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+The Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the Most Eminent Painters Sculptors and Architects
+       Vol. 3 (of 10),  Filarete and Simone to Mantegna
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. de Vere
+
+Release Date: October 9, 2008 [EBook #26860]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PAINTERS SCULPTORS AND ARCHITECTS ***
+
+
+
+
+Produced by Mark C. Orton and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME III. FILARETE AND SIMONE TO MANTEGNA 1912
+
+NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED
+ILLUSTRATIONS: IN TEN VOLUMES
+
+[Illustration: 1511-1574]
+
+PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON
+ST. LONDON, W. 1912-14
+
+
+
+
+CONTENTS OF VOLUME III
+
+                                                                    PAGE
+
+   ANTONIO FILARETE AND SIMONE                                         1
+
+   GIULIANO DA MAIANO                                                  9
+
+   PIERO DELLA FRANCESCA [PIERO BORGHESE]                             15
+
+   FRA GIOVANNI DA FIESOLE [FRA ANGELICO]                             25
+
+   LEON BATISTA ALBERTI                                               41
+
+   LAZZARO VASARI                                                     49
+
+   ANTONELLO DA MESSINA                                               57
+
+   ALESSO BALDOVINETTI                                                65
+
+   VELLANO DA PADOVA                                                  71
+
+   FRA FILIPPO LIPPI                                                  77
+
+   PAOLO ROMANO, MAESTRO MINO [MINO DEL REGNO _OR_ MINO DEL
+        REAME], AND CHIMENTI CAMICIA                                  89
+
+   ANDREA DAL CASTAGNO OF MUGELLO [ANDREA DEGL' IMPICCATI]
+       AND DOMENICO VINIZIANO [DOMENICO DA VENEZIA]                   95
+
+   GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA               107
+
+   PESELLO AND FRANCESCO PESELLI [PESELLINO _OR_ FRANCESCO DI
+       PESELLO]                                                      115
+
+   BENOZZO GOZZOLI                                                   119
+
+   FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO                       127
+
+   GALASSO FERRARESE [GALASSO GALASSI]                               133
+
+   ANTONIO ROSSELLINO [ROSSELLINO DAL PROCONSOLO] AND
+       BERNARDO HIS BROTHER                                          137
+
+   DESIDERIO DA SETTIGNANO                                           145
+
+   MINO DA FIESOLE [MINO DI GIOVANNI]                                151
+
+   LORENZO COSTA                                                     159
+
+   ERCOLE FERRARESE [ERCOLE DA FERRARA]                              165
+
+   JACOPO, GIOVANNI, AND GENTILE BELLINI                             171
+
+   COSIMO ROSSELLI                                                   185
+
+   CECCA                                                             191
+
+   DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE                 201
+
+   GHERARDO                                                          211
+
+   DOMENICO GHIRLANDAJO                                              217
+
+   ANTONIO AND PIERO POLLAIUOLO                                      235
+
+   SANDRO BOTTICELLI [ALESSANDRO FILIPEPI _OR_ SANDRO DI
+       BOTTICELLO]                                                   245
+
+   BENEDETTO DA MAIANO                                               255
+
+   ANDREA VERROCCHIO                                                 265
+
+   ANDREA MANTEGNA                                                   277
+
+   INDEX OF NAMES                                                    287
+
+
+
+
+ILLUSTRATIONS TO VOLUME III
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+
+   VINCENZIO DI ZOPPA (FOPPA)
+       Madonna and Child
+           Settignano: Berenson Collection                             6
+
+   PIERO DELLA FRANCESCA
+       Federigo da Montefeltro, Duke of Urbino, and Battista Sforza,
+       his Wife
+           Florence: Uffizi, 1300                                     18
+
+   PIERO DELLA FRANCESCA
+       The Baptism in Jordan
+           London: N. G., 665                                         22
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       The Annunciation
+           Cortona: Gesù Gallery                                      34
+
+   ANTONELLO DA MESSINA
+       Portrait of a Young Man
+           Berlin: Kaiser Friedrich Museum, 18                        62
+
+   ANTONELLO DA MESSINA
+       The Crucifixion
+           London: N. G., 1166                                        64
+
+   ALESSO BALDOVINETTI
+       Madonna and Child in a Landscape
+           Paris: Louvre, 1300B                                       68
+
+   FRA FILIPPO LIPPI
+       The Annunciation
+           London: N. G., 666                                         80
+
+   ANDREA DAL CASTAGNO
+       Dante
+           Florence: S. Apollonia                                    102
+
+   GENTILE DA FABRIANO
+       Detail from The Adoration of the Magi: Madonna and Child,
+       with Three Kings
+           Florence: Accademia, 165                                  110
+
+   VITTORE PISANELLO
+       The Vision of S. Eustace
+           London: N. G., 1436                                       112
+
+   FRANCESCO PESELLI (PESELLINO)
+       Madonna Enthroned, with Saints and Angels
+           Empoli: Gallery                                           118
+
+   BENOZZO GOZZOLI
+       Madonna and Child
+           Berlin: Kaiser Friedrich Museum, 60B                      122
+
+   FRANCESCO DI GIORGIO
+       S. Dorothy
+           London: N. G., 1682                                       128
+
+   JACOPO BELLINI
+       Madonna and Child
+           Florence: Uffizi, 1562                                    174
+
+   GIOVANNI BELLINI
+       The Doge Leonardo Loredano
+           London: N. G., 189                                        174
+
+   GIOVANNI BELLINI
+       Fortuna
+           Venice: Accademia, 595                                    178
+
+   GIOVANNI BELLINI
+       The Dead Christ
+           Milan: Poldi Pezzoli, 624                                 178
+
+   GENTILE BELLINI
+       S. Dominic
+           London: N. G., 1440                                       182
+
+   DOMENICO GHIRLANDAJO
+       The Vision of S. Fina
+           San Gimignano                                             224
+
+   ANTONIO POLLAIUOLO
+       David Victor
+           Berlin: Kaiser Friedrich Museum, 73A                      240
+
+   SANDRO BOTTICELLI
+       Pallas and the Centaur
+           Florence: Pitti Palace                                    248
+
+   SANDRO BOTTICELLI
+       Giovanna Tornabuoni and the Graces
+           Paris: Louvre, 1297                                       248
+
+   SANDRO BOTTICELLI
+       Madonna of the Pomegranate
+           Florence: Uffizi, 1289                                    252
+
+   ANDREA MANTEGNA
+       Madonna of the Rocks
+           Florence: Uffizi, 1025                                    280
+
+
+PLATES IN MONOCHROME
+
+                                                              FACING PAGE
+   ANTONIO FILARETE
+       Bronze Doors
+           Rome: S. Peter's                                            4
+
+   SIMONE
+       Tomb of Pope Martin V
+           Rome: S. Giovanni in Laterano                               8
+
+   BENEDETTO DA MAIANO
+       S. Sebastian
+           Florence: Oratorio della Misericordia                      14
+
+   PIERO DELLA FRANCESCA
+       The Resurrection
+           Borgo S. Sepolcro                                          20
+
+   PIERO DELLA FRANCESCA
+       The Vision of Constantine
+           Arezzo: S. Francesco                                       24
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       The Transfiguration
+           Florence: S. Marco                                         30
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       S. Stephen Preaching
+           Rome: The Vatican, Chapel of Nicholas V                    32
+
+   LEON BATISTA ALBERTI
+       Facade of S. Andrea
+           Mantua                                                     46
+
+   ALESSO BALDOVINETTI
+       The Annunciation
+           Florence: Uffizi, 56                                       66
+
+   GRAFFIONE
+       The Trinity
+           Florence: S. Spirito                                       70
+
+   VELLANO DA PADOVA
+       Jonah Cast into the Sea
+           Padua: S. Antonio                                          74
+
+   FRA FILIPPO LIPPI
+       The Virgin Adoring
+           Florence: Accademia, 79                                    82
+
+   FRA FILIPPO LIPPI
+       Madonna and Child
+           Florence: Pitti, 343                                       86
+
+   ANDREA DAL CASTAGNO
+       The Last Supper
+           Florence: S. Apollonia                                     98
+
+   DOMENICO VINIZIANO
+       Madonna and Child
+           London: N. G., 1215                                       104
+
+   VITTORE PISANELLO
+       Medals: N. Piccinino and Sigismondo Malatesta
+           London: British Museum                                    114
+
+   BENOZZO GOZZOLI
+       Detail: Procession of the Magi
+           Florence: Palazzo Riccardi                                120
+
+   BENOZZO GOZZOLI
+       The Death of S. Augustine
+           San Gimignano: S. Agostino                                124
+
+   LORENZO VECCHIETTO
+       The Risen Christ
+           Siena: S. Maria della Scala                               130
+
+   COSMÈ (COSIMO TURA)
+       The Madonna Enthroned
+           Berlin: Kaiser Friedrich Museum, 86                       136
+
+   ANTONIO ROSSELLINO
+       Tomb of Cardinal Jacopo of Portugal
+           Florence: S. Miniato                                      142
+
+   BERNARDO ROSSELLINO
+       Tomb of Leonardo Bruni
+           Florence: S. Croce                                        144
+
+   DESIDERIO DA SETTIGNANO
+       Tomb of Carlo Marsuppini
+           Florence: S. Croce                                        148
+
+   MINO DA FIESOLE
+       Tomb of Margrave Hugo
+           Florence: La Badia                                        154
+
+   LORENZO COSTA
+       The Coronation of the Virgin
+           Bologna: S. Giovanni in Monte                             162
+
+   ERCOLE FERRARESE
+       The Israelites Gathering Manna
+           London: N. G., 1217                                       168
+
+   GENTILE BELLINI
+       The Miracle of the True Cross
+           Venice: Accademia, 568                                    176
+
+   GIOVANNI BELLINI
+       Madonna and Saints
+           Venice: S. Francesco della Vigna                          180
+
+   COSIMO ROSSELLI
+       Detail: Christ Healing the Leper
+           Rome: Sistine Chapel                                      190
+
+   DOMENICO GHIRLANDAJO
+       The Death of S. Francis
+           Florence: S. Trinita                                      222
+
+   DOMENICO GHIRLANDAJO
+       The Birth of S. John the Baptist
+           Florence: S. Maria Novella                                226
+
+   BASTIANO MAINARDI
+       The Madonna giving the Girdle to S. Thomas
+           Florence: S. Croce                                        232
+
+   PIERO POLLAIUOLO
+       SS. Eustace, James, and Vincent
+           Florence: Uffizi, 1301                                    238
+
+   ANTONIO POLLAIUOLO
+       The Martyrdom of S. Sebastian
+           London: N. G., 292                                        242
+
+   ANTONIO POLLAIUOLO
+       Tomb of Pope Sixtus IV
+           Rome: S. Peter's                                          242
+
+   SANDRO BOTTICELLI
+       The Adoration of the Magi
+           Florence: Uffizi, 1286                                    250
+
+   SANDRO BOTTICELLI
+       The Calumny of Apelles
+           Florence: Uffizi, 1182                                    254
+
+   BENEDETTO DA MAIANO
+       Pulpit
+           Florence: S. Croce                                        258
+
+   ANDREA VERROCCHIO
+       David
+           Florence: Bargello                                        266
+
+   ANDREA VERROCCHIO
+       Detail: Corner and Foot of the Medici Sarcophagus
+           Florence: S. Lorenzo                                      270
+
+   ANDREA VERROCCHIO
+       Statue of Bartolommeo Colleoni
+           Venice: Campo SS. Giovanni e Paolo                        272
+
+   ANDREA MANTEGNA
+       The Martyrdom of S. James
+           Padua: Eremitani                                          278
+
+   ANDREA MANTEGNA
+       Madonna and Angels
+           Milan: Brera, 198                                         282
+
+   ANDREA MANTEGNA
+       Judith with the Head of Holofernes
+           Dublin: N. G.                                             286
+
+
+
+
+ANTONIO FILARETE AND SIMONE
+
+
+
+
+LIVES OF ANTONIO FILARETE AND SIMONE
+
+SCULPTORS OF FLORENCE
+
+
+If Pope Eugenius IV, when he resolved to make the bronze door for S.
+Pietro in Rome, had used diligence in seeking for men of excellence to
+execute that work (and he would easily have been able to find them at
+that time, when Filippo di Ser Brunellesco, Donatello, and other rare
+craftsmen were alive), it would not have been carried out in the
+deplorable manner which it reveals to us in our own day. But perchance
+the same thing happened to him that is very often wont to happen to the
+greater number of Princes, who either have no understanding of such
+works or take very little delight in them. Now, if they were to consider
+how important it is to show preference to men of excellence in public
+works, by reason of the fame that comes from these, it is certain that
+neither they nor their ministers would be so negligent; for the reason
+that he who encumbers himself with poor and inept craftsmen ensures but
+a short life to his works or his fame, not to mention that injury is
+done to the public interest and to the age in which he was born, for it
+is firmly believed by all who come after, that, if there had been better
+masters to be found in that age, the Prince would have availed himself
+rather of them than of the inept and vulgar.
+
+Now, after being created Pontiff in the year 1431, Pope Eugenius IV,
+hearing that the Florentines were having the doors of S. Giovanni made
+by Lorenzo Ghiberti, conceived a wish to try to make one of the doors of
+S. Pietro in like manner in bronze. But since he had no knowledge of
+such works, he entrusted the matter to his ministers, with whom Antonio
+Filarete, then a youth, and Simone, the brother of Donatello, both
+sculptors of Florence, had so much interest, that the work was allotted
+to them. Putting their hands to this, therefore, they toiled for twelve
+years to complete it; and although Pope Eugenius fled from Rome and was
+much harassed by reason of the Councils, yet those who had charge of S.
