less much employed in the more ordinary labours of our avocation, and had always many works on hand.
This artist, therefore, having placed before Baldassare a panel, the ground of which had been duly prepared, bade him paint thereon a figure of Our Lady, but without giving him a cartoon or design of any kind. Baldassare, nevertheless, having taken a piece of chalk, in a moment and with great ability, designed such a figure as he proposed to paint, and having shortly after taken the colours in hand, in a few days he produced a picture so beautiful and so admirably finished, that he caused astonishment, not only in the master of the bottega or workshop, but also in many painters who saw the work and at once perceived its merit. These artists, therefore, procured for Baldassare a commission to paint the chapel of the High Altar in the church of Sant’ Onofrio, and this work he executed in fresco in a very beautiful manner, and with infinite grace.[1]
Having finished his undertakng in the chapel of Sant’ Onofrio, our artist next painted two small chapels in the church of San Rocco-a -Ripa, whereupon, being now in considerable credit, he was invited to Ostia, where he decorated certain apartments in the tower of the fortress, with very beautifully executed historical representations in chiaro-scuro. Among these are more particularly to be mentioned one of those hand to hand combats, in the manner customary among the ancients; with a body of soldiers also, the latter proceeding to attack a fort. In this last the bold and prompt action of the warriors is particularly to be observed; covered with their shields, they advance the scaling ladders which the assailants are placing against the walls, while those within repulse them with fearful rage; there are also numerous instruments of war in this story, of the fashion used in ancient times, with armour of similar character. Baldassare likewise painted many other stories in one of the halls of that fortress, and these are held to be among his best works; but it must be observed that he was assisted in their execution by Cesare of Milan.[2]
- ↑ ccording to Maneini, who is cited by Della Valle, Lettere Sanesi, tom. iii. p. 182, the paintings in the “Tribune of Sant’Onofrio are due to Bernardino Pinturicchio. The delicate and scrupulous Bottari, as his countrymen very justly call him, does not hesitate to declare that in later times these works have been grievously maltreated by “the curse of restorations.”
- ↑ One of the disciples of Leonardo da Vinci, but also a follower of Raphael, whose acquaintance he made in Rome.
