expected from this attempt, Bartolommeo returned to Bologna, where himself and the artists above-mentioned undertook to execute certain paintings for the church of San Petronio in competition with each other, each depicting a story from the Life of Christ and the Virgin Mother in the chapel of the Madonna, which is near the principal door and on the right hand on entering the church.[1] There is but little difference to be distinguished in the degree of merit which these works, exhibit, but Bartolommeo was adjudged to have a softer as well as a more powerful manner than his competitors. For although in the story of Maestro Amico there was a vast number of somewhat remarkable circumstances, as for example the Soldiers at the Resurrection of the Saviour, who are represented in stooping and distorted attitudes, while many are depicted as crushed and struggling beneath the stone of the sepulchre which has fallen upon them, yet the work of Bartolommeo, having more unity of design and greater harmony of colouring, was adjudged by artists to be the best. Bartolommeo then joined himself to Biagio of Bologna,[2] who had more facility than true excellence in the art, and these two painted together a refectory for the Scopetine Monks in San Salvatore;[3] this work they executed partly in fresco and partly a secco, the subject chosen being the Miracle performed by Our Saviour in feeding five thousand persons with five loaves and two fishes. On one of the walls of the library also these artists painted the Disputation of Sant’ Agostino,[4] and here they depicted certain views in perspective which are tolerably well done. Having seen the wmrks of Raffaello and worked with him, these masters had acquired a certain method which, upon the whole, appeared as though it might be good, and yet they did not of a truth give that attention to the nicer peculiarities of art which they should have done. Still, as at that time there were no painters in Bologna who knew better than themselves, they
- ↑ These works have been destroyed.
- ↑ Biagio Pupini, or Maestro Biagio delle Lame. Vasari is said to have had frequent dissensions with this artist.
- ↑ The Monastery of San Salvatore having been turned into barracks, the paintings of the Refectory have been left to the mercy of the soldiery.
- ↑ Lanzi speaks of this work in more favourable terms. See History of Painting, vol. iii. p, 36.