+Pietro contrived to prevent that work from being abandoned. Filarete,
+then, wrought that door in low-relief, making a simple division, with
+two upright figures in each part--namely, the Saviour and the Madonna
+above, and S. Peter and S. Paul below; and at the foot of S. Peter is
+that Pope on his knees, portrayed from life. Beneath each figure,
+likewise, there is a little scene from the life of the Saint that is
+above; below S. Peter, his crucifixion, and below S. Paul, his
+beheading; and beneath the Saviour and the Madonna, also, some events
+from their lives. At the foot of the inner side of the said door, to
+amuse himself, Antonio made a little scene in bronze, wherein he
+portrayed himself and Simone and their disciples going with an ass laden
+with good cheer to take their pleasure in a vineyard. But since they
+were not always at work on the said door during the whole of those
+twelve years, they also made in S. Pietro some marble tombs for Popes
+and Cardinals, which were thrown to the ground in the building of the
+new church.
+
+[Illustration: BRONZE DOORS
+
+(_After =Antonio Filarete=. Rome: S. Peter's_)
+
+_Alinari_]
+
+After these works, Antonio was summoned to Milan by Duke Francesco
+Sforza, then Gonfalonier of Holy Church (who had seen his works in
+Rome), to the end that there might be made with his design, as it
+afterwards was, the Albergo de' poveri di Dio,[1] which is a hospital
+that serves for sick men and women, and for the innocent children born
+out of wedlock. The division for the men in this place is in the form of
+a cross, and extends 160 braccia in all directions; and that of the
+women is the same. The width is 16 braccia, and within the four square
+sides that enclose the crosses of each of these two divisions there are
+four courtyards surrounded by porticoes, loggie, and rooms for the use
+of the director, the officials, the servants, and the nurses of the
+hospital, all very commodious and useful. On one side there is a channel
+with water continually running for the service of the hospital and for
+grinding corn, with no small benefit and convenience for that place, as
+all may imagine. Between the two divisions of the hospital there is a
+cloister, 80 braccia in extent in one direction and 160 in the other,
+in the middle of which is the church, so contrived as to serve for both
+divisions. In a word, this place is so well built and designed, that I
+do not believe that there is its like in Europe. According to the
+account of Filarete himself, the first stone of this building was laid
+with a solemn procession of the whole of the clergy of Milan, in the
+presence of Duke Francesco Sforza, the Lady Bianca Maria, and all their
+children, with the Marquis of Mantua, the Ambassador of King Alfonso of
+Arragon, and many other lords. On the first stone which was laid in the
+foundations, as well as on the medals, were these words:
+
+   FRANCISCUS SFORTIA DUX IV, QUI AMISSUM PER PRÆCESSORUM OBITUM
+   URBIS IMPERIUM RECUPERAVIT, HOC MUNUS CHRISTI PAUPERIBUS DEDIT
+               FUNDAVITQUE MCCCCLVII, DIE XII APRIL.
+
+These scenes were afterwards depicted on the portico by Maestro
+Vincenzio di Zoppa, a Lombard, since no better master could be found in
+those parts.
+
+A work by the same Antonio, likewise, was the principal church of
+Bergamo, which he built with no less diligence and judgment than he had
+shown in the above-named hospital. And because he also took delight in
+writing, the while that these works of his were in progress he wrote a
+book divided into three parts. In the first he treats of the
+measurements of all edifices, and of all that is necessary for the
+purpose of building. In the second he speaks of the methods of building,
+and of the manner wherein a most beautiful and most convenient city
+might be laid out. In the third he invents new forms of buildings,
+mingling the ancient with the modern. The whole work is divided into
+twenty-four books, illustrated throughout by drawings from his own hand;
+but, although there is something of the good to be found in it, it is
+nevertheless mostly ridiculous, and perhaps the most stupid book that
+was ever written. It was dedicated by him in the year 1464 to the
+Magnificent Piero di Cosimo de' Medici, and it is now in the collection
+of the most Illustrious Lord Duke Cosimo. And in truth, since he put
+himself to so great pains, the book might be commended in some sort, if
+he had at least made some records of the masters of his day and of
+their works; but as there are few to be found therein, and those few are
+scattered throughout the book without method and in the least suitable
+places, he has toiled only to beggar himself, as the saying goes, and to
+be thought a man of little judgment for meddling with something that he
+did not understand.
+
+But I have said quite enough about Filarete, and it is now time to turn
+to Simone, the brother of Donato. This man, after the work of the door,
+made the bronze tomb of Pope Martin. He likewise made some castings that
+were sent to France, of many of which the fate is not known. For the
+Church of the Ermini, in the Canto alla Macine in Florence, he wrought a
+life-size Crucifix for carrying in processions, and to render it the
+lighter he made it of cork. In S. Felicita he made a terra-cotta figure
+of S. Mary Magdalene in Penitence, three braccia and a half in height
+and beautifully proportioned, and revealing the muscles in such a manner
+as to show that he had a very good knowledge of anatomy. He also wrought
+a marble tombstone for the Company of the Nunziata in the Church of the
+Servi, inlaying it with a figure in grey and white marble in the manner
+of a painting (which was much extolled), like the work already mentioned
+as having been done by the Sienese Duccio in the Duomo of Siena. At
+Prato he made the bronze grille for the Chapel of the Girdle. At Forlì,
+over the door of the Canon's house, he wrought a Madonna with two angels
+in low-relief; and he adorned the Chapel of the Trinità in S. Francesco
+with work in half-relief for Messer Giovanni da Riolo. In the Church of
+S. Francesco at Rimini, for Sigismondo Malatesti, he built the Chapel of
+S. Sigismondo, wherein there are many elephants, the device of that
+lord, carved in marble. To Messer Bartolommeo Scamisci, Canon of the
+Pieve of Arezzo, he sent a Madonna with the Child in her arms, made of
+terra-cotta, with certain angels in half-relief, very well executed;
+which Madonna is now in the said Pieve, set up against a column. For the
+baptismal font of the Vescovado of Arezzo, likewise, he wrought, in some
+scenes in low-relief, a Christ being baptized by S. John. In the Church
+of the Nunziata in Florence he made a marble tomb for Messer Orlando de'
+Medici. Finally, at the age of fifty-five, he rendered up his spirit
+to God who had given it to him. Nor was it long before Filarete, having
+returned to Rome, died at the age of sixty-nine, and was buried in the
+Minerva, where he had caused Giovanni Foccora, a painter of no small
+repute, to make a portrait of Pope Eugenius, while he was staying in
+Rome in the service of that Pontiff. The portrait of Antonio, by his own
+hand, is at the beginning of his book, where he gives instructions for
+building. His disciples were Varrone and Niccolò, both Florentines, who
+made the marble statue for Pope Pius II near Pontemolle, at the time
+when he brought the head of S. Andrew to Rome. By order of the same Pope
+they restored Tigoli almost from the foundations; and in S. Pietro they
+made the ornament of marble that is above the columns of the chapel
+wherein the said head of S. Andrew is preserved. Near that chapel is the
+tomb of the said Pope Pius, made by Pasquino da Montepulciano, a
+disciple of Filarete, and Bernardo Ciuffagni. This Bernardo wrought a
+tomb of marble for Gismondo Malatesti in S. Francesco at Rimini, making
+his portrait there from nature; and he also executed some works, so it
+is said, in Lucca and in Mantua.
+
+[Illustration: VINCENZIO DI ZOPPA (FOPPA): MADONNA AND CHILD
+
+(_Settignano: Berenson Collection. Panel_)]
+
+[Illustration: TOMB OF POPE MARTIN V
+
+(_After the bronze relief by =Simone=. Rome: S. Giovanni in Laterano_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[1] Literally, Hospice for God's poor.
+
+
+
+
+GIULIANO DA MAIANO
+
+
+
+
+LIFE OF GIULIANO DA MAIANO
+
+SCULPTOR AND ARCHITECT
+
+
+No small error do those fathers of families make who do not allow the
+minds of their children to run the natural course in their childhood,
+and do not suffer them to follow the calling that is most in accordance
+with their taste; for to try to turn them to something for which they
+have no inclination is manifestly to prevent them from ever being
+excellent in anything, because we almost always find that those who
+labour at something that they do not like make little progress in any
+occupation whatsoever. On the other hand, those who follow the instinct
+of nature generally become excellent and famous in the arts that they
+pursue; as was seen clearly in Giuliano da Maiano. The father of this
+man, after living a long time on the hill of Fiesole, in the part called
+Maiano, working at the trade of stone-cutter, finally betook himself to
+Florence, where he opened a shop for the sale of dressed stone, keeping
+it furnished with the sort of work that is apt very often to be called
+for without warning by those who are erecting some building. Living in
+Florence, then, there was born to him a son, Giuliano, whom his father,
+growing convinced in the course of time that he had a good intelligence,
+proposed to make into a notary, for it appeared to him that his own
+occupation of stone-cutting was too laborious and too unprofitable an
+exercise. But this did not come to pass, because, although Giuliano went
+to a grammar-school for a little, his thoughts were never there, and in
+consequence he made no progress; nay, he played truant very often, and
+showed that he had his mind wholly set on sculpture, although at first
+he applied himself to the calling of joiner and also gave attention to
+drawing.
+
+It is said that in company with Giusto and Minore, masters of
+tarsia,[2] he wrought the seats of the Sacristy of the Nunziata, and
+likewise those of the choir that is beside the chapel, and many things
+in the Badia of Florence and in S. Marco; and that, having acquired a
+name through these works, he was summoned to Pisa, in the Duomo of which
+he wrought the seat that is beside the high-altar, in which the priest,
+the deacon, and the sub-deacon sit when Mass is being sung; making in
+tarsia on the back of this seat, with tinted and shaded woods, the three
+prophets that are seen therein. In this work he availed himself of Guido
+del Servellino and Maestro Domenico di Mariotto, joiners of Pisa, to
+whom he taught the art so well that they afterwards wrought the greater
+part of that choir both with carvings and with tarsia-work; which choir
+has been finished in our own day, with a manner no little better, by
+Batista del Cervelliera of Pisa, a man truly ingenious and fanciful.
+
+But to return to Giuliano; he made the presses of the Sacristy of S.
+Maria del Fiore, which were held at that time to be admirable examples
+of tarsia and inlaid-work. Now, while Giuliano thus continued to devote
+himself to tarsia, to sculpture, and to architecture, Filippo di Ser
+Brunellesco died; whereupon, being chosen by the Wardens of Works to
+succeed him, he made the borders, incrusted with black and white marble,
+which are round the circular windows below the vault of the cupola; and
+at the corners he placed the marble pilasters on which Baccio d'Agnolo
+afterwards laid the architrave, frieze, and cornice, as will be told
+below. It is true that, as it appears from some designs by his hand that
+are in our book, he wished to make another arrangement of frieze,
+cornice, and gallery, with pediments on each of the eight sides of the
+cupola; but he had not time to put this into execution, for, being
+carried away by an excess of work from one day to another, he died.
+
+Before this happened, however, he went to Naples and designed the
+architecture of the magnificent Palace at Poggio Reale for King Alfonso,
+with the beautiful fountains and conduits that are in the courtyard. In
+the city, likewise, he made designs for many fountains, some for the
+houses of noblemen and some for public squares, with beautiful and
+fanciful inventions; and he had the said Palace of Poggio Reale all
+wrought with paintings by Piero del Donzello and his brother Polito.
+Working in sculpture, likewise, for the said King Alfonso, then Duke of
+Calabria, he wrought scenes in low-relief over a door (both within and
+without) in the great hall of the Castle of Naples; and he made a marble
+gate for the castle after the Corinthian Order, with an infinite number
+of figures, giving to that work the form of a triumphal arch, on which
+stories from the life of that King and some of his victories are carved
+in marble. Giuliano also wrought the decorations of the Porta Capovana,
+making therein many varied and beautiful trophies; wherefore he well
+deserved that great love should be felt for him by that King, who,
+rewarding him liberally for his labours, enriched his descendants.
+
+Giuliano had taught to his nephew Benedetto the arts of tarsia and
+architecture, and something about working in marble; and Benedetto was
+living in Florence, devoting himself to working at tarsia, because this
+brought him greater gains than the other arts did. Now Giuliano was
+summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope
+Paul II, to enter the service of that Pontiff. Having gone thither, he
+designed the loggie of travertine in the first court of the Palace of S.
+Pietro, with three ranges of columns, of which the first is on the
+lowest floor, where there are now the Signet Office and other offices;
+the second is above this, where the Datary and other prelates live; and
+the third and last is where those rooms are that look out on the court
+of S. Pietro, which he adorned with gilded ceilings and other ornaments.
+From his design, likewise, were made the marble loggie from which the
+Pope gives his benediction--a very great work, as may still be seen
+to-day. But the most stupendous and marvellous work that he made was the
+palace that he built for that Pope, together with the Church of S. Marco
+in Rome, for which there was used an infinite quantity of travertine
+blocks, said to have been excavated from certain vineyards near the Arch
+of Constantine, where they served as buttresses for the foundations of
+that part of the Colosseum which is now in ruins, perchance because of
+the weakening of that edifice.
+
+Giuliano was sent by the same Pontiff to the Madonna of Loreto, where
+he rebuilt the foundations and greatly enlarged the body of the church,
+which had formerly been small and built over piers in rustic-work. He
+did not go higher than the string-course that was there already; but he
+summoned his nephew Benedetto to that place, and he, as will be told,
+afterwards raised the cupola. Being then forced to return to Naples in
+order to finish the works that he had begun, Giuliano received a
+commission from King Alfonso for a gate near the castle, which was to
+include more than eighty figures, which Benedetto had to execute in
+Florence; but the whole remained unfinished by reason of the death of
+that King. There are still some relics of these figures in the
+Misericordia in Florence, and there were others in our own day in the
+Canto alla Macine; but I do not know where these are now to be found.
