These were executed by Battista del Borro, an Aretine painter of high distinction in that branch of art, and by whom they were completed to perfection.
After having brought this undertaking to an end, Francesco painted for his Excellency the ceiling of that Hall in which the family dines during the winter season, adorning the same with numerous devices and figures of small size in tempera: our artist also painted an exceedingly beautiful study, which opens on the green chamber; he took portraits of the Duke’s children moreover, and one year he prepared the scenic decorations, perspective views, &c., for a dramatic spectacle which was exhibited in the great Hall, all which he did in a manner so entirely different from and superior to those which had been previously seen in Florence, that they were considered to surpass everything of the kind before attempted. Nor is this to be wondered at, seeing that Francesco always gave proof of great judgment, with the most rich and varied power of invention, in all his works; nay, what is of still higher importance, he had a more profound knowledge of design and a more beautiful manner than any artist who was then in Florence; he handled the colours also with infinite ability, and finished his works most admirably well.
The Head, or rather Portrait, of the Signor Giovanni de’ Medici, father of the Duke Cosimo, which is now in the Guardaroba of his Excellency, is also by the hand of Francesco, and may be justly described as a truly meritorious work. For his intimate friend, Cristofano Rinieri, Francesco made a picture of Our Lady, which is also very beautiful; this painting is suspended in the Hall of Audience, now used by the Council of Ten. For Ridolfo Landi our artist painted a figure of Charity, which is so admirable that nothing could well be more so;[1] and for Simon Corsi he painted a Madonna, which was in like manner very highly extolled.
- ↑ Borghini, in his Riposo, makes mention of a figure of Charity as then (1584) adorning the Hall of the Council of Ten, whence a doubt has arisen whether Vasari may not have incorrectly stated the locale of Francesco’s Charity, which he should have given, as many writers believe, to the Hall of the Council instead of the Madonna, which was more probably painted for Ridolfo Landi. There is a figure of Charity by Francesco now in the Gallery of the Uffizj at Florence.— Ed. Flor., 1832 -8.
