**IACOPINO del CONTE.** – Painter born in Florence in 1510, died in Rome on 9 January 1598. A pupil of Andrea del Sarto, he was also influenced by Michelangelo and the leading Tuscan mannerists, especially Salviati. After moving to Rome, in 1538 he became a member of the Congregazione dei Virtuosi al Pantheon and later of the Accademia di S. Luca.
For the Oratory of S. Giovanni Decollato, an ancient Florentine confraternity of the Misericordia, Iacopino painted his first and principal Roman works in three frescoes depicting respectively: *The Annunciation of the Birth of the Baptist to Zechariah* (1535), *The Preaching of the Baptist* (1538), and *The Baptism of Christ* (1541). At the same time and subsequently, he painted altarpieces for Roman churches, among which remains in S. Luigi de’ Francesi that of the chapel of S. Remigio, as well as portraits, some of great beauty, such as that of Michelangelo in the Chais de’ Estampes collection, that of S. Ignatius of Loyola in the care of the Society of Jesus in Rome, and that of a young Scarlatti in the Galleria Pitti in Florence. To Iacopino has been attributed by Venturi the *Madonna and Child with St. John the Baptist and Angels* in the National Gallery in London, previously recognized as a work by Michelangelo. A painter of remarkable chromatic and design strength, he created his masterpiece in the frescoes of the Roman Oratory of S. Giovanni Decollato, where compositions of plainly architectural design attain the value of great painted altarpieces. His pupil was Scipione Pulzone da Gaeta.
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**IACOPINO di FRANCESCO dei BAVOSI or dei PAPAZZONI, called IACOPO DA BOLOGNA.** – Bolognese painter, documented from 1360 to 1383 and certainly already active before 1350. He was the foremost artist among the various Iacopi painters active in Bologna during the fourteenth century.
He formed his style on the examples of the Rimini masters and in particular of Francesco da Rimini, who worked around 1330, maintaining an independence from the influence of the leading figure of Bolognese painting in the 1300s: Vitale da Bologna. With him and with Simone de’ Crocefissi he collaborated in the cycle of frescoes in the former oratory of S. Apollonia at Mezzaratta (Bologna). His figures, though imbued with Giottesque severity, reveal a character at times popular, at times intense, as in the two panels nos. 161 and 159 of the Pinacoteca in Bologna and in the fragments of a third, dismembered, in the same gallery. Some of his works, in addition to the grand fresco recently discovered in the church of S. Giacomo Maggiore in Bologna depicting *St. James at the Battle of Clavijo* and the dramatic *Crucifixion* in S. Giovanni in Monte in Bologna, include the four Kress panels, formerly Gozzadini, now in New York, the tragic *Crucifixion* in the Museum of Moulins, and that in the Johnson Collection in Philadelphia.