For a good and just cause this master devoted himself to the art of painting, labouring therein, not so much because he was desirous of fame, as that he might thus be enabled to render assistance to his indigent relations, for Francia Bigio was born of poor artizans in a very low condition. Anxious to deliver himself from the disadvantages of his station, he was furthermore compelled to effort by his competition with Andrea del Sarto, who was at first his companion, and with whom he for a long time shared his dwelling and passed his life; these artists then painting in company, a mode of proceeding which served as an impulse to both, and caused them to make great progress in the art of painting.
In his early youth, Francia Bigio made his abode for some months with Mariotto Albertinelli, from whom he acquired the first principles of his art; he was more particularly disposed to the study of perspective, and devoting himself continually to this from the pleasure that he found in it, he obtained the reputation in Florence, even during his youth, of being very competent therein. The first works of Francia Bigio were executed in San Brancazio, a church opposite to his own dwelling; these paintings, which are in fresco, represent San Bernardo, and on a pilaster in the chapel of the Racellai family, he depicted a Santa Caterina da Siena, also in fresco;[1] to both of these productions he gave infinite pains, and they presented a good example of the admirable qualities which he possessed in his art. But much more largely did a picture which he executed for a small chapel in San Pietro Maggiore contribute to his fame; it represents the Virgin with the Divine Child in her arms, it has also a figure of San Giovanni depicted in like manner as a child, and who is caressing the Infant Christ.[2] Francia Bigio also gave proof of his excellence in San Giobbe, a
- ↑ These frescoes have long been destroyed.
- ↑ This picture had disappeared from the church even before the demolition of that edifice.—Masselli.
Franciabigio,” but in a record of the Servite Monks we read that “his proper name was Francesco di Cristofano” (Francis, the son of Christopher); and this name is also found in the Libro Rosso of the Company of Painters, where that of Marcantonio does not appear. It would seem, therefore, that Francia was the contraction used in this case, instead of the more ordinary one of Cecco,” and that Bigio or Bigi was the family name.
