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Updated: June 13, 2025
It is impossible, however, to go fully into the details of Francia's autocratic reign, incredible as many of these are. The destruction of the Church, the secularization of the monks, wholesale executions and torturings, the suppression of the Post Office, and a hundred other acts of irresponsible and childish tyranny these are only some of the episodes which characterized the days of his rule.
Blessed blessed creatures! love us, only love us! for we dare not task your soft serene beatitude, by asking you to help us! There is more sympathy with humanity in Francia's angels: they look as if they could weep as well as love and sing.
For as the complete Indian cohort files forth from among the bushes, and he takes note of how it is composed above all observing the very friendly relations between Valdez and the young chief he knows it must affect himself to the full danger of his life. Vividly remembers he the enmity of Francia's familiar, too deep and dire to have been given up or forgotten.
That Michael Angelo was contemptuous to brother artists, is proved by what Torrigiani said to Cellini: "Aveva per usanza di uccellare tutti quelli che dissegnavano." He called Perugino goffo, told Francia's son that his father made handsomer men by night than by day, and cast in Lionardo's teeth that he could not finish the equestrian statue of the Duke of Milan.
A greater degree of naïveté and naturalness compensates for the inferiority of Francia's to Perugino's supremely perfect handling.
Beginning at the door leading from the room of the little pictures, we find, on our left, Raphael's "Ignota," No. 1120, so rich and unfeeling, and then Francia's portrait of Evangelista Scappi, so rich and real and a picture that one never forgets. Raphael's Julius II comes next, not so powerful as the version in the Pitti, and above that Titian's famous Venus.
But while there is a certain resemblance between his Madonna and Perugino's, the former has less of sentimentality than the latter, and more real melancholy. Like Botticelli's Virgin, she acts her part half-heartedly, as if the sword had already begun to pierce her heart. Francia's favorite Madonna subjects were of the higher order, the Madre Pia and the Madonna as Witness.
How touching, on the other hand, is that simple entry in Francesco Francia's day-book, made when his chief journeyman, Timoteo Viti, leaves him: "1495 a di 4 aprile è partito il mio caro Timoteo; chi Dio li dia ogni bene et fortuna!" Gallery of the Capitol, Rome.
Now that Francia's works had spread his fame abroad, even as his painting in oil had brought him both profit and repute, so he determined to try whether he would succeed as well at working in fresco.
In Perugino's portrait of Francesco delle Opere, No. 287, we find an evening sky and landscape still more lovely than Francia's.
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