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Updated: May 19, 2025
These works brought him forward in such a manner, that, when Girolamo Genga went, as we have said, to paint the chapel in S. Francesco at Forlì for M. Bartolommeo Lombardino, Francesco at that time went to live with Genga, seizing that opportunity of learning, and did not cease to serve him as long as he lived.
He was not only a painter, sculptor, and architect, but also a good musician and a fine talker, and his society was very agreeable. He was full of courtesy and lovingness towards his relatives and friends; and, what entitles him to no little praise, he laid the foundation of the house of Genga at Urbino with his good name and property.
The portrait he has painted of himself in the first of the frescoes, as well as that in the Opera del Duomo, show us a man in the very prime of life, full of energy and determination. Four years at least, Signorelli laboured at these frescoes, although not consecutively, as we shall presently see. He had with him as assistant his son Polidoro, and perhaps Girolamo Genga, and other pupils.
There, then, after that model had been seen and the fine discourse of Genga had been heard, the model was held by all without exception to be masterly and beautiful, and the master who had made it a man of the rarest genius.
A pupil of Genga, also, was Baldassarre Lancia of Urbino, who, having given his attention to many ingenious matters, has since practised his hand in fortifications, at which he worked on a salary for the Signoria of Lucca, in which place he stayed for some time.
Having finished that work, which brought him little praise, Battista transferred himself by means of Bartolommeo Genga to the service of the Duke of Urbino, to paint a very large vaulting in the church and chapel attached to the Palace of Urbino.
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