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FRANCIABIGIO (1482–1525)

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Originally appearing in Volume V10, Page 933 of the 1911 Encyclopedia Britannica.

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FRANCIABIGIO (1482–1525)

FRANCIABIGIO (1482–1525) , Florentine painter, The name of this artist is generally given as Mercantonio Franciabigio; it appears, however, that his only real ascertained name was See also:

Francesco di Cristofano; and that he was currently termed See also:

Francia Bigio, the two appellatives being distinct. He was See also:

BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

Florence, and studied under See also:

ALBERTINELLI, MARIOTTO (1474-1515)

Albertinelli for some months. In 1505 he formed the acquaintance of See also:

ANDREA, GIOVANNI (1275-1348)

Andrea del Sarto; and after a while the two painters set up a See also:

SHOP

shop in See also:

COMMON

common in the Piazza del Grano. Franciabigio paid much See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to See also:

anatomy and See also:

PERSPECTIVE (Lat. peespicere, to see through)

perspective, and to the proportions of- his figures, though these are often too squat and puffy in See also:

FORM (Lat. forma)

form. He had a large stock of See also:

ARTISTIC

artistic knowledge, and was at first noted for See also:

DILIGENCE

diligence. As years went on, and he received frequent commissions for all sorts of public See also:

PAINTING

painting for festive occasions, his diligence merged in something which may rather be called workmanly offhandedness. He was particularly proficient in See also:

FRESCO (Ital. for cool, " fresh ")

fresco, and See also:

VASARI, GIORGIO (1511-1571)

Vasari even says that he surpassed all his contemporaries in this method—a See also:

JUDGMENT

judgment which See also:

MODERN

modern connoisseurship does not accept. In the See also:

court of the See also:

SERVITES

Servites (or See also:

CLOISTER (Lat. claustrum; Fr. cloitre; Ital. chiostro; Span. claustro; Ger. Kloster)

cloister of the Annunziata) in Florence he painted in .1513 the " See also:

MARRIAGE

Marriage of the Virgin," as a portion of a See also:

SERIES (a Latin word from serere, to join)

series wherein Andrea del Sarto was chiefly concerned. The friars having uncovered this See also:

WORK

work before it was quite finished, Franciabigio was so incensed that, seizing a See also:

mason's See also:

HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer, he struck at the See also:

head of the Virgin, and some other heads; and the fresco, which would otherwise be his masterpiece in that method, remains thus mutilated. At the Scalzo, in another series of frescoes on which Andrea was likewise employed, he executed in 1518–1519 the " Departure of See also:

John the Baptist for the See also:

DESERT

Desert," and the " See also:

MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

Meeting of the Baptist with Jesus"; and, at the See also:

Medici See also:

PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace at See also:

POGGIO (1380-1459)

Poggio a Caiano, in 1521, the " See also:

TRIUMPH (triumphus)

Triumph of See also:

CICERO

Cicero." Various See also:

WORKS

works which have been ascribed to See also:

RAPHAEL (Hebrew smm, " God heals ")

Raphael are now known or reasonably deemed to be by Franciabigio. Such are the " Madonna del Pozzo," in the Uffizi See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery; the See also:

HALF

half figure of a " See also:

Young See also:

Man," in the Louvre (see also FRANCIA); and the famous picture in the See also:

Fuller-See also:

Maitland collection, a " Young Man with a See also:

LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter." These two works show a See also:

close See also:

ANALOGY (Gr. avaXo-yLa, proportion)

analogy in See also:

style to another in the Pitti gallery, avowedly by Franciabigio, a " Youth at a Window," and to some others which See also:

bear this painter's recognized See also:

MONOGRAM (from Late Lat. monogramma, in Late Gr. µovoypaµµov, from µovos, single, ypaµµa, letter)

monogram. The series of portraits, taken collectively, placed beyond dispute the eminent and idiosyncratic See also:

GENIUS (from Lat. genere, gignere)

genius of the See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master.

Two other works of his, of some celebrity, are the " Calumny of See also:

APELLES

Apelles," in the Pitti, and the " See also:

Bath of Bathsheba " (painted in 1523), in the See also:

DRESDEN

Dresden gallery.

End of Article: FRANCIABIGIO (1482–1525)

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