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Updated: June 6, 2025
It seemed to him as if a spirit hostile and evil had threatened him from beneath those shining eyes; and he was amused to experience, for all his interest, a sense of half-relief when the four beautiful wings hurtled crisply and the creature darted away.
Of the same family was the nephew of Luca, Andrea, who worked very well in marble, as it is seen in the Chapel of S. Maria delle Grazie, without Arezzo, where he made for the Commune, in a great ornament of marble, many little figures both in the round and in half-relief; which ornament was made for a Virgin by the hand of Parri di Spinello of Arezzo. The same man made the panel in terra-cotta for the Chapel of Puccio di Magio, in the Church of S. Francesco in the same city, and that representing the Circumcision for the family of the Bacci. In S. Maria in Grado, likewise, there is a very beautiful panel by his hand with many figures; and on the high-altar of the Company of the Trinit
At this same time Baccio had made a scene of the Deposition from the Cross with little figures in low-relief and half-relief, which was a rare work; and he had it cast with great diligence in bronze. When finished, he presented it in Genoa to Charles V, who held it very dear; and a sign of this was that his Majesty gave Baccio a Commandery of S. Jago, and made him a Chevalier.
And since he delighted to work in relief, he executed not only models for his own purposes and for the arrangement of draperies, but also other things of his own fancy, of which there are some to be seen in the house of his heirs, and in particular a scene in half-relief, which is not otherwise than passing good.
By his hand, likewise, are three very beautiful scenes in half-relief from the life of S. John the Baptist, wrought in bronze, which are round the baptismal font of S. Giovanni, below the Duomo; and also some figures in the round, likewise in bronze, one braccio in height, which are between each of the said scenes, and are truly beautiful and worthy of praise.
Then he walked up the steps without treading on the carpet, because living scorpions have been known to be placed under carpets on purpose on occasion. And at the top, being a Secret Service man, he stooped to examine the lamps. They were bronze, cast, polished and graved. All round the circumference of each bowl were figures in half-relief, representing a woman dancing.
It is true that on the front of that base he finished entirely a scene of marble in half-relief, with figures about two braccia high, in which he represented Signor Giovanni seated, to whom are being brought many prisoners, soldiers, women with dishevelled hair, and nude figures, but all without invention and without revealing any feeling.
Giovan Francesco made an Annunciation in half-relief in a large medallion, with a most beautiful perspective-view, in which he was assisted by the painter Raffaello Bello and by Niccolò Soggi. This, when cast in bronze, proved to be a work of such rare beauty, that there was nothing more beautiful to be seen; and it was sent to the King of Spain.
On a round column in the said Pieve he painted a S. Vincent in fresco; and in S. Francesco he made some saints round a Madonna in half-relief, for the family of the Viviani, with the Apostles on the arch above, receiving the Holy Spirit, and some other saints in the vaulting, and on one side Christ with the Cross on His shoulder, pouring blood from His side into the Chalice, and round Christ some angels very well wrought.
But the place where he strove to do his utmost and to put forth all his powers, was the Chapel of the most holy Sacrament in the Church of Loreto, in which he painted some Angels round a tabernacle of marble wherein rests the Body of Christ, and two scenes on the walls of that chapel, one of Melchizedek and the other of the Manna raining down, both executed in fresco; and over the vaulting he distributed fifteen little scenes of the Passion of Jesus Christ, nine of which he executed in painting, and six in half-relief.
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