Among the works of this artist is one representing Women bathing,[1] the original drawing of which, by Luca’s own hand, is in our book.[2]
Leonardo, called Pistoja[3] because he belonged to that city, was a disciple of Giovanni Francesco; he executed certain works in Lucca, and took numerous portraits from the life in Rome: at Naples also, he painted a picture representing the story of St. Stephen for Diomede Caratfa, Bishop of Ariano, who is now a cardinal; this work is in the church of San Domenico, and in a chapel which belongs to the above-named prelate. In Monte Oliveto also, Leonardo painted a picture, which was placed on the high altar, but was removed thence, to make way for one of similar invention, by the hand of the Aretine, Giorgio Vasari. This artist gained large sums of money from those Neapolitan nobles, but he did not accumulate anything, because he spent all quite as rapidly as he obtained it, and finally died, leaving the reputation of having been a good colourist, but not that of a master distinguished for excellence in design.
Giovan Francesco lived forty years, and his works were performed about the year 1512.[4] The friend of the last named artist, and like himself a disciple of Raphael, was Pellegrino da Modena,[5] who had acquired the name of a good master in his native place,
- ↑ In addition to the Women in the Bath here alluded to, may be mentioned another, called the Tessitrici (women weaving), to which Vasari alludes in the life of Marcantonio Raimondi.
- ↑ For other engravings by this artist, the reader may consult Brulliot, Dictionaire des Monogrammes, &c., Munich, 1832. A short list of them, with his monogram, may also be found in Bryan’s Dictionary of Painters and Engravers.
- ↑ As respects the family name of this master, the authorities are not agreed; by some he is called Malatesta; by others, Giielfo; while some call him Tronci. See Tolomei, Guida di Pistoja. Consult also Lanzi, vol. i. pp. 169, 400, vol. ii. p. 23.
- ↑ The epitaph inscribed to his memory is as follows:—
Occido surreptus primaevo flore juventae
Cum clara ingenii iam documenta darem.
Si mea vel justos cetas venisset ad annos,
Pictura aeternum notus et ipsa forem. - ↑ In the Cronaca of Ancellotti, this artist is called Aretusa alias di Munari; but Munari would seem to be his true name, since Tiraboschi, Notizie degli Artifici Modanesi, speaks of him as receiving his first instructions in painting “from his father, Giovanni Munari.”
