Citation link:
https://digi.ub.uni-heidelberg.de/diglit/vasari1851bd4/0413
GIROLAMO GENGA.
405
church of Santa Chiara, in Urbino, and this, for a simple
and far from costly work, has proved to be a very handsome
one.
The Venetian painter Battista Franco,* was invited to
Urbino by Girolamo Genga, and was by him selected to
paint the principal chapel of the cathedral, at the time when
the decorations of the organ in that church were in course
of progress, after Girolamo’s designs. This last-mentioned
work is not yet completed.
At a subsequent period, the Cardinal of Mantua wrote
to the Duke, with a request that Girolamo might be sent to
him, seeing that he desired to have his episcopal palace in
that city set in order; our artist proceeded to Mantua ac-
cordingly, when he restored the building, effectually provid-
ing it with suitable windows, and whatever else the prelate
above-named desired to have done therein. The Cardinal
likewise proposed to have a new and beautiful facade erected
for the same cathedral, when Girolamo was commanded to
prepare the model for the work; and this he did in such a
manner, that he may truly be said to have surpassed all the
architectural productions of his time, since he has here ex-
hibited grandeur, beauty of proportion, and the graces of
ornament in equal perfection.
Having then returned to Urbino, and being somewhat
advanced in years, Girolamo went to reside at a villa which
he possessed in the territory of Urbino, and which was called
La Valle, there to enjoy his repose and the results of his
many labours. But while there, and that he might not re-
main idle, he delineated a story in red chalk, the subject of
which was the Conversion of St. Paul, the figures and horses
of this work are in considerable numbers and of rather large
size; and Girolamo completed it with so much care and
patience, that more could neither be imagined nor described,
as may be seen by examination of the work, which is in
the possession of his heirs, who preserve it as a most pre->
cious and highly valued production.f
* Battista Franco, named II Semolei, whom Lanzi calls “a Venetian by
his birth, but a Florentine by his style he died in the year 1561.
t Speaking of this master, Lanzi', Stevia Pittorica, has a remark to the
effect, that although Luca Signorelli was the first to enlarge the prevailing
style, yet that Genga must be allowed to have surpassed him. He adds,
405
church of Santa Chiara, in Urbino, and this, for a simple
and far from costly work, has proved to be a very handsome
one.
The Venetian painter Battista Franco,* was invited to
Urbino by Girolamo Genga, and was by him selected to
paint the principal chapel of the cathedral, at the time when
the decorations of the organ in that church were in course
of progress, after Girolamo’s designs. This last-mentioned
work is not yet completed.
At a subsequent period, the Cardinal of Mantua wrote
to the Duke, with a request that Girolamo might be sent to
him, seeing that he desired to have his episcopal palace in
that city set in order; our artist proceeded to Mantua ac-
cordingly, when he restored the building, effectually provid-
ing it with suitable windows, and whatever else the prelate
above-named desired to have done therein. The Cardinal
likewise proposed to have a new and beautiful facade erected
for the same cathedral, when Girolamo was commanded to
prepare the model for the work; and this he did in such a
manner, that he may truly be said to have surpassed all the
architectural productions of his time, since he has here ex-
hibited grandeur, beauty of proportion, and the graces of
ornament in equal perfection.
Having then returned to Urbino, and being somewhat
advanced in years, Girolamo went to reside at a villa which
he possessed in the territory of Urbino, and which was called
La Valle, there to enjoy his repose and the results of his
many labours. But while there, and that he might not re-
main idle, he delineated a story in red chalk, the subject of
which was the Conversion of St. Paul, the figures and horses
of this work are in considerable numbers and of rather large
size; and Girolamo completed it with so much care and
patience, that more could neither be imagined nor described,
as may be seen by examination of the work, which is in
the possession of his heirs, who preserve it as a most pre->
cious and highly valued production.f
* Battista Franco, named II Semolei, whom Lanzi calls “a Venetian by
his birth, but a Florentine by his style he died in the year 1561.
t Speaking of this master, Lanzi', Stevia Pittorica, has a remark to the
effect, that although Luca Signorelli was the first to enlarge the prevailing
style, yet that Genga must be allowed to have surpassed him. He adds,