for no
little time, was Gerino da Pistoia, of whom there has been mention
in the Life of Pinturicchio; and so also was Baccio Ubertino of
Florence, who was most diligent both in colouring and in drawing,
for which reason Pietro made much use of him. By this man's hand is
a drawing in our book, done with the pen, of Christ being scourged
at the Column, which is a very lovely thing.

[Illustration: MADONNA AND CHILD, WITH SAINTS

(_After the panel by =Giovanni (Lo Spagna)=. Assisi: Lower Church_)

_Anderson_]

A brother of this Baccio, and likewise a disciple of Pietro, was
Francesco, called Il Bacchiaccha by way of surname, who was a most
diligent master of little figures, as may be seen in many works
wrought by him in Florence, above all in the house of Giovan Maria
Benintendi and in that of Pier Francesco Borgherini. Bacchiaccha
delighted in painting grotesques, wherefore he covered a little
cabinet belonging to the Lord Duke Cosimo with animals and rare
plants, drawn from nature, which are held very beautiful. Besides
this, he made the cartoons for many tapestries, which were
afterwards woven in silk by the Flemish master, Giovanni Rosto, for
the apartments of his Excellency's Palace. Still another disciple of
Pietro was the Spaniard Giovanni, called Lo Spagna by way of
surname, who was a better colourist than any of the others whom
Pietro left behind him at his death; after which this Giovanni would
have settled in Perugia, if the envy of the painters of that city,
so hostile to strangers, had not persecuted him in such wise as to
force him to retire to Spoleto, where, by reason of his excellence
and virtue, he obtained a wife of good family and was made a citizen
of that city. He made many works in that place, and likewise in all
the other cities of Umbria; and at Assisi, in the lower Church of S.
Francesco, he painted the panel of the Chapel of S. Caterina, for
the Spanish Cardinal Egidio, and also one in S. Damiano. In S. Maria
degli Angeli, in the little chapel where S. Francis died, he painted
some half-length figures of the size of life--that is, certain
companions of S. Francis and other saints--all very lifelike, on
either side of a S. Francis in relief.

But the best master among all the aforesaid disciples of Pietro was
Andrea Luigi of Assisi, called L'Ingegno, who in his early youth
competed with Raffaello da Urbino under the discipline of Pietro,
who always employed him in the most important pictur