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Now, after Benvenuto had been two years in Cremona, and had made much progress under the discipline of Boccaccino, he went off in the year 1500, at the age of nineteen, to Rome, where, having placed himself with Giovanni Baldini, a Florentine painter of passing good skill, who possessed many very beautiful drawings by various excellent masters, he was constantly practising his hand on those drawings whenever he had time, and particularly at night.
And we have already related that when Boccaccio Boccaccino was painting the great recess of the Duomo at Cremona and the stories of Our Lady throughout the church, Bonifazio Bembi was also a good painter, and Altobello executed in fresco many stories of Jesus Christ with much more design than have those of Boccaccino.
While Boccaccino was still alive, but old, Cremona had another painter, called Galeazzo Campo, who painted the Rosary of the Madonna in a large chapel in the Church of S. Domenico, and the façade at the back of S. Francesco, with other works and altar-pieces by his hand that are in Cremona, all passing good.
For rare distinction of beauty in the faces it is unique, while the mystic calm and resignation, so misplaced in his Aphrodites, find a meaning here . There is only one other picture in Italy, a "Madonna and Child with S. Catherine" in a landscape by Boccaccino da Cremona, that in any degree rivals the peculiar beauty of its types .
Whereupon, that work having pleased him, he placed himself by means of some friends under Boccaccino, who was at that time executing in the same church, likewise in fresco, some stories of the Madonna, as has been said in his Life, in competition with the painter Altobello, who was painting in the same church, opposite to Boccaccino, some stories of Jesus Christ, which are very beautiful and truly worthy to be praised.
Francesco died at Florence in the year 1557. In this part of the Lives that we are about to write we shall give a brief account of the best and most eminent painters, sculptors, and architects who have lived in Lombardy in our time, after Mantegna, Costa, Boccaccino of Cremona, and Francia of Bologna; for I am not able to write the life of each in detail, and it seems to me enough to enumerate their works.
With that Domenico Benvenuto had been some little time, when, going once to Cremona, he happened to see in the principal chapel of the Duomo in that city, among other works by the hand of Boccaccio Boccaccino, a painter of Cremona, who had painted the tribune there in fresco, a Christ seated on a throne surrounded by four Saints, and giving the Benediction.
Camillo, the son of Boccaccino, afterwards imitated that manner in painting in fresco the principal chapel of S. Gismondo, without the city, and in other works, and so succeeded much better than his father had done. That Camillo, however, being slow and even dilatory in his work, did not paint much save small things and works of little importance.
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