Now there are no architects or engineers of any great account in those parts, and finding none who know better than he does, Pellegrino has taken it upon himself to work in architecture, and to direct the fortifications of certain places in that province: perceiving that painting is more ditfi-' cult and perhaps less profitable than architecture, he has partly abandoned the first to take charge of the defences at Ancona, as well as other towns in the States of the Church, but more especially at Ravenna. Pellegrino has lately commenced a Palace at Pavia for the Cardinal Borromeo, and this building is to be used for the High School; but not having totally ceased to paint, he is now occupied with a story in fresco for the monks of Monte Oliveto. Of this story, which is in the Refectory of San Giorgio, Pellegrino showed me the design not long since: it is a very fine one, and the work will, without doubt, be very beautiful. But since this artist is not more than thirty-five years old, and is still making progress, this that I have said of him shall suffice for the present.[1] I will be very brief in speaking of Orazio Fumaccini,[2] also a Bolognese painter. Over one of the doors of the Hall of Kings in Rome he painted a Story, as we have said,[3] which is an extremely good one, and in Bologna he has produced several paintings of merit. Although still very young he conducts himself in such a manner that there is every hope of his proving equal to those of his compatriots who have gone before him, and of whom we have made mention in these our Lives.
The people of Romagna likewise, moved by the example of their neighbours, the Bolognese, have produced many noble works in our Arts; for to say nothing of Jacopone da Faenza, who painted the Apsis of San Vitale in Ravenna, as we have related, there have been and are many besides of great excellence. Maestro Luca de’ Longhi, of Ravenna, a man of studious habits and quiet reserved character, has painted many beautiful pictures in oil, with numerous
- ↑ Pellegrino was subsequently invited to Madrid by Philip II., and designed the Escurial. For details respecting him, our readers may consult Ximenes, Descripcion de L'Escorial, and Ponz., Viage de España.
- ↑ Samacchini, or Sommacchini, as Vasari calls him, in the Life of Taddeo Zucchero. See Malvasia, ut supra.
- ↑ In the Life of Taddeo Zucchero; see ante, p. 196.
