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Updated: June 17, 2025
And his portrait, similar to the one that is seen above, I had from Maestro Domenico Beccafumi, painter of Siena, who has related to me many things about the excellence, goodness, and gentleness of Jacopo, who finally died, exhausted by fatigues and by continuous labour, at the age of sixty-four, and was lamented and honourably buried in Siena, the place of his birth, by his friends and relatives nay, by the the whole city.
You don't care to remind a grizzled veteran of his defeats, and why should we linger in Siena to talk about Beccafumi? I by no means go so far as to say, with an amateur with whom I have just been discussing the matter, that "Sodoma is a precious poor painter and Beccafumi no painter at all"; but, opportunity being limited, I am willing to let the remark about Beccafumi pass for true.
Finally, perceiving that the devotion of the people of Siena was all turned to the talents and excellent works of Domenico Beccafumi, and possessing neither house nor revenues in Siena, and having by that time consumed almost all his property and become old and poor, Giovanni Antonio departed from Siena almost in despair and went off to Volterra.
But the most beautiful were executed later by Domenico Beccafumi of Siena, after the death of Parmigiano, as will be related at greater length in the Life of Domenico.
Fra Angelico and Ghirlandaio said all their feebler <i>confreres</i> dreamt of and a great deal more beside, but the inspiration of Simone Memmi and Ambrogio Lorenzetti and Sano di Pietro has a painful air of never efflorescing into a maximum. Sodoma and Beccafumi are to my taste a rather abortive maximum.
Then, after the Chapel of Michelagnolo and the works of Raffaello da Urbino had been thrown open in Rome, Domenico, who desired nothing so much as to learn, and knew that he was losing his time in Siena, took leave of Lorenzo Beccafumi, from whom he acquired the family name of Beccafumi, and made his way to Rome.
Full Development and Decline of Painting Exhaustion of the old Motives Relation of Lionardo to his Pupils His Legacy to the Lombard School Bernardino Luini Gaudenzio Ferrari The Devotion of the Sacri Monti The School of Raphael Nothing left but Imitation Unwholesome Influences of Rome Giulio Romano Michael Angelesque Mannerists Misconception of Michael Angelo Correggio founds no School Parmigianino Macchinisti The Bolognese After-growth of Art in Florence Andrea del Sarto His Followers Pontormo Bronzino Revival of Painting in Siena Sodoma His Influence on Pacchia, Beccafumi, Peruzzi Garofalo and Dosso Dossi at Ferrari The Campi at Cremona Brescia and Bergamo The Decadence in the second half of the Sixteenth Century The Counter-Reformation Extinction of the Renaissance Impulse.
Her father and mother and groups of spectators fill the foreground; here, too, is a very noble female figure on the right; but the whole composition is mannered, and wants repose and religious feeling. The Sposalizio, by Beccafumi. The ceremony takes place after the manner of the Jews, outside the Temple. In a mannered, artificial style.
The principal hall is very pleasing and beautiful, being wrought in stucco and all filled with scenes from Roman history, executed for the most part by Perino's young men, and not a few by the hand of Marco da Siena, the disciple of Domenico Beccafumi; and in certain rooms there are most beautiful friezes.
Sodoma's influence at Siena, where he lived a picturesque life, delighting in his horses and surrounding himself with strange four-footed pets of all sorts, soon produced a school of worthy masters. Girolamo del Pacchia, Domenico Beccafumi, and Baldassare Peruzzi, though they owed much to the stimulus of his example, followed him in no servile spirit.
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