+Before the death of the King, however, Giuliano died in Naples at the
+age of seventy, and was greatly honoured with rich obsequies; for the
+King had fifty men clothed in mourning, who accompanied Giuliano to the
+grave, and then he gave orders that a marble tomb should be made for
+him.
+
+The continuation of his work was left to Polito, who completed the
+conduits for the waters of Poggio Reale. Benedetto, devoting himself
+afterwards to sculpture, surpassed his uncle Giuliano in excellence, as
+will be told; and in his youth he was the rival of a sculptor named
+Modanino da Modena, who worked in terra-cotta, and who wrought for the
+said Alfonso a Pietà with an infinite number of figures in the round,
+made of terra-cotta and coloured, which were executed with very great
+vivacity, and were placed by the King in the Church of Monte Oliveto, a
+very highly honoured monastery in the city of Naples. In this work the
+said King is portrayed on his knees, and he appears truly more than
+alive; wherefore Modanino was remunerated by him with very great
+rewards. But when the King died, as it has been said, Polito and
+Benedetto returned to Florence; where, no long time after, Polito
+followed Giuliano into eternity. The sculptures and pictures of these
+men date about the year of our salvation 1447.
+
+[Illustration: S. SEBASTIAN
+
+(_After the marble by =Benedetto da Maiano=. Florence: Oratorio della
+Misericordia_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[2] Inlaying with various kinds of coloured wood.
+
+
+
+
+PIERO DELLA FRANCESCA
+
+
+
+
+LIFE OF PIERO DELLA FRANCESCA
+
+[_PIERO BORGHESE_]
+
+PAINTER OF BORGO A SAN SEPOLCRO
+
+
+Truly unhappy are those who, labouring at their studies in order to
+benefit others and to make their own name famous, are hindered by
+infirmity and sometimes by death from carrying to perfection the works
+that they have begun. And it happens very often that, leaving them all
+but finished or in a fair way to completion, they are falsely claimed by
+the presumption of those who seek to conceal their asses' skin under the
+honourable spoils of the lion. And although time, who is called the
+father of truth, sooner or later makes manifest the real state of
+things, it is none the less true that for a certain space of time the
+true craftsman is robbed of the honour that is due to his labours; as
+happened to Piero della Francesca of Borgo a San Sepolcro. He, having
+been held a rare master of the difficulties of drawing regular bodies,
+as well as of arithmetic and geometry, was yet not able--being overtaken
+in his old age by the infirmity of blindness, and finally by the close
+of his life--to bring to light his noble labours and the many books
+written by him, which are still preserved in the Borgo, his native
+place. The very man who should have striven with all his might to
+increase the glory and fame of Piero, from whom he had learnt all that
+he knew, was impious and malignant enough to seek to blot out the name
+of his teacher, and to usurp for himself the honour that was due to the
+other, publishing under his own name, Fra Luca dal Borgo, all the
+labours of that good old man, who, besides the sciences named above, was
+excellent in painting.
+
+Piero was born in Borgo a San Sepolcro, which is now a city, although it
+was not one then; and he was called Della Francesca after the name of
+his mother, because she had been left pregnant with him at the death of
+her husband, his father, and because it was she who had brought him up
+and assisted him to attain to the rank that his good-fortune held out to
+him. Piero applied himself in his youth to mathematics, and although it
+was settled when he was fifteen years of age that he was to be a
+painter, he never abandoned this study; nay, he made marvellous progress
+therein, as well as in painting. He was employed by Guidobaldo Feltro
+the elder, Duke of Urbino, for whom he made many very beautiful pictures
+with little figures, which have been for the most part ruined on the
+many occasions when that state has been harassed by wars. Nevertheless,
+there were preserved there some of his writings on geometry and
+perspective, in which sciences he was not inferior to any man of his own
+time, or perchance even to any man of any other time; as is demonstrated
+by all his works, which are full of perspectives, and particularly by a
+vase drawn in squares and sides, in such a manner that the base and the
+mouth can be seen from the front, from behind, and from the sides; which
+is certainly a marvellous thing, for he drew the smallest details
+therein with great subtlety, and foreshortened the curves of all the
+circles with much grace. Having thus acquired credit and fame at that
+Court, he resolved to make himself known in other places; wherefore he
+went to Pesaro and Ancona, whence, in the very thick of his work, he was
+summoned by Duke Borso to Ferrara, where he painted many apartments in
+his palace, which were afterwards destroyed by Duke Ercole the elder in
+the renovation of the palace, insomuch that there is nothing by the hand
+of Piero left in that city, save a chapel wrought in fresco in S.
+Agostino; and even that has been injured by damp. Afterwards, being
+summoned to Rome, he painted two scenes for Pope Nicholas V in the upper
+rooms of his palace, in competition with Bramante da Milano; but these
+also were thrown to the ground by Pope Julius II--to the end that
+Raffaello da Urbino might paint there the Imprisonment of S. Peter and
+the Miracle of the Corporale of Bolsena--together with certain others
+that had been painted by Bramantino, an excellent painter in his day.
+
+[Illustration: PIERO DELLA FRANCESCA: BATTISTA SFORZA, WIFE OF FEDERIGO
+DA MONTEFELTRO
+
+(_Florence: Uffizi, 1300. Panel_)]
+
+Now, seeing that I cannot write the life of this man, nor particularize
+his works, because they have been ruined, I will not grudge the
+labour of making some record of him, for it seems an apt occasion. In
+the said works that were thrown to the ground, so I have heard tell, he
+had made some heads from nature, so beautiful and so well executed that
+speech alone was wanting to give them life. Of these heads not a few
+have come to light, because Raffaello da Urbino had them copied in order
+that he might have the likenesses of the subjects, who were all people
+of importance; for among them were Niccolò Fortebraccio, Charles VII,
+King of France, Antonio Colonna, Prince of Salerno, Francesco
+Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco
+Spinola, and Battista da Canneto. All these portraits were given to
+Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and
+they were placed by Giovio in his museum at Como. Over the door of S.
+Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by
+the hand of the same man, in which, although the whole picture is not
+more than one braccio in height, there is an effect of infinite length,
+executed with facility and with judgment. By his hand, also, are some
+apartments and loggie in the house of the Marchesino Ostanesia in the
+same city, wherein there are many pictures wrought by him that show
+mastery and very great power in the foreshortening of the figures. And
+without the Porta Vercellina, near the Castle, in certain stables now
+ruined and destroyed, he painted some grooms currying horses, among
+which there was one so lifelike and so well wrought, that another horse,
+thinking it a real one, lashed out at it repeatedly with its hooves.
+
+[Illustration: PIERO DELLA FRANCESCA: FEDERIGO DA MONTEFELTRO, DUKE OF
+URBINO
+
+(_Florence: Uffizi, 1300. Panel_)]
+
+But to return to Piero della Francesca; his work in Rome finished, he
+returned to the Borgo, where his mother had just died; and on the inner
+side of the central door of the Pieve he painted two saints in fresco,
+which are held to be very beautiful. In the Convent of the Friars of S.
+Augustine he painted the panel of the high-altar, which was a thing much
+extolled; and he wrought in fresco a Madonna della Misericordia for a
+company, or rather, as they call it, a confraternity; with a
+Resurrection of Christ in the Palazzo de' Conservadori, which is held
+the best of all the works that are in the said city, and the best that
+he ever made. In company with Domenico da Vinezia, he painted the
+beginning of a work on the vaulting of the Sacristy of S. Maria at
+Loreto; but they left it unfinished from fear of plague, and it was
+afterwards completed by Luca da Cortona,[3] a disciple of Piero, as will
+be told in the proper place.
+
+Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of
+Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that
+family, the vaulting of which had been already begun by Lorenzo di
+Bicci. In this work there are Stories of the Cross, from that wherein
+the sons of Adam are burying him and placing under his tongue the seed
+of the tree from which there came the wood for the said Cross, down to
+the Exaltation of the Cross itself performed by the Emperor Heraclius,
+who, walking barefoot and carrying it on his shoulder, is entering with
+it into Jerusalem. Here there are many beautiful conceptions and
+attitudes worthy to be extolled; such as, for example, the garments of
+the women of the Queen of Sheba, executed in a sweet and novel manner;
+many most lifelike portraits from nature of ancient persons; a row of
+Corinthian columns, divinely well proportioned; and a peasant who,
+leaning with his hands on his spade, stands listening to the words of S.
+Helena--while the three Crosses are being disinterred--with so great
+attention, that it would not be possible to improve it. Very well
+wrought, also, is the dead body that is restored to life at the touch of
+the Cross, together with the joy of S. Helena and the marvelling of the
+bystanders, who are kneeling in adoration. But above every other
+consideration, whether of imagination or of art, is his painting of
+Night, with an angel in foreshortening who is flying with his head
+downwards, bringing the sign of victory to Constantine, who is sleeping
+in a pavilion, guarded by a chamberlain and some men-at-arms who are
+seen dimly through the darkness of the night; and with his own light the
+angel illuminates the pavilion, the men-at-arms, and all the
+surroundings. This is done with very great thought, for Piero gives us
+to know in this darkness how important it is to copy things as they are
+and to ever take them from the true model; which he did so well that he
+enabled the moderns to attain, by following him, to that supreme
+perfection wherein art is seen in our own time. In this same story he
+represented most successfully in a battle fear, animosity, dexterity,
+vehemence, and all the other emotions that can be imagined in men who
+are fighting, and likewise all the incidents of battle, together with an
+almost incredible carnage, what with the wounded, the fallen, and the
+dead. In these Piero counterfeited in fresco the glittering of their
+arms, for which he deserves no less praise than he does for the flight
+and submersion of Maxentius painted on the other wall, wherein he made a
+group of horses in foreshortening, so marvellously executed that they
+can be truly called too beautiful and too excellent for those times. In
+the same story he made a man, half nude and half clothed in the dress of
+a Saracen, riding a lean horse, which reveals a very great mastery of
+anatomy, a science little known in his age. For this work, therefore, he
+well deserved to be richly rewarded by Luigi Bacci, whom he portrayed
+there in the scene of the beheading of a King, together with Carlo and
+others of his brothers and many Aretines who were then distinguished in
+letters; and to be loved and revered ever afterwards, as he was, in that
+city, which he had made so illustrious with his works.
+
+[Illustration: THE RESURRECTION
+
+(_After the fresco by =Piero della Francesca=. Borgo San Sepolchro_)
+
+_Alinari_]
+
+In the Vescovado of the same city, also, he made a S. Mary Magdalene in
+fresco beside the door of the sacristy; and for the Company of the
+Nunziata he painted the banner that is carried in processions. At the
+head of a cloister at S. Maria delle Grazie, without that district, he
+painted S. Donatus in his robes, seated in a chair drawn in perspective,
+together with certain boys; and in a niche high up on a wall of S.
+Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is
+much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati
+Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful
+Christ praying by night in the Garden.
+
+In Perugia, also, he wrought many works that are still to be seen in
+that city; as, for example, a panel in distemper in the Church of the
+Nuns of S. Anthony of Padua, containing a Madonna with the Child in her
+lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of
+Padua. Above these is a most beautiful Annunciation, with an Angel that
+seems truly to have come out of Heaven; and, what is more, a row of
+columns diminishing in perspective, which is indeed beautiful. In the
+predella there are scenes with little figures, representing S. Anthony
+restoring a boy to life; S. Elizabeth saving a child that has fallen
+into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at
+Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene
+of the Marriage of Our Lady.
+
+Piero, as it has been said, was a very zealous student of art, and gave
+no little attention to perspective; and he had a very good knowledge of
+Euclid, insomuch that he understood all the best curves drawn in regular
+bodies better than any other geometrician, and the clearest elucidations
+of these matters that we have are from his hand. Now Maestro Luca dal
+Borgo, a friar of S. Francis, who wrote about the regular geometrical
+bodies, was his pupil; and when Piero, after having written many books,
+grew old and finally died, the said Maestro Luca, claiming the
+authorship of these books, had them printed as his own, for they had
+fallen into his hands after the death of Piero.
+
+Piero was much given to making models in clay, on which he spread wet
+draperies with an infinity of folds, in order to make use of them for
+drawing.
+
+A disciple of Piero was Lorentino d'Angelo of Arezzo, who made many
+pictures in Arezzo, imitating his manner, and completed those that
+Piero, overtaken by death, left unfinished. Near the S. Donatus that
+Piero wrought in the Madonna delle Grazie, Lorentino painted in fresco
+some stories of S. Donatus, with very many works in many other places
+both in that city and in the district, partly because he would never
+stay idle, and partly to assist his family, which was then very poor. In
+the said Church of the Grazie the same man painted a scene wherein Pope
+Sixtus IV, between the Cardinal of Mantua and Cardinal Piccolomini (who
+was afterwards Pope Pius III), is granting an indulgence to that place;
+in which scene Lorentino portrayed from the life, on their knees,
+Tommaso Marzi, Piero Traditi, Donato Rosselli, and Giuliano Nardi, all
+citizens of Arezzo and Wardens of Works for that building. In the hall
+of the Palazzo de' Priori, moreover, he portrayed from the life Cardinal
+Galeotto da Pietramala, Bishop Guglielmino degli Ubertini, and Messer
+Angelo Albergotti, Doctor of Laws; and he made many other works, which
+are scattered throughout that city.
+
+[Illustration: PIERO DELLA FRANCESCA: THE BAPTISM IN JORDAN
+
+(_London: National Gallery, 665. Panel_)]
+
+It is said that once, when the Carnival was close at hand, the children
+of Lorentino kept beseeching him to kill a pig, as it is the custom to
+do in that district; and that, since he had not the means to buy one,
+they would say, "What will you do about buying a pig, father, if you
+have no money?" To which Lorentino would answer, "Some Saint will help
+us." But when he had said this many times and the season was passing by
+without any pig appearing, they had lost hope, when at length there
+arrived a peasant from the Pieve a Quarto, who wished to have a S.
