the decoration of certain rooms in the citadel which was at that same period constructed in Perugia by Pope Paul III., and these he painted by command of Messer Tiberio Crispo, who was then governor and castellan of the fortress; others having previously been executed by Lattanzio,[1] a painter of the March. Not only did Cristofano now assist Lattanzio therefore, but he depicted with his own hand the greater part of the best works now to be seen in the apartments of that fortress, wherein Raffaello dal Colle and Adone Doni of Ascoli[2] also laboured, the latter a much experienced and able artist, by whom many works have been performed in other parts of his native place. The Cortonese painter, Tommaso del Papacello was likewise employed in the same fortress, but the best among all who worked there, and the artist who obtained for himself the highest degree of praise, was Cristofano; wherefore, being recommended by Lattanzio to the favour of the above-named Crispo, he was ever afterwards much employed by that ruler.
While the works at the fortress were in progress, Crispo had built a small church in Perugia, which had been named Santa Maria del Popolo, though first called Del Mercato. Here Lattanzio began to paint a picture in oil, but Cristofano executed the whole of the upper part with his own hand, and it is indeed most beautiful, nay, worthy of the highest praise,[3] but Lattanzio afterwards turned from being a painter to be the principal thief-taker or bailiff of Perugia, when Cristofano returned to San Justino, where he remained several months, again working for the above-named Signor Abbate Bufolini.
But in the year 1543, Griorgio Vasari, having to execute a painting in oil by command of the most Illustrious Cardinal Farnese, for the grand Chancery, with another for the church
- ↑ Lattanzio di Vincenzio Pagani of Monte Rubbiano. See Mariotti, Lettere Perugine.
- ↑ Of Assisi rather, since he calls himself “I, Dono of the Doni of Assisi.”
- ↑ Mariotti, ut supra, may be consulted for further details relative to this
work, as well as to others by Lattanzio Pagani, and Adone Dono.
Lanzi remarks that the upper part of the painting, or that done by Cristofano, is as elegant and graceful as that by Lattanzio is coarse and rude. It appears, nevertheless, that it was Lattanzio who had received the commission for the work, and that Doceno was but employed by him to assist. See Mariotti, as before cited.
