S. before the
date; but the letters mean only _Anno salutis_, and are used in
very many of Francia Bigio's signed paintings. He had the commission
from Gio Maria Benintendi in 1523. It is one of those curious pictures
which have many scenes in one--a style which militates greatly against
artistic unity. On the right is David's palace, on the left Uriah's;
David is at his door watching Bathsheba and her maidens bathing. In the
centre is the siege of Rabbah; another well-draped group represents
David receiving Uriah's homage. In the foreground David gives wine to
Uriah at a banquet. There is careful painting and ingenious
composition, but a less finished manner of colouring than in Andrea's
Joseph, which was painted about the same time for Pier Borgherini.
Like Ridolfo Ghirlandajo, Francia Bigio fell off in his later style,
partly because his ambition failed him, and also because he began to
look on art as a means of livelihood--a motive which is certain death
to high art.
He was especially celebrated as a portrait painter, several of his
works having been attributed to Raphael.
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