+Martin painted in fulfilment of a vow, but had no means of paying for
+the picture save a pig, which was worth five lire. This man, coming to
+Lorentino, told him that he wished to have the S. Martin painted, but
+that he had no means of payment save the pig. Whereupon they came to an
+agreement, and Lorentino painted him the Saint, while the peasant
+brought him the pig; and so the Saint provided the pig for the poor
+children of this painter.
+
+Another disciple of Piero was Pietro da Castel della Pieve,[4] who
+painted an arch above S. Agostino, and a S. Urban for the Nuns of S.
+Caterina in Arezzo, which has been thrown to the ground in rebuilding
+the church. His pupil, likewise, was Luca Signorelli of Cortona, who did
+him more honour than all the others.
+
+Piero Borghese, whose pictures date about the year 1458, became blind
+through an attack of catarrh at the age of sixty, and lived thus up to
+the eighty-sixth year of his life. He left very great possessions in the
+Borgo, with some houses that he had built himself, which were burnt and
+destroyed in the strife of factions in the year 1536. He was honourably
+buried by his fellow-citizens in the principal church, which formerly
+belonged to the Order of Camaldoli, and is now the Vescovado. Piero's
+books are for the most part in the library of Frederick II, Duke of
+Urbino, and they are such that they have deservedly acquired for him the
+name of the best geometrician of his time.
+
+[Illustration: THE VISION OF CONSTANTINE
+
+(_After the fresco by =Piero della Francesca=. Arezzo: S. Francesco_)
+
+_Alinari_]
+
+FOOTNOTES:
+
+[3] Luca Signorelli.
+
+[4] Pietro Perugino.
+
+
+
+
+FRA GIOVANNI DA FIESOLE
+
+
+
+
+FRA GIOVANNI DA FIESOLE
+
+[_FRA ANGELICO_]
+
+PAINTER OF THE ORDER OF PREACHING FRIARS
+
+
+Fra Giovanni Angelico da Fiesole, who was known in the world as Guido,
+was no less excellent as painter and illuminator than he was upright as
+churchman, and for both one and the other of these reasons he deserves
+that most honourable record should be made of him. This man, although he
+could have lived in the world with the greatest comfort, and could have
+gained whatever he wished, besides what he possessed, by means of those
+arts, of which he had a very good knowledge even in his youth, yet
+resolved, for his own peace and satisfaction, being by nature serious
+and upright, and above all in order to save his soul, to take the vows
+of the Order of Preaching Friars; for the reason that, although it is
+possible to serve God in all walks of life, nevertheless it appears to
+some men that they can gain salvation in monasteries better than in the
+world. Now in proportion as this plan succeeds happily for good men, so,
+on the contrary, it has a truly miserable and unhappy issue for a man
+who takes the vows with some other end in view.
+
+There are some choral books illuminated by the hand of Fra Giovanni in
+his Convent of S. Marco in Florence, so beautiful that words are not
+able to describe them; and similar to these are some others that he left
+in S. Domenico da Fiesole, wrought with incredible diligence. It is
+true, indeed, that in making these he was assisted by an elder brother,
+who was likewise an illuminator and well practised in painting.
+
+One of the first works in painting wrought by this good father was a
+panel in the Certosa of Florence, which was placed in the principal
+chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna
+with the Child in her arms, and with certain very beautiful angels at
+her feet, sounding instruments and singing; at the sides are S.
+Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the
+predella are little stories of these Saints, wrought in little figures
+with infinite diligence. In the cross of the said chapel are two other
+panels by the hand of the same man; one containing the Coronation of Our
+Lady, and the other a Madonna with two saints, wrought with most
+beautiful ultramarine blues. Afterwards, in the tramezzo[5] of S. Maria
+Novella, beside the door opposite to the choir, he painted in fresco S.
+Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little
+scenes in the Chapel of the Coronation of Our Lady in the said tramezzo.
+On canvas, fixed to the doors that closed the old organ, he painted an
+Annunciation, which is now in the convent, opposite to the door of the
+lower dormitory, between one cloister and the other.
+
+This father was so greatly beloved for his merits by Cosimo de' Medici,
+that, after completing the construction of the Church and Convent of S.
+Marco, he caused him to paint the whole Passion of Jesus Christ on a
+wall in the chapter-house; and on one side all the Saints who have been
+heads and founders of religious bodies, mourning and weeping at the foot
+of the Cross, and on the other side S. Mark the Evangelist beside the
+Mother of the Son of God, who has swooned at the sight of the Saviour of
+the world Crucified, while round her are the Maries, all grieving and
+supporting her, with S. Cosimo and S. Damiano. It is said that in the
+figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d'
+Antonio di Banco, a sculptor and his friend. Below this work, in a
+frieze above the panelling, he made a tree with S. Dominic at the foot
+of it, and, in certain medallions encircled by the branches, all the
+Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his
+Order of Preaching Friars had produced up to that time. In this work he
+made many portraits from nature, being assisted by the friars, who sent
+for them to various places; and they were the following: S. Dominic in
+the middle, grasping the branches of the tree; Pope Innocent V, a
+Frenchman; the Blessed Ugone, first Cardinal of that Order; the Blessed
+Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence;
+the Blessed Giordano, a German, and the second General of that Order;
+the Blessed Niccolò; the Blessed Remigio, a Florentine; and the martyr
+Boninsegno, a Florentine; all these are on the right hand. On the left
+are Benedict II[6] of Treviso; Giandomenico, a Florentine Cardinal;
+Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the
+Blessed Raimondo di Catalonia, third General of the Order; the Blessed
+Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza;
+and the Blessed Bernardo, a Florentine. All these heads are truly
+gracious and very beautiful. Then, over certain lunettes in the first
+cloister, he made many very beautiful figures in fresco, and a Crucifix
+with S. Dominic at the foot, which is much extolled; and in the
+dormitory, besides many other things throughout the cells and on the
+surface of the walls, he painted a story from the New Testament, of a
+beauty beyond the power of words to describe. Particularly beautiful and
+marvellous is the panel of the high-altar of that church; for, besides
+the fact that the Madonna rouses all who see her to devotion by her
+simplicity, and that the Saints that surround her are like her in this,
+the predella, in which there are stories of the martyrdom of S. Cosimo,
+S. Damiano, and others, is so well painted, that one cannot imagine it
+possible ever to see a work executed with greater diligence, or little
+figures more delicate or better conceived than these are.
+
+In S. Domenico da Fiesole, likewise, he painted the panel of the
+high-altar, which has been retouched by other masters and injured,
+perchance because it appeared to be spoiling. But the predella and the
+Ciborium of the Sacrament have remained in better preservation; and the
+innumerable little figures that are to be seen there, in a Celestial
+Glory, are so beautiful, that they appear truly to belong to Paradise,
+nor can any man who approaches them ever have his fill of gazing on
+them. In a chapel of the same church is a panel by his hand, containing
+the Annunciation of Our Lady by the Angel Gabriel, with features in
+profile, so devout, so delicate, and so well executed, that they appear
+truly to have been made rather in Paradise than by the hand of man; and
+in the landscape at the back are Adam and Eve, because of whom the
+Redeemer was born from the Virgin. In the predella, also, there are some
+very beautiful little scenes.
+
+But superior to all the other works that Fra Giovanni made, and the one
+wherein he surpassed himself and gave supreme proof of his talent and of
+his knowledge of art, was a panel that is beside the door of the same
+church, on the left hand as one enters, wherein Jesus Christ is crowning
+Our Lady in the midst of a choir of angels and among an infinite
+multitude of saints, both male and female, so many in number, so well
+wrought, and with such variety in the attitudes and in the expressions
+of the heads, that incredible pleasure and sweetness are felt in gazing
+at them; nay, one is persuaded that those blessed spirits cannot look
+otherwise in Heaven, or, to speak more exactly, could not if they had
+bodies; for not only are all these saints, both male and female, full of
+life and sweet and delicate in expression, but the whole colouring of
+that work appears to be by the hand of a saint or an angel like
+themselves; wherefore it was with very good reason that this excellent
+monk was ever called Fra Giovanni Angelico. Moreover, the stories of the
+Madonna and of S. Dominic in the predella are divine in their own kind;
+and I, for one, can declare with truth that I never see this work
+without thinking it something new, and that I never leave it sated.
+
+In the Chapel of the Nunziata in Florence which Piero di Cosimo de'
+Medici caused to be built, he painted the doors of the press (in which
+the silver is kept) with little figures executed with much diligence.
+This father painted so many pictures, now to be found in the houses of
+Florentine citizens, "that I sometimes stand marvelling how one single
+man could execute so much work to such perfection, even in the space of
+many years. The Very Reverend Don Vincenzio Borghini, Director of the
+Hospital of the Innocenti, has a very beautiful little Madonna by the
+hand of this father; and Bartolommeo Gondi, as devoted a lover of these
+arts as any gentleman that one could think of, has a large picture, a
+small one, and a Crucifix, all by the same hand. The pictures that
+are in the arch over the door of S. Domenico are also by the same
+man; and in the Sacristy of S. Trinita there is a panel containing a
+Deposition from the Cross, into which he put so great diligence, that it
+can be numbered among the best works that he ever made. In S. Francesco,
+without the Porta a S. Miniato, there is an Annunciation; and in S.
+Maria Novella, besides the works already named, he painted with little
+scenes the Paschal candle and some Reliquaries which are placed on the
+altar in the most solemn ceremonies.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the fresco by =Fra Giovanni da Fiesole= [Fra Angelico]. Florence:
+S. Marco_)
+
+_Anderson_]
+
+Over a door of the cloister of the Badia in the same city he painted a
+S. Benedict, who is making a sign enjoining silence. For the
+Linen-manufacturers he painted a panel that is in the Office of their
+Guild; and in Cortona he painted a little arch over the door of the
+church of his Order, and likewise the panel of the high-altar. At
+Orvieto, on a part of the vaulting of the Chapel of the Madonna in the
+Duomo, he began certain prophets, which were finished afterwards by Luca
+da Cortona. For the Company of the Temple in Florence he painted a Dead
+Christ on a panel; and in the Church of the Monks of the Angeli he made
+a Paradise and a Hell with little figures, wherein he showed fine
+judgment by making the blessed very beautiful and full of jubilation and
+celestial gladness, and the damned all ready for the pains of Hell, in
+various most woeful attitudes, and bearing the stamp of their sins and
+unworthiness on their faces. The blessed are seen entering the gate of
+Paradise in celestial dance, and the damned are being dragged by demons
+to the eternal pains of Hell. This work is in the aforesaid church, on
+the right hand as one goes towards the high-altar, where the priest sits
+when Mass is sung. For the Nuns of S. Piero Martire--who now live in the
+Monastery of S. Felice in Piazza, which used to belong to the Order of
+Camaldoli--he painted a panel with Our Lady, S. John the Baptist, S.
+Dominic, S. Thomas, and S. Peter Martyr, and a number of little figures.
+And in the tramezzo[7] of S. Maria Nuova there may also be seen a panel
+by his hand.
+
+These many labours having made the name of Fra Giovanni illustrious
+throughout all Italy, Pope Nicholas V sent for him and caused him to
+adorn that chapel of his Palace in Rome wherein the Pope hears Mass with
+a Deposition from the Cross and some very beautiful stories of S.
+Laurence, and also to illuminate some books, which are most beautiful.
+In the Minerva he painted the panel of the high-altar, and an
+Annunciation that is now set up against a wall beside the principal
+chapel. He also painted for the said Pope in the Palace the Chapel of
+the Sacrament, which was afterwards destroyed by Paul III in the making
+of a staircase through it. In that work, which was an excellent example
+of his manner, he had wrought in fresco some scenes from the life of
+Jesus Christ, and he had made therein many portraits from life of
+distinguished persons of those times, which would probably now be lost
+if Giovio had not caused the following among them to be preserved for
+his museum--namely, Pope Nicholas V; the Emperor Frederick, who came to
+Italy at that time; Frate Antonino, who was afterwards Archbishop of
+Florence; Biondo da Forlì; and Ferrante of Arragon. Now Fra Giovanni
+appeared to the Pope to be, as indeed he was, a person of most holy
+life, peaceful and modest; and, since the Archbishopric of Florence was
+at that time vacant, the Pope had judged him worthy of that rank; but
+the said friar, hearing this, implored His Holiness to find another man,
+for the reason that he did not feel himself fitted for ruling others,
+whereas his Order contained a brother most learned and well able to
+govern, a Godfearing man and a friend of the poor, on whom that dignity
+would be conferred much more fittingly than on himself. The Pope,
+hearing this and remembering that what he said was true, granted him the
+favour willingly; and thus the Archbishopric of Florence was given to
+Frate Antonino of the Order of Preaching Friars, a man truly very famous
+both for sanctity and for learning, and of such a character, in short,
+that he was deservedly canonized in our own day by Adrian VI.
