much
spurred by his rivalry with Andrea del Sarto, then his companion, with
whom for a long time he shared both work-room and the painter's life; on
account of which life they made great proficience, one through the
other, in the art of painting.

Francia learned the first principles of art in his youth by living for
some months with Mariotto Albertinelli. And being much inclined to the
study of perspective, at which he was always working out of pure
delight, while still quite young he gained a reputation for great
ability in Florence. The first works painted by him were a S. Bernard
executed in fresco in S. Pancrazio, a church opposite to his own house,
and a S. Catharine of Siena, executed likewise in fresco, on a pilaster
in the Chapel of the Rucellai; whereby, exerting himself in that art,
he gave proofs of his fine qualities. Much more, even, was he
established in repute by a picture which is in a little chapel in S.
Pietro Maggiore, containing Our Lady with the Child in her arms, and a
little S. John caressing Jesus Christ. He also gave proof of his
excellence in a shrine executed in fresco, in which he painted the
Visitation of Our Lady, on a corner of the Church of S. Giobbe, behind
the Servite Convent in Florence. In the figure of that Madonna may be
seen a goodness truly appropriate, with profound reverence in that of
the older woman; and the S. Job he painted poor and leprous, and also
rich and restored to health. This work so revealed his powers that he
came into credit and fame; whereupon the men who were the rulers of that
church and brotherhood gave him the commission for the panel-picture of
their high-altar, in which Francia acquitted himself even better; and in
that work he painted a Madonna, and S. Job in poverty, and made a
portrait of himself in the face of S. John the Baptist.

There was built at that time, in S. Spirito at Florence, the Chapel of
S. Niccola, in which was placed a figure of that Saint in the round,
carved in wood from the model by Jacopo Sansovino; and Francia painted
two little angels in two square pictures in oils, one on either side of
that figure, which were much extolled, and also depicted the
Annunciation in two round pictures; and the predella he adorned with
little figures representing the miracles of S. Nicholas, executed with
such diligence that he deserves much praise for them. In S. Pietro
Maggiore, by the door, and on the right hand as one enters the church,
is an A