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Sguazzella, wiser than his master, preferred to stay in Paris under the patronage of Cardinal de Tournon. He painted a great many works, much in the style of Andrea, but with less excellence. It is possible that some of M. Lepiscie's long list are, in fact, the work of the pupil rather than the master.
The inscription to Andrea del Sarto which once existed in the church of SS. Annunziata was put up by Conti. There are a few altar-pieces by him in Rome, and a Deposition in the church of the Misericordia in Florence, but he was almost exclusively a portrait painter. ANDREA SGUAZZELLA, called NANNOCCIO, remained in France after having accompanied Andrea del Sarto thither.
In the summer of 1518 he started with his pupil, Andrea Sguazzella, called Nanoccio. Such a journey was in those days considered as little less than a parting for life. It is plain that Lucrezia's family looked on her as almost a widow, for they made him sign a deed of acknowledgement for the 150 florins of her dote.
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