+
+[Illustration: S. STEPHEN PREACHING
+
+(_After the fresco by =Fra Giovanni da Fiesole= [Fra Angelico] Rome: The
+Vatican, Chapel of Nicholas V_)
+
+_Anderson_]
+
+Great excellence was that of Fra Giovanni, and a thing truly very rare,
+to resign a dignity and honour and charge so important, offered to
+himself by a Supreme Pontiff, in favour of the man whom he, with his
+singleness of eye and sincerity of heart, judged to be much more
+worthy of it than himself. Let the churchmen of our own times learn
+from this holy man not to take upon themselves charges that they cannot
+worthily carry out, and to yield them to those who are most worthy of
+them. Would to God, to return to Fra Giovanni (and may this be said
+without offence to the upright among them), that all churchmen would
+spend their time as did this truly angelic father, seeing that he spent
+every minute of his life in the service of God and in benefiting both
+the world and his neighbour. And what can or ought to be desired more
+than to gain the kingdom of Heaven by living a life of holiness, and to
+win eternal fame in the world by labouring virtuously? And in truth a
+talent so extraordinary and so supreme as that of Fra Giovanni could not
+and should not descend on any save a man of most holy life, for the
+reason that those who work at religious and holy subjects should be
+religious and holy men; for it is seen, when such works are executed by
+persons of little faith who have little esteem for religion, that they
+often arouse in men's minds evil appetites and licentious desires;
+whence there comes blame for the evil in their works, with praise for
+the art and ability that they show. Now I would not have any man deceive
+himself by considering the rude and inept as holy, and the beautiful and
+excellent as licentious; as some do, who, seeing figures of women or of
+youths adorned with loveliness and beauty beyond the ordinary,
+straightway censure them and judge them licentious, not perceiving that
+they are very wrong to condemn the good judgment of the painter, who
+holds the Saints, both male and female, who are celestial, to be as much
+more beautiful than mortal man as Heaven is superior to earthly beauty
+and to the works of human hands; and, what is worse, they reveal the
+unsoundness and corruption of their own minds by drawing evil and impure
+desires out of works from which, if they were lovers of purity, as they
+seek by their misguided zeal to prove themselves to be, they would gain
+a desire to attain to Heaven and to make themselves acceptable to the
+Creator of all things, in whom, as most perfect and most beautiful, all
+perfection and beauty have their source. What would such men do if they
+found themselves, or rather, what are we to believe that they do when
+they actually find themselves, in places containing living beauty,
+accompanied by licentious ways, honey-sweet words, movements full of
+grace, and eyes that ravish all but the stoutest of hearts, if the very
+image of beauty, nay, its mere shadow, moves them so profoundly?
+However, I would not have any believe that I approve of those figures
+that are painted in churches in a state of almost complete nudity, for
+in these cases it is seen that the painter has not shown the
+consideration that was due to the place; because, even although a man
+has to show how much he knows, he should proceed with due regard for
+circumstances and pay respect to persons, times, and places.
+
+Fra Giovanni was a man of great simplicity, and most holy in his ways;
+and his goodness may be perceived from this, that, Pope Nicholas V
+wishing one morning to entertain him at table, he had scruples of
+conscience about eating meat without leave from his Prior, forgetting
+about the authority of the Pontiff. He shunned the affairs of the world;
+and, living a pure and holy life, he was as much the friend of the poor
+as I believe his soul to be now the friend of Heaven. He was continually
+labouring at his painting, and he would never paint anything save
+Saints. He might have been rich, but to this he gave no thought; nay, he
+used to say that true riches consist only in being content with little.
+He might have ruled many, but he would not, saying that it was less
+fatiguing and less misleading to obey others. He had the option of
+obtaining dignities both among the friars and in the world, but he
+despised them, declaring that he sought no other dignity save that of
+seeking to avoid Hell and draw near to Paradise. And what dignity, in
+truth, can be compared to that which all churchmen, nay, all men, should
+seek, and which is to be found only in God and in a life of virtue? He
+was most kindly and temperate; and he lived chastely and withdrew
+himself from the snares of the world, being wont very often to say that
+he who pursued such an art had need of quiet and of a life free from
+cares, and that he whose work is connected with Christ must ever live
+with Christ. He was never seen in anger among his fellow-friars, which
+is a very notable thing, and almost impossible, it seems to me, to
+believe; and it was his custom to admonish his friends with a simple
+smile. With incredible sweetness, if any sought for works from him, he
+would say that they had only to gain the consent of the Prior, and
+that then he would not fail them. In short, this never to be
+sufficiently extolled father was most humble and modest in all his works
+and his discourse, and facile and devout in his pictures; and the Saints
+that he painted have more the air and likeness of Saints than those of
+any other man. It was his custom never to retouch or improve any of his
+pictures, but to leave them ever in the state to which he had first
+brought them; believing, so he used to say, that this was the will of
+God. Some say that Fra Giovanni would never have taken his brushes in
+his hand without first offering a prayer. He never painted a Crucifix
+without the tears streaming down his cheeks; wherefore in the
+countenances and attitudes of his figures one can recognize the
+goodness, nobility, and sincerity of his mind towards the Christian
+religion.
+
+[Illustration: FRA GIOVANNI DA FIESOLE (FRA ANGELICO): THE ANNUNCIATION
+
+(_Cortona: Gesù Gallery. Panel_)]
+
+He died in 1455 at the age of sixty-eight, and left disciples in
+Benozzo, a Florentine, who ever imitated his manner, and Zanobi Strozzi,
+who painted pictures and panels throughout all Florence for the houses
+of citizens, and particularly a panel that is now in the tramezzo[8] of
+S. Maria Novella, beside that by Fra Giovanni, and one in S. Benedetto,
+a monastery of the Monks of Camaldoli without the Porta a Pinti, now in
+ruins. The latter panel is at present in the little Church of S. Michele
+in the Monastery of the Angeli, before one enters the principal church,
+set up against the wall on the right as one approaches the altar. There
+is also a panel in the Chapel of the Nasi in S. Lucia, and another in S.
+Romeo; and in the guardaroba of the Duke there is the portrait of
+Giovanni di Bicci de' Medici, with that of Bartolommeo Valori, in one
+and the same picture by the hand of the same man. Another disciple of
+Fra Giovanni was Gentile da Fabriano, as was also Domenico di Michelino,
+who painted the panel for the altar of S. Zanobi in S. Apollinare at
+Florence, and many other pictures.
+
+Fra Giovanni was buried by his fellow-friars in the Minerva in Rome,
+near the lateral door beside the sacristy, in a round tomb of marble,
+with himself, portrayed from nature, lying thereon. The following
+epitaph may be read, carved in the marble:
+
+   NON MIHI SIT LAUDI, QUOD ERAM VELUT ALTER APELLES,
+     SED QUOD LUCRA TUIS OMNIA, CHRISTE, DABAM;
+   ALTERA NAM TERRIS OPERA EXTANT, ALTERA C[OE]LO.
+     URBS ME JOANNEM FLOS TULIT ETRURIÆ.
+
+In S. Maria del Fiore are two very large books illuminated divinely well
+by the hand of Fra Giovanni, which are held in great veneration and
+richly adorned, nor are they ever seen save on days of the highest
+solemnity.
+
+A celebrated and famous illuminator at the same time as Fra Giovanni was
+one Attavante, a Florentine, of whom I know no other name. This man,
+among many other works, illuminated a Silius Italicus, which is now in
+S. Giovanni e Polo in Venice; of which work I will not withhold certain
+particulars, both because they are worthy of the attention of craftsmen,
+and because, to my knowledge, no other work by this master is to be
+found; nor should I know even of this one, had it not been for the
+affection borne to these noble arts by the Very Reverend Maestro Cosimo
+Bartoli, a gentleman of Florence, who gave me information about it, to
+the end that the talent of Attavante might not remain, as it were,
+buried out of sight.
+
+In the said book, then, the figure of Silius has on the head a helmet
+with a crest of gold and a chaplet of laurel; he is wearing a blue
+cuirass picked out with gold in the ancient manner, while he is holding
+a book in his right hand, and the left he has on a short sword. Over the
+cuirass he has a red chlamys, fastened in front with a knot, and fringed
+with gold, which hangs down from his shoulders. The inside of this
+chlamys is seen to be of changing colours and embroidered with gold. His
+buskins are yellow, and he is standing on his right foot in a niche. The
+next figure in this work represents Scipio Africanus. He is wearing a
+yellow cuirass, and his sword-belt and sleeves, which are blue in
+colour, are all embroidered with gold. On his head he has a helmet with
+two little wings and a fish by way of crest. The young man's countenance
+is fair and very beautiful; and he is raising his right arm proudly,
+holding in that hand a naked sword, while in the left hand he has the
+scabbard, which is red and embroidered with gold. The hose are green in
+colour and plain; and the chlamys, which is blue, has a red lining with
+a fringe of gold all round, and it is fastened at the throat, leaving
+the front quite open, and falling behind with beautiful grace. This
+young man, who stands in a niche of mixed green and grey marble, with
+blue buskins embroidered with gold, is looking with indescribable
+fierceness at Hannibal, who faces him on the opposite page of the book.
+This figure of Hannibal is that of a man about thirty-six years of age;
+he is frowning, with two furrows in his brow expressive of impatience
+and anger, and he, too, is looking fixedly at Scipio. On his head he has
+a yellow helmet, with a green and yellow dragon for crest and a serpent
+for chaplet. He is standing on his left foot and raising his right arm,
+with which he holds the shaft of an ancient javelin, or rather, of a
+little partisan. His cuirass is blue, his sword-belt partly blue and
+partly yellow, his sleeves of changing blue and red, and his buskins
+yellow. His chlamys, of changing red and yellow, is fastened on the
+right shoulder and lined with green; and, holding his left hand on his
+sword, he is standing in a niche of varicoloured marbles, yellow, white,
+and changing. On another page is Pope Nicholas V, portrayed from the
+life, with a mantle of changing purple and red and all embroidered with
+gold. He is without a beard and in full profile, and he is looking
+towards the beginning of the book, which is opposite to him; and he is
+pointing to it with his right hand, as though in a marvel. The niche is
+green, white, and red. Then in the border there are certain little
+half-length figures in an ornament composed of ovals and circles, and
+other things of that kind, together with an infinite number of little
+birds and children, so well wrought that nothing more could be desired.
+Close to this, in like manner, are Hanno the Carthaginian, Hasdrubal,
+Laelius, Massinissa, C. Salinator, Nero, Sempronius, M. Marcellus, Q.
+Fabius, the other Scipio, and Vibius. At the end of the book there is
+seen a Mars in an antique chariot drawn by two reddish horses. On his
+head he has a helmet of red and gold, with two little wings; on his left
+arm he has an antique shield, which he holds before him, and in his
+right hand a naked sword. He is standing on his left foot only, holding
+the other in the air. He has a cuirass in the antique manner, all red
+and gold, as are his hose and his buskins. His chlamys is blue without,
+and within all green and embroidered with gold. The chariot is covered
+with red cloth embroidered with gold, with a border of ermine all round;
+and it stands in a verdant and flowery champaign country, surrounded by
+cliffs and rocks; while landscapes and cities are seen in the distance,
+with a sky of a most marvellous blue. On the opposite page is a young
+Neptune, whose clothing is in the shape of a long shirt, embroidered all
+round with the colour formed from terretta verde. The flesh-colour is
+very pale. In his right hand he is holding a little trident, and with
+his left he is raising his dress. He is standing with both feet on the
+chariot, which has a covering of red, embroidered with gold and fringed
+all round with sable. This chariot has four wheels, like that of Mars,
+but it is drawn by four dolphins, and accompanied by three sea-nymphs,
+two boys, and a great number of fishes, all wrought with a water-colour
+similar to the terretta, and very beautiful in expression. After these
+is seen Carthage in despair, in the form of a woman standing upright
+with dishevelled hair. Her upper garment is green, and it is open from
+the waist downwards, being lined with red cloth embroidered in gold; and
+through this opening there may be seen another garment, delicate and of
+changing purple and white colour. The sleeves are red and gold, with
+certain puffs and floating folds made by the upper garment, and she is
+stretching out her left hand towards Rome, who is opposite to her, as
+though saying, "What is thy wish? I have my answer ready;" and in her
+right hand she holds a naked sword, with an air of frenzy. Her buskins
+are blue, and she is standing on a rock in the middle of the sea,
+surrounded by a very beautiful sky. Rome is a maiden as beautiful as it
+is possible for man to imagine, with dishevelled hair and certain
+tresses wrought with infinite grace. Her clothing is pure red, with only
+an embroidered border at the foot; the lining of her robe is yellow, and
+the garment beneath, which is seen through the opening, is of changing
+purple and white. Her buskins are green; in her right hand she has a
+sceptre, in her left a globe; and she, too, is standing on a rock, in
+the midst of a sky that could not be more beautiful than it is. Now,
+although I have striven to the best of my power to show with what great
+art these figures were wrought by Attavante, let no one believe that I
+have said more than a very small part of what might be said about their
+beauty, seeing that, considering the time, there are no better examples
+of illumination to be seen, nor any work wrought with more invention,
+judgment, and design; and the colours, above all, could not be more
+beautiful or laid in their places more delicately, so perfect is their
+grace.
+
+FOOTNOTES:
+
+[5] See note on p. 57, Vol. I.
+
+[6] This seems to be a mistake for Benedict XI.
+
+[7] See note on p. 57, Vol. I.
+
+[8] See note on p. 57, Vol. I.
+
+
+
+
+LEON BATISTA ALBERTI
+
+
+
+
+LIFE OF LEON BATISTA ALBERTI
+
+ARCHITECT OF FLORENCE
+
+
+Very great is the advantage bestowed by learning, without exception, on
+all those craftsmen who take delight in it, but particularly on
+sculptors, painters, and architects, for it opens up the way to
+invention in all the works that are made; not to mention that a man
+cannot have a perfect judgment, be his natural gifts what they may, if
+he is deprived of the complemental advantage of being assisted by
+learning. For who does not know that it is necessary, in choosing sites
+for buildings, to show enlightenment in the avoidance of danger from
+pestiferous winds, insalubrious air, and the smells and vapours of
+impure and unwholesome waters? Who is ignorant that a man must be able,
+in whatever work he is seeking to carry out, to reject or adopt
+everything for himself after mature consideration, without having to
+depend on help from another man's theory? For theory, when separated
+from practice, is generally of very little use; but when the two chance
+to come together, there is nothing that is more helpful to our life,
+both because art becomes much richer and more perfect by the aid of
+science, and because the counsels and the writings of learned craftsmen
+have in themselves greater efficacy and greater credit than the words or
+works of those who know nothing but mere practice, whether they do it
+well or ill. And that all this is true is seen manifestly in Leon
+Batista Alberti, who, having studied the Latin tongue, and having given
+attention to architecture, to perspective, and to painting, left behind
+him books written in such a manner, that, since not one of our modern
+craftsmen has been able to expound these matters in writing, although
+very many of them in his own country have excelled him in working, it is
+generally believed--such is the influence of his writings over the pens
+and speech of the learned--that he was superior to all those who were
+actually superior to him in work. Wherefore, with regard to name and
+fame, it is seen from experience that writings have greater power and
+longer life than anything else; for books go everywhere with ease, and
+everywhere they command belief, if only they be truthful and not full of
+lies. It is no marvel, then, if the famous Leon Batista is known more
+for his writings than for the work of his hands.
