ing the energies required for such efforts, he was compelled to take to his bed in consequence of that imprudence. Attributing his indisposition to the air of the place, he caused himself to be transported in a litter to Florence; but no restoratives nor applications were found sufficient to recover him from his malady, and in a few days he died in the forty-fifth year of his age. He was buried at San Piero Maggiore, in the city of Florence.[1]
We have some very good designs by the hand of this master in our book of drawings, they are done with the pen in chiaro-scuro; among them is a spiral staircase of exceeding difficulty, this is drawn in perspective, in the laws whereof Mariotto was very well versed.
Our artist had many disciples, among others Fra Giuliano Bugiardini, and Franciabigio, both Florentines,[2] with Innocenzio da Imola,[3] of whom we propose to speak in the proper place. The Florentine painter Visino was also a disciple of Mariotto Albertinelli, and surpassed all those whom we have previously mentioned, whether in design, colouring, or care in execution; he had also a better manner, of which we find proof in the carefully finished works still remaining by his hand: there are indeed very few of them even in Florence, but a judgment may be formed of the artist from those in possession of Giovanni Battista di Agnol Doni.[4] One of these is a circular picture painted in oil, and representing Adam and Eve, nude figures, in the act of eating the apple, a work executed with infinite ability;
- ↑ In the first edition of our author, these words are succeeded by the
following inscription;—
Mente parum {fateor) constabam: mentis acumen
Sed tamen ostendunt picta, fuisse mihi. - ↑ The lives of both these artists follow in due course.
- ↑ Innocenzio Francucci, of Imola, whose life was principally spent in Bologna. He entered the School of Francia in 1506, but we are not on that account to infer with Malvasia, that he could not have studied during a certain time with Mariotto Albertinelli, in Florence; since we have not only the assurance of Vasari to that effect, but also the observation of Lanzi, who remarks with justice that the style of Innocenzio da Imola resembles that of the best Florentine masters belonging to the period in (question, to such a degree as fully to confirm the assertion of our biographer.
- ↑ “This master,” remarks an Italian commentator, “must indeed have been one of no small account, since Vasari declares him to have been superior to Franciabigio and Innocenzio da Imola.”
