Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

The colouring, moreover, has maintained its freshness exceedingly well, and there are many portraits of renowned and learned, or otherwise distinguished men, among which that of Messer Francesco Petrarca may be found.
In the works of this Hall, the Bolognese painter, Jacopo Avanzi, took part with Aldigieri: beneath the above-named pictures, and, like them, in fresco, he painted two very beautiful triumphal processions, executed in so good a manner, and with such consummate art, that Mantegna, as we are assured by Girolamo Campagnuola, commended them as pictures of extraordinary beauty.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Giovanni Buonconsigli was also accounted a good master, and at the altar of St. Thomas Aquinas, in the church of San Giovanni e Paolo, is a painting by this artist, wherein he has depicted the first named saint surrounded by numerous figures, to whom he is reading the holy Scriptures: in that picture there is a perspective view of buildings which is not unworthy of commendation. [47] The Florentine sculptor, Simon Bianco also lived throughout the greater part of his life in Venice, as did Tullio Lombardo [48] an exceedingly skilful engraver.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

San Niccola da Tolentino namely, with other saints: the predella he covered with historical subjects in small figures, representing events from the life of San Niccolo. In San Fermo, a church of Franciscan monks, in the same city, Stefano painted twelve prophets, half-length figures the size of life, and these served as the frame or ornament to a Deposition of the Cross, which was opposite to the side-door of the church: at their feet are lying the figures of Adam and Eve; the accustomed peacock is also there, and is, indeed, almost to be considered as the signature or anagram of this master.
Source: Wikisource

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