+
+This man, born in Florence of the most noble family of the Alberti, of
+which we have spoken in another place, devoted himself not only to
+studying geography and the proportions of antiquities, but also to
+writing, to which he was much inclined, much more than to working. He
+was excellent in arithmetic and geometry, and he wrote ten books on
+architecture in the Latin tongue, which were published by him in 1481,
+and may now be read in a translation in the Florentine tongue made by
+the Reverend Maestro Cosimo Bartoli, Provost of S. Giovanni in Florence.
+He wrote three books on painting, now translated into the Tuscan tongue
+by Messer Lodovico Domenichi; he composed a treatise on traction and on
+the rules for measuring heights, as well as the books on the "Vita
+Civile," and some erotic works in prose and verse; and he was the first
+who tried to reduce Italian verse to the measure of the Latin, as is
+seen in the following epistle by his pen:
+
+   Questa per estrema miserabile pistola mando
+     A te, che spregi miseramente noi.
+
+Arriving at Rome in the time of Nicholas V, who had turned the whole of
+Rome upside down with his manner of building, Leon Batista, through the
+agency of Biondo da Forlì, who was much his friend, became intimate with
+that Pope, who had previously carried out all his building after the
+advice of Bernardo Rossellino, a sculptor and architect of Florence, as
+will be told in the Life of his brother Antonio. This man, having put
+his hand to restoring the Pope's Palace and to certain works in S. Maria
+Maggiore, thenceforward, according to the will of the Pope, ever sought
+the advice of Leon Batista. Wherefore, using one of them as adviser and
+the other as executor, the Pope carried out many useful and
+praiseworthy works, such as the restoring of the conduit of the Acqua
+Vergine, which was in ruins; and there was made the fountain on the
+Piazza de' Trevi, with those marble ornaments that are seen there, on
+which are the arms of that Pontiff and of the Roman people.
+
+Afterwards, having gone to Signor Sigismondo Malatesti of Rimini, he
+made for him the model of the Church of S. Francesco, and in particular
+that of the façade, which was made of marble; and likewise the side
+facing towards the south, which was built with very great arches and
+with tombs for the illustrious men of that city. In short, he brought
+that building to such a form that in point of solidity it is one of the
+most famous temples in Italy. Within it are six most beautiful chapels,
+one of which, dedicated to S. Jerome, is very ornate; and in it are
+preserved many relics brought from Jerusalem. In the same chapel are the
+tombs of the said Signor Sigismondo and of his wife, constructed very
+richly of marble in the year 1450; on one there is the portrait of
+Sigismondo himself, and in another part of the work there is that of
+Leon Batista.
+
+After this, in the year 1457, when the very useful method of printing
+books was discovered by Johann Gutenberg the German, Leon Batista,
+working on similar lines, discovered a way of tracing natural
+perspectives and of effecting the diminution of figures by means of an
+instrument, and likewise the method of enlarging small things and
+reproducing them on a greater scale; all ingenious inventions, useful to
+art and very beautiful.
+
+In Leon Batista's time Giovanni di Paolo Rucellai wished to build the
+principal façade of S. Maria Novella entirely of marble at his own
+expense, and he spoke of this to Leon Batista, who was very much his
+friend; and having received from him not only counsel, but the actual
+model, Giovanni resolved to have the work executed at all costs, in
+order to leave it behind him as a memorial of himself. A beginning
+having been made, therefore, it was finished in the year 1477, to the
+great satisfaction of all the city, which was pleased with the whole
+work, but particularly with the door, from which it is seen that Leon
+Batista took more than ordinary pains. For Cosimo Rucellai, likewise, he
+made the design for the palace which that man built in the street which
+is called La Vigna, and that for the loggia which is opposite to it. In
+the latter, having turned his arches over columns close together, both
+in the front and at the ends, since he wished to adhere to this plan and
+not to make one single arch, he had a certain space left over on each
+side; wherefore he was forced to make certain projections at the inner
+corners. And then, when he wished to turn the arch of the inner
+vaulting, having seen that he could not give it the shape of a
+half-circle, which would have been flat and awkward, he resolved to turn
+certain small arches at the corners from one projection to another; and
+this lack of judgment in design gives us to know clearly that practice
+is necessary as well as science, for the judgment can never become
+perfect unless science attains to experience by actual work.
+
+It is said that the same man made the design for the house and garden of
+these Rucellai in the Via della Scala. This house is built with much
+judgment and very commodious, for, besides many other conveniences, it
+has two loggie, one facing south and the other west, both very
+beautiful, and made without arches on the columns, which is the true and
+proper method that the ancients used, for the reason that the
+architraves which are placed on the capitals of the columns lie level,
+whereas a four-sided thing like a curving arch cannot rest on a round
+column without the corners jutting out over space. The good method,
+therefore, demands that architraves should rest on columns, and that,
+when arches are to be turned, pilasters and not columns should be made.
+
+For the same Rucellai Leon Batista made a chapel in the same manner in
+S. Pancrazio, which rests on great architraves placed on two columns and
+two pilasters, piercing the wall of the church below; which is a
+difficult thing, but safe; wherefore this work is one of the best that
+this architect ever made. In the middle of this chapel is a tomb of
+marble, wrought very well in the form of a rather long oval, and
+similar, as may be read on it, to the Sepulchre of Jesus Christ in
+Jerusalem.
+
+[Illustration: FAÇADE OF S. ANDREA
+
+(_After =Leon Batista Alberti=. Mantua_)
+
+_Alinari_]
+
+About the same time Lodovico Gonzaga, Marquis of Mantua, wished to build
+the tribune and the principal chapel in the Nunziata, the Church of the
+Servi in Florence, after the design and model of Leon Batista; and
+pulling down a square chapel, old, not very large, and painted in the
+ancient manner, which stood at the head of the church, he built the
+said tribune in the bizarre and difficult form of a round temple
+surrounded by nine chapels, all curving in a round arch, and each within
+in the shape of a niche. Now, since the arches of the said chapels rest
+on the pilasters in front, the result is that the stone dressings of the
+arches, inclining towards the wall, tend to draw ever backwards in order
+to meet the said wall, which turns in the opposite direction according
+to the shape of the tribune; wherefore, when the said arches of the
+chapels are looked at from the side, it appears that they are falling
+backwards, and that they are clumsy, as indeed they are, although the
+proportions are correct, and the difficulties of the method must be
+remembered. Truly it would have been better if Leon Batista had avoided
+this method, for, although there is some credit for the difficulty of
+its execution, it is clumsy both in great things and in small, and it
+cannot have a good result. And that this is true of great things is
+proved by the great arch in front, which forms the entrance to the said
+tribune; for, although it is very beautiful on the outer side, on the
+inner side, where it has to follow the curve of the chapel, which is
+round, it appears to be falling backwards and to be extremely clumsy.
+This Leon Batista would perhaps not have done, if, in addition to
+science and theory, he had possessed practical experience in working;
+for another man would have avoided this difficulty, and would have
+rather aimed at grace and greater beauty for the edifice. The whole work
+is otherwise in itself very beautiful, bizarre, and difficult; and
+nothing save great courage could have enabled Leon Batista to vault that
+tribune in those times in the manner that he did. Being then summoned by
+the same Marquis Lodovico to Mantua, Leon Batista made for him the
+models of the Church of S. Andrea and of some other works; and on the
+road leading from Mantua to Padua there may be seen certain temples
+built after his manner. Many of the designs and models of Leon Batista
+were carried into execution by Salvestro Fancelli, a passing good
+architect and sculptor of Florence, who, according to the desire of the
+said Leon Batista, executed with judgment and extraordinary diligence
+all the works that he undertook in Florence. For those in Mantua he
+employed one Luca, a Florentine, who, living ever afterwards in that
+city and dying there, left his name--so Filarete tells us--to the
+family of the Luchi, which is still there to-day. It was no small
+good-fortune for him to have friends who understood him and were able
+and willing to serve him, because architects cannot be always standing
+over their work, and it is of the greatest use to them to have a
+faithful and loving assistant; and if any man ever knew it, I know it
+very well by long experience.
+
+In painting Leon Batista did not do great or very beautiful works, for
+the few by his hand that are to be seen do not show much perfection; nor
+is this to be wondered at, seeing that he devoted himself more to his
+studies than to draughtsmanship. Yet he could express his conceptions
+well enough in drawing, as may be seen from some sketches by his hand
+that are in our book, in which there are drawn the Bridge of S. Angelo
+and the covering that was made for it with his design in the form of a
+loggia, for protection from the sun in summer and from the rain and wind
+in winter. This work he was commissioned to execute by Pope Nicholas V,
+who had intended to carry out many similar works throughout the whole of
+Rome; but death intervened to hinder him. There is a work of Leon
+Batista's in a little Chapel of Our Lady on the abutment of the Ponte
+alla Carraja in Florence--namely, an altar-predella, containing three
+little scenes with some perspectives, which he was much more able to
+describe with the pen than to paint with the brush. In the house of the
+Palla Rucellai family, also in Florence, there is a portrait of himself
+made with a mirror; and a panel with rather large figures in
+chiaroscuro. He also made a picture of Venice in perspective, with S.
+Marco, but the figures therein were executed by other masters; and this
+is one of the best examples of his painting that there are to be seen.
+
+Leon Batista was a person of most honest and laudable ways, the friend
+of men of talent, and very open and courteous to all; and he lived
+honourably and like a gentleman--which he was--through the whole course
+of his life. Finally, having reached a mature enough age, he passed
+content and tranquil to a better life, leaving a most honourable name
+behind him.
+
+
+
+
+LAZZARO VASARI
+
+
+
+
+LIFE OF LAZZARO VASARI
+
+PAINTER OF AREZZO
+
+
+Truly great is the pleasure of those who find one of their ancestors and
+of their own family to have been distinguished and famous in some
+profession, whether that of arms, or of letters, or of painting, or any
+other noble calling whatsoever; and those men who find some honourable
+mention of one of their forefathers in history, if they gain nothing
+else thereby, have an incitement to virtue and a bridle to restrain them
+from doing anything unworthy of a family which has produced illustrious
+and very famous men. How great is this pleasure, as I said at the
+beginning, I have experienced for myself in finding that one among my
+ancestors, Lazzaro Vasari, was famous as a painter in his day not only
+in his native place, but throughout all Tuscany; and that certainly not
+without reason, as I could clearly prove, if it were permissible for me
+to speak as freely of him as I have spoken of others. But, since I was
+born of his blood, it might be readily believed that I had exceeded all
+due bounds in praising him; wherefore, leaving on one side the merits of
+the man himself and of the family, I will simply tell what I cannot and
+should not under any circumstances withhold, if I would not fall short
+of the truth, on which all history hangs.
+
+Lazzaro Vasari, then, a painter of Arezzo, was very much the friend of
+Piero della Francesca of Borgo a San Sepolcro, and ever held intercourse
+with him while Piero was working, as it has been said, in Arezzo. And,
+as it often comes to pass, this friendship brought him nothing but
+advantage, for the reason that, whereas Lazzaro had formerly devoted
+himself only to making little figures for certain works according to the
+custom of those times, he was persuaded by Piero della Francesca to set
+himself to do bigger things. His first work in fresco was a S. Vincent
+in S. Domenico at Arezzo, in the second chapel on the left as one enters
+the church; and at his feet he painted himself and his young son Giorgio
+kneeling, clothed in honourable costumes of those times, and
+recommending themselves to the Saint, because the boy had inadvertently
+cut his face with a knife. Although there is no inscription on this
+work, yet certain memories of old men belonging to our house and the
+fact that it contains the Vasari arms, enable us to attribute it to him
+without a doubt. Of this there must certainly have been some record in
+that convent, but their papers and everything else have been destroyed
+many times by soldiers, and I do not marvel at the lack of records. The
+manner of Lazzaro was so similar to that of Piero Borghese, that very
+little difference could be seen between one and the other. Now it was
+very much the custom at that time to paint various things, such as the
+quarterings of arms, on the caparisons of horses, according to the rank
+of those who bore them; and in this work Lazzaro was an excellent
+master, and the rather as it was his province to make very graceful
+little figures, which were very well suited to such caparisons. Lazzaro
+wrought for Niccolò Piccino and for his soldiers and captains many
+things full of stories and arms, which were held in great price, with so
+much profit for himself, that the gains that he drew from this work
+enabled him to recall to Arezzo many of his brothers, who were living at
+Cortona and working at the manufacture of earthenware vases. He also
+brought into his house his nephew, Luca Signorelli of Cortona, his
+sister's son, whom he placed, by reason of his good intelligence, with
+Piero Borghese, to the end that he might learn the art of painting;
+which he contrived to do very well, as will be told in the proper place.
+
+Lazzaro, then, devoting himself continually to the study of art, became
+every day more excellent, as is shown by some very good drawings by his
+hand that are in our book. And because he took much pleasure in
+depicting certain natural effects full of emotions, in which he
+expressed very well weeping, laughing, crying, fear, trembling, and the
+like, his pictures are mostly full of such inventions; as may be seen
+in a little chapel painted in fresco by his hand in S. Gimignano at
+Arezzo, wherein there is a Crucifix, with the Madonna, S. John, and the
+Magdalene at the foot of the Cross, in various attitudes, and weeping so
+naturally, that they acquired credit and fame for him among his
+fellow-citizens. For the Company of S. Antonio, in the same city, he
+painted a cloth banner that is borne in processions, on which he wrought
+Jesus Christ at the Column, naked and bound and so lifelike, that He
+appears to be trembling, and, with His shoulders all drawn together, to
+be enduring with incredible humility and patience the blows that two
+Jews are giving Him. One of these, firmly planted on his feet, is plying
+his scourge with both his hands, turning his back towards Christ in an
+attitude full of cruelty. The other is seen in profile, raising himself
+on tip-toe; and grasping the scourge with his hands, and gnashing his
+teeth, he is wielding it with so great rage that words are powerless to
+express it. Both these men Lazzaro painted with their garments torn, the
+better to reveal the nude, contenting himself with covering after a
+fashion their private and less honourable parts. This work painted on
+cloth has lasted all these years--which truly makes me marvel--right up
+to our own day; and by reason of its beauty and excellence the men of
+that Company caused a copy to be made of it by the French Prior,[9] as
+we will relate in the proper place. At Perugia, also, Lazzaro wrought
+some stories of the Madonna, with a Crucifix, in a chapel beside the
+Sacristy of the Church of the Servi. In the Pieve of Montepulciano he
+executed a predella with little figures, and at Castiglione Aretino he
+painted a panel in distemper in S. Francesco; together with many other
+works, which, for the sake of brevity, I refrain from describing, more
+particularly many chests that are in the houses of citizens, which he
+painted with little figures. In the Palace of the Guelphs in Florence,
+among the ancient arms, there may be seen some caparisons wrought very
+well by him. He also painted a banner for the Company of S. Sebastiano,
+containing the said Saint at the column, with certain angels crowning
+him; but it is now spoilt and all eaten away by time.
+
+In Lazzaro's time there was one who made glass windows in Arezzo,
+Fabiano Sassoli, a young Aretine of great excellence in that profession,
+as is proved by those of his works that are in the Vescovado, the Abbey,
+the Pieve, and other places in that city; but he knew little of design,
+and he was very far from reaching the excellence of those that Parri
+Spinelli made. Wherefore he determined that, even as he knew well how to
+fire, to put together, and to mount the glass, so he would make some
+work that should also be passing good with regard to the painting; and
+he caused Lazzaro to execute for him two cartoons of his own invention,
+in order to make two windows for the Madonna delle Grazie. Having
+obtained these from Lazzaro, who was his friend and a courteous
+craftsman, he made the said windows, which turned out so beautiful and
+so well wrought that there are not many to which they have to give
+precedence. In one there is a very beautiful Madonna; and in the other,
+which is by far the better of the two, there is the Resurrection of
+Christ, with an armed man in foreshortening in front of the Sepulchre;
+and it is a marvel, considering the small size of the window and
+consequently of the picture, how those figures can appear so large in so
+small a space. Many other things could I tell of Lazzaro, who was a very
+good draughtsman, as may be seen from certain drawings in our book; but
+I think it best for me to pass them by.
+
+Lazzaro was a pleasant person and very witty in his speech; and although
+he was much given to pleasure, nevertheless he never strayed from the
+path of right living. His life lasted seventy-two years, and he left a
+son called Giorgio, who occupied himself continually with the ancient
+Aretine vases of terra-cotta; and at the time when Messer Gentile of
+Urbino, Bishop of Arezzo, was dwelling in that city, Giorgio
+rediscovered the method of giving red and black colours to terra-cotta
+vases, such as those that the ancient Aretines made up to the time of
+King Porsena. Being a most industrious person, he made large vases with
+the potter's wheel, one braccio and a half in height, which are still to
+be seen in his house. Men say that while searching for vases in a place
+where he thought that the ancients had worked, he found three arches of
+their ancient furnaces three braccia below the surface in a field of
+clay near the bridge at Calciarella, a place called by that name; and
+round these he found some of the mixture for making the vases, and many
+broken ones, with four that were whole. These last were given by
+Giorgio, through the mediation of the Bishop, to the Magnificent Lorenzo
+de' Medici on his visiting Arezzo; wherefore they were the source and
+origin of his entering into the service of that most exalted family, in
+which he remained ever afterwards. Giorgio worked very well in relief,
+as may be seen from some heads by his hand that are in his house. He had
+five sons, who all followed the same calling; two of them, Lazzaro and
+Bernardo, were good craftsmen, of whom the latter died very young in
+Rome; and in truth, by reason of his intelligence, which is known to
+have been dexterous and ready, if death had not snatched him so
+prematurely from his house, he would have brought honour to his native
+place.
+
+The elder Lazzaro died in 1452, and his son, Giorgio, died in 1484 at
+the age of sixty-eight; and both were buried in the Pieve of Arezzo at
+the foot of their own Chapel of S. Giorgio, where the following verses
+were set up after a time in praise of Lazzaro:
+
+   ARETII EXULTET TELLUS CLARISSIMA; NAMQUE EST
+     REBUS IN ANGUSTIS, IN TENUIQUE LABOR.
+   VIX OPERUM ISTIUS PARTES COGNOSCERE POSSIS:
+     MYRMECIDES TACEAT; CALLICRATES SILEAT.
+
+Finally, the last Giorgio Vasari, writer of this history, in gratitude
+for the benefits for which he has to thank in great measure the
+excellence of his ancestors, having received the principal chapel of the
+said Pieve as a gift from his fellow-citizens and from the Wardens of
+Works and Canons, as was told in the Life of Pietro Laurati, and having
+brought it to the condition that has been described, has made a new tomb
+in the middle of the choir, which is behind the altar; and in this he
+has laid the bones of the said Lazzaro the elder and Giorgio the elder,
+having removed them from their former resting-place, and likewise those
+of all the other members of the said family, both male and female; and
+thus he has made a new burial-place for all the descendants of the house
+of Vasari. In like manner, the body of his mother (who died in Florence
+in the year 1557), after having remained for some years in S. Croce,
+has been deposited by him in the said tomb, according to her own
+desire, together with Antonio, her husband and his father, who died of
+plague at the end of the year 1527. In the predella that is below the
+panel of the said altar there are portraits from nature, made by the
+said Giorgio, of Lazzaro, of the elder Giorgio, his grandfather, of his
+father Antonio, and of his mother Monna Maddalena de' Tacci. And let
+this be the end of the Life of Lazzaro Vasari, painter of Arezzo.
+
+FOOTNOTE:
+
+[9] Guglielmo da Marcilla.
+
+
+
+
+ANTONELLO DA MESSINA
+
+
+
+
+LIFE OF ANTONELLO DA MESSINA
+
+PAINTER
+
+
+When I consider within my own mind the various qualities of the benefits
+and advantages that have been conferred on the art of painting by many
+masters who have followed the second manner, I cannot do otherwise than
+call them, by reason of their efforts, truly industrious and excellent,
+because they sought above all to bring painting to a better condition,
+without thinking of discomfort, expense, or any particular interest of
+their own. They continued, then, to employ no other method of colouring
+save that of distemper for panels and for canvases, which method had
+been introduced by Cimabue in the year 1250, when he was working with
+those Greeks, and had been afterwards followed by Giotto and by the
+others of whom we have spoken up to the present; and they were still
+adhering to the same manner of working, although the craftsmen
+recognized clearly that pictures in distemper were wanting in a certain
+softness and liveliness, which, if they could be obtained, would be
+likely to give more grace to their designs, loveliness to their
+colouring, and greater facility in blending the colours together; for
+they had ever been wont to hatch their works merely with the point of
+the brush. But although many had made investigations and sought for
+something of the sort, yet no one had found any good method, either by
+the use of liquid varnish or by the mixture of other kinds of colours
+with the distemper. Among many who made trial of these and other similar
+expedients, but all in vain, were Alesso Baldovinetti, Pesello, and many
+others, not one of whom succeeded in giving to his works the beauty and
+excellence that he had imagined. And even if they had found what they
+were seeking, they still lacked the method of making their figures on
+panel adhere as well as those painted on walls, and also that of making
+them so that they could be washed without destroying the colours, and
+would endure any shock in handling. These matters a great number of
+craftsmen had discussed many times in common, but without result.
+
+This same desire was felt by many lofty minds that were devoted to
+painting beyond the bounds of Italy--namely, by all the painters of
+France, Spain, Germany, and other countries. Now, while matters stood
+thus, it came to pass that, while working in Flanders, Johann[10] of
+Bruges, a painter much esteemed in those parts by reason of the great
+mastery that he had acquired in his profession, set himself to make
+trial of various sorts of colours, and, as one who took delight in
+alchemy, to prepare many kinds of oil for making varnishes and other
+things dear to men of inventive brain, such as he was. Now, on one
+occasion, having taken very great pains with the painting of a panel,
+and having brought it to completion with much diligence, he gave it the
+varnish and put it to dry in the sun, as is the custom. But, either
+because the heat was too violent, or perchance because the wood was
+badly joined together or not seasoned well enough, the said panel opened
+out at the joinings in a ruinous fashion. Whereupon Johann, seeing the
+harm that the heat of the sun had done to it, determined to bring it
+about that the sun should never again do such great damage to his works.
+And so, being disgusted no less with his varnish than with working in
+distemper, he began to look for a method of making a varnish that should
+dry in the shade, without putting his pictures in the sun. Wherefore,
+after he had made many experiments with substances both pure and mixed
+together, he found at length that linseed oil and oil of nuts dried more
+readily than all the others that he had tried. These, then, boiled
+together with other mixtures of his, gave him the varnish that he--nay,
+all the painters in the world--had long desired. Afterwards, having made
+experiments with many other substances, he saw that mixing the colours
+with those oils gave them a very solid consistency, not only securing
+the work, when dried, from all danger from water, but also making the
+colour so brilliant as to give it lustre by itself without varnish; and
+what appeared most marvellous to him was this, that it could be blended
+infinitely better than distemper. Rejoicing greatly over such a
+discovery, as was only reasonable, Johann made a beginning with many
+works and filled all those parts with them, with incredible pleasure for
+others and very great profit for himself; and, assisted by experience
+from day to day, he kept on ever making greater and better works.
+
+No long time passed before the fame of his invention, spreading not only
+throughout Flanders but through Italy and many other parts of the world,
+awakened in all craftsmen a very great desire to know by what method he
+gave so great a perfection to his works. These craftsmen, seeing his
+works and not knowing what means he employed, were forced to extol him
+and to give him immortal praise, and at the same time to envy him with a
+blameless envy, the rather as he refused for some time to allow himself
+to be seen at work by anyone, or to reveal his secret to any man. At
+length, however, having grown old, he imparted it to Roger of Bruges,
+his pupil, who passed it on to his disciple Ausse[11] and to the others
+whom we have mentioned in speaking of colouring in oil with regard to
+painting. But with all this, although merchants did a great business in
+his pictures and sent them all over the world to Princes and other great
+persons, to their own great profit, yet the knowledge did not spread
+beyond Flanders; and although these pictures had a very pungent odour,
+given to them by the mixture of colours and oils, particularly when they
+were new, so that it seemed possible for the secret to be found out, yet
+for many years it was not discovered. But certain Florentines, who
+traded between Flanders and Naples, sent to King Alfonso I of Naples a
+panel with many figures painted in oil by Johann, which became very dear
+to that King both for the beauty of the figures and for the novel
+invention shown in the colouring; and all the painters in that kingdom
+flocked together to see it, and it was consummately extolled by all.
+
+Now there was one Antonello da Messina, a person of good and lively
+intelligence, of great sagacity, and skilled in his profession, who,
+having studied design for many years in Rome, had first retired to
+Palermo, where he had worked for many years, and finally to his native
+place, Messina, where he had confirmed by his works the good opinion
+that his countrymen had of his excellent ability in painting. This man,
+then, going once on some business of his own from Sicily to Naples,
+heard that the said King Alfonso had received from Flanders the
+aforesaid panel by the hand of Johann of Bruges, painted in oil in such
+a manner that it could be washed, would endure any shock, and was in
+every way perfect. Thereupon, having contrived to obtain a view of it,
+he was so strongly impressed by the liveliness of the colours and by the
+beauty and harmony of that painting, that he put on one side all other
+business and every thought and went off to Flanders. Having arrived in
+Bruges, he became very intimate with the said Johann, making him
+presents of many drawings in the Italian manner and other things,
+insomuch that the latter, moved by this and by the respect shown by
+Antonello, and being now old, was content that he should see his method
+of colouring in oil; wherefore Antonello did not depart from that place
+until he had gained a thorough knowledge of that way of colouring, which
+he desired so greatly to know. And no long time after, Johann having
+died, Antonello returned from Flanders in order to revisit his native
+country and to communicate to all Italy a secret so useful, beautiful,
+and advantageous. Then, having stayed a few months in Messina, he went
+to Venice, where, being a man much given to pleasure and very
+licentious, he resolved to take up his abode and finish his life, having
+found there a mode of living exactly suited to his taste. And so,
+putting himself to work, he made there many pictures in oil according to
+the rules that he had learned in Flanders; these are scattered
+throughout the houses of noblemen in that city, where they were held in
+great esteem by reason of the novelty of the work. He made many others,
+also, which were sent to various places. Finally, having acquired fame
+and great repute there, he was commissioned to paint a panel that was
+destined for S. Cassiano, a parish church in that city. This panel was
+wrought by Antonio with all his knowledge and with no sparing of time;
+and when finished, by reason of the novelty of the colouring and the
+beauty of the figures, which he had made with good design, it was much
+commended and held in very great price. And afterwards, when men
+heard of the new secret that he had brought from Flanders to that city,
+he was ever loved and cherished by the magnificent noblemen of Venice
+throughout the whole course of his life.
