there long,
because, being of a sickly habit of body, he fell ill and died, to the
great grief of the noble Marquis and of all who knew him.

He had a brother called Luca, likewise a painter, who worked in Genoa
with his brother-in-law Perino, as well as at Lucca and many other
places in Italy. In the end he went to England, where, after executing
certain works for the King and for some merchants, he finally devoted
himself to making designs for copper-plates for sending abroad, which he
had engraved by Flemings. Of such he sent abroad a great number, which
are known by his name as well as by the manner; and by his hand, among
others, is a print wherein are some women in a bath, the original of
which, by the hand of Luca himself, is in our book.

A disciple of Giovan Francesco was Leonardo, called Il Pistoia because
he came from that city, who executed some works at Lucca, and made many
portraits from life in Rome. At Naples, for Diomede Caraffa, Bishop of
Ariano, and now a Cardinal, he painted a panel-picture of the Stoning of
S. Stephen for his chapel in S. Domenico. And for Monte Oliveto he
painted another, which was placed on the high-altar, although it was
afterwards removed to make room for a new one, similar in subject, by
the hand of Giorgio Vasari of Arezzo. Leonardo earned large sums from
these Neapolitan nobles, but he accumulated little, for he squandered it
all as it came to his hand; and finally he died in Naples, leaving
behind him the reputation of having been a good colourist, but not of
having shown much excellence in draughtsmanship.

Giovan Francesco lived forty years, and his works date about 1528.

A friend of Giovan Francesco, and likewise a disciple of Raffaello, was
Pellegrino da Modena, who, having acquired in his native city the name
of a man of fine genius for painting, and having heard of the marvels of
Raffaello da Urbino, determined, in order to justify by means of labour
the hopes already conceived of him, to go to Rome. Arriving there, he
placed himself under Raffaello, who never refused anything to men of
ability. There were then in Rome very many young men who were working at
painting and seeking in mutual rivalry to surpass one another in
draughtsmanship, in order to win the favour of Raffaello and to gain a
name among men; and thus Pellegrino, giving unceasing attention to his
studies, became not only a good draughtsman, but also a well-practised
master of the whole of his art. A