his art.[3]
The Florentine merchant, Salvatore Billi, on his return from a sojourn in Naples, having heard the fame of Fra Bartolommeo, and having seen his works, caused him to paint a picture, representing Christ the Saviour, in allusion to his own name.[4] The Redeemer is surrounded by the four Evangelists, and has at his feet two children, who support the globe of the world; these children are admirably