+
+[Illustration: ANTONELLO DA MESSINA: PORTRAIT OF A YOUNG MAN
+
+(_Berlin: Kaiser Friedrich Museum, 18. Panel_)]
+
+Among the painters who were then in repute in Venice, a certain Maestro
+Domenico was held very excellent. This man, on the arrival of Antonello
+in Venice, received him with such great lovingness and courtesy, that he
+could not have shown more to a very dear and cherished friend. For this
+reason Antonello, who would not be beaten in courtesy by Maestro
+Domenico, after a few months taught him the secret and method of
+colouring in oil. Nothing could have been dearer to Domenico than this
+extraordinary courtesy and friendliness; and well might he hold it dear,
+since it caused him, as he had foreseen, to be greatly honoured ever
+afterwards in his native city. Grossly deceived, in truth, are those who
+think that, while they grudge to others even those things that cost them
+nothing, they should be served by all for the sake of their sweet smile,
+as the saying goes. The courtesies of Maestro Domenico Viniziano wrested
+from the hands of Antonello that which he had won for himself with so
+much fatigue and labour, and which he would probably have refused to
+hand over to any other even for a large sum of money. But since, with
+regard to Maestro Domenico, we will mention in due time all that he
+wrought in Florence, and who were the men with whom he generously shared
+the secret that he had received as a courteous gift from another, let us
+pass to Antonello.
+
+After the panel for S. Cassiano, he made many pictures and portraits for
+various Venetian noblemen. Messer Bernardo Vecchietti, the Florentine,
+has a painting by his hand of S. Francis and S. Dominic, both in the one
+picture, and very beautiful. Then, after receiving a commission from the
+Signoria to paint certain scenes in their Palace (which they had refused
+to give to Francesco di Monsignore of Verona, although he had been
+greatly favoured by the Duke of Mantua), he fell sick of a pleurisy and
+died at the age of forty-nine, without having set a hand to the work. He
+was greatly honoured in his obsequies by the craftsmen, by reason of the
+gift bestowed by him on art in the form of the new manner of colouring,
+as the following epitaph testifies:
+
+                           D. O. M.
+
+   ANTONIUS PICTOR, PRÆCIPUUM MESSANÆ SUÆ ET SICILIÆ TOTIUS
+   ORNAMENTUM, HAC HUMO CONTEGITUR. NON SOLUM SUIS PICTURIS, IN
+   QUIBUS SINGULARE ARTIFICIUM ET VENUSTAS FUIT, SED ET QUOD
+   COLORIBUS OLEO MISCENDIS SPLENDOREM ET PERPETUITATEM
+   PRIMUS ITALICÆ PICTURÆ CONTULIT, SUMMO SEMPER ARTIFICIUM
+   STUDIO CELEBRATUS.
+
+The death of Antonello was a great grief to his many friends, and
+particularly to the sculptor Andrea Riccio, who wrought the nude marble
+statues of Adam and Eve, held to be very beautiful, which are seen in
+the courtyard of the Palace of the Signoria in Venice. Such was the end
+of Antonello, to whom our craftsmen should certainly feel no less
+indebted for having brought the method of colouring in oil into Italy
+than they should to Johann of Bruges for having discovered it in
+Flanders. Both of them benefited and enriched the art; for it is by
+means of this invention that craftsmen have since become so excellent,
+that they have been able to make their figures all but alive. Their
+services should be all the more valued, inasmuch as there is no writer
+to be found who attributes this manner of colouring to the ancients; and
+if it could be known for certain that it did not exist among them, this
+age would surpass all the excellence of the ancients by virtue of this
+perfection. Since, however, even as nothing is said that has not been
+said before, so perchance nothing is done that has not been done before,
+I will let this pass without saying more; and praising consummately
+those who, in addition to draughtsmanship, are ever adding something to
+art, I will proceed to write of others.
+
+[Illustration: ANTONELLO DA MESSINA: THE CRUCIFIXION
+
+(_London: National Gallery, 1166. Panel_)]
+
+FOOTNOTES:
+
+[10] Jan van Eyck.
+
+[11] It is reasonable to suppose that this stands for Hans (Memling).
+
+
+
+
+ALESSO BALDOVINETTI
+
+[Illustration: THE ANNUNCIATION
+
+(_After the panel by =Alesso Baldovinetti=. Florence: Uffizi, 56_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ALESSO BALDOVINETTI
+
+PAINTER OF FLORENCE
+
+
+So great an attraction has the noble art of painting, that many eminent
+men have deserted the callings in which they might have become very
+rich, and, drawn by their inclination against the wishes of their
+parents, have followed the promptings of their nature and devoted
+themselves to painting, to sculpture, or to some similar pursuit. And,
+to tell the truth, if a man estimates riches at their true worth and no
+higher, and regards excellence as the end of all his actions, he
+acquires treasures very different from silver and gold; not to mention
+that he is never afraid of those things that rob us in a moment of those
+earthly riches, which are foolishly esteemed by men at more than their
+true value. Recognizing this, Alesso Baldovinetti, drawn by a natural
+inclination, abandoned commerce--in which his relatives had ever
+occupied themselves, insomuch that by practising it honourably they had
+acquired riches and lived like noble citizens--and devoted himself to
+painting, in which he showed a peculiar ability to counterfeit very well
+the objects of nature, as may be seen in the pictures by his hand.
+
+This man, while still very young, and almost against the wish of his
+father, who would have liked him to give his attention to commerce,
+devoted himself to drawing; and in a short time he made so much progress
+therein, that his father was content to allow him to follow the
+inclination of his nature. The first work that Alesso executed in fresco
+was in S. Maria Nuova, on the front wall of the Chapel of S. Gilio,
+which was much extolled at that time, because, among other things, it
+contained a S. Egidio that was held to be a very beautiful figure. In
+like manner, he painted in S. Trinita the chapel in fresco and the chief
+panel in distemper, for Messer Gherardo and Messer Bongianni
+Gianfigliazzi, most honourable and wealthy gentlemen of Florence. In
+this chapel Alesso painted some scenes from the Old Testament, which he
+first sketched in fresco and then finished on the dry, tempering his
+colours with yolk of egg mingled with a liquid varnish prepared over a
+fire. This vehicle, he thought, would preserve the paintings from damp;
+but it was so strong that where it was laid on too thickly the work has
+peeled off in many places; and thus, whereas he thought he had found a
+rare and very beautiful secret, he was deceived in his hopes.
+
+He drew many portraits from nature, and in the scene of the Queen of
+Sheba going to hear the wisdom of Solomon, which he painted in the
+aforesaid chapel, he portrayed the Magnificent Lorenzo de' Medici,
+father of Pope Leo X, and Lorenzo della Volpaia, a most excellent maker
+of clocks and a very fine astrologer, who was the man who made for the
+said Lorenzo de' Medici the very beautiful clock that the Lord Duke
+Cosimo now has in his Palace; in which clock all the wheels of the
+planets are perpetually moving, which is a rare thing, and the first
+that was ever made in this manner. In the scene opposite to that one
+Alesso portrayed Luigi Guicciardini the elder, Luca Pitti, Diotisalvi
+Neroni, and Giuliano de' Medici, father of Pope Clement VII; and beside
+the stone pilaster he painted Gherardo Gianfigliazzi the elder, the
+Chevalier Messer Bongianni, who is wearing a blue robe, with a chain
+round his neck, and Jacopo and Giovanni, both of the same family. Near
+these are Filippo Strozzi the elder and the astrologer Messer Paolo dal
+Pozzo Toscanelli. On the vaulting are four patriarchs, and on the panel
+is the Trinity, with S. Giovanni Gualberto kneeling, and another Saint.
+All these portraits are very easily recognized from their similarity to
+those that are seen in other works, particularly in the houses of their
+descendants, whether in gesso or in painting. Alesso gave much time to
+this work, because he was very patient and liked to execute his works at
+his ease and convenience.
+
+[Illustration: ALESSO BALDOVINETTI: MADONNA AND CHILD IN A LANDSCAPE
+
+(_Paris: Louvre, 1300B. Panel_)]
+
+He drew very well, as may be seen from a mule drawn from nature in our
+book, wherein the curves of the hair over the whole body are done with
+much patience and with beautiful grace. Alesso was very diligent in
+his works, and he strove to be an imitator of all the minute details
+that Mother Nature creates. He had a manner somewhat dry and harsh,
+particularly in draperies. He took much delight in making landscapes,
+copying them from the life of nature exactly as they are; wherefore
+there are seen in his pictures streams, bridges, rocks, herbs, fruits,
+roads, fields, cities, castles, sand, and an infinity of other things of
+the kind. In the Nunziata at Florence, in the court, exactly behind the
+wall where the Annunciation itself is painted, he painted a scene in
+fresco, retouched on the dry, in which there is a Nativity of Christ,
+wrought with so great labour and diligence that one could count the
+stalks and knots of the straw in a hut that is there; and he also
+counterfeited there the ruin of a house with the stones mouldering, all
+eaten away and consumed by rain and frost, and a thick ivy root that
+covers a part of the wall, wherein it is to be observed that with great
+patience he made the outer side of the leaves of one shade of green, and
+the under side of another, as Nature does, neither more nor less; and,
+in addition to the shepherds, he made a serpent, or rather, a
+grass-snake, crawling up a wall, which is most life-like.
+
+It is said that Alesso took great pains to discover the true method of
+making mosaic, but that he never succeeded in anything that he wanted to
+do, until at length he came across a German who was going to Rome to
+obtain some indulgences. This man he took into his house, and he gained
+from him a complete knowledge of the method and the rules for executing
+mosaic, insomuch that afterwards, having set himself boldly to work, he
+made some angels holding the head of Christ over the bronze doors of S.
+Giovanni, in the arches on the inner side. His good method of working
+becoming known by reason of this work, he was commissioned by the
+Consuls of the Guild of Merchants to clean and renovate all the vaulting
+of that church, which had been wrought, as has been said, by Andrea
+Tafi; for it had been spoilt in many places, and was in need of being
+renewed and restored. This he did with love and diligence, availing
+himself for that purpose of a wooden staging made for him by Cecca, who
+was the best architect of that age. Alesso taught the craft of mosaic to
+Domenico Ghirlandajo, who portrayed him afterwards near himself in the
+Chapel of the Tornabuoni in S. Maria Novella, in the scene where Joachim
+is driven from the Temple, in the form of a clean-shaven old man with a
+red cap on his head.
+
+Alesso lived eighty years, and when he began to draw near to old age, as
+one who wished to be able to attend with a quiet mind to the studies of
+his profession, he retired into the Hospital of S. Paolo, as many men
+are wont to do. And perhaps to the end that he might be received more
+willingly and better treated (or it may have been by chance), he had a
+great chest carried into his rooms in the said hospital, giving out that
+it contained a good sum of money. Wherefore the Director and the other
+officials of the hospital, believing this to be true, and knowing that
+he had bequeathed to the hospital all that might be found after his
+death, showed him all the attention in the world. But on the death of
+Alesso, there was nothing found in it save drawings, portraits on paper,
+and a little book that explained the preparation of the stones and
+stucco for mosaic and the method of using them. Nor was it any marvel,
+so men said, that no money was found there, because he was so
+open-handed that he had nothing that did not belong as much to his
+friends as to himself.
+
+A disciple of Alesso was the Florentine Graffione, who wrought in
+fresco, over the door of the Innocenti, that figure of God the Father
+and those angels that are still there. It is said that the Magnificent
+Lorenzo de' Medici, conversing one day with Graffione, who was an
+original, said to him, "I wish to have all the ribs of the inner cupola
+adorned with mosaic and stucco-work;" and that Graffione replied, "You
+have not the masters." To which Lorenzo answered, "We have enough money
+to make some." Graffione instantly retorted, "Ah, Lorenzo, 'tis not the
+money that makes the masters, but the masters that make the money." This
+man was a bizarre and fantastic person. In his house he would never eat
+off any table-cloth save his own cartoons, and he slept in no other bed
+than a chest filled with straw, without sheets.
+
+But to return to Alesso; he took leave of his art and of his life in
+1448, and he was honourably buried by his relatives and
+fellow-citizens.
+
+[Illustration: THE TRINITY
+
+(_After the panel by =Graffione=. Florence: S. Spirito_)
+
+_Alinari_]
+
+
+
+
+VELLANO DA PADOVA
+
+
+
+
+LIFE OF VELLANO DA PADOVA
+
+SCULPTOR
+
+
+So great is the effect of counterfeiting anything with love and
+diligence, that very often, when the manner of any master of these our
+arts has been well imitated by those who take delight in his works, the
+imitation resembles the thing imitated so closely, that no difference is
+discerned save by those who have a sharpness of eye beyond the ordinary;
+and it rarely comes to pass that a loving disciple fails to learn, at
+least in great measure, the manner of his master.
+
+Vellano da Padova strove with so great diligence to counterfeit the
+manner and the method of Donato in sculpture, particularly in bronze,
+that in his native city of Padua he was left the heir to the excellence
+of the Florentine Donatello; and to this witness is borne by his works
+in the Santo, which nearly every man that has not a complete knowledge
+of the matter attributes to Donato, so that every day many are deceived,
+if they are not informed of the truth. This man, then, fired by the
+great praise that he heard given to Donato, the sculptor of Florence,
+who was then working in Padua, and by a desire for those profits that
+come into the hands of good craftsmen through the excellence of their
+works, placed himself under Donato in order to learn sculpture, and
+devoted himself to it in such a manner, that, with the aid of so great a
+master, he finally achieved his purpose; wherefore, before Donatello had
+finished his works and departed from Padua, Vellano had made such great
+progress in the art that great expectations were already entertained
+about him, and he inspired such confidence in his master as to induce
+him (and that rightly) to leave to his pupil all the equipment, designs,
+and models for the scenes in bronze that were to be made round the choir
+of the Santo in that city. This was the reason why, when Donato
+departed, as has been said, the commission for the whole of that work
+was publicly given to Vellano in his native city, to his very great
+honour. Whereupon he made all the scenes in bronze that are on the outer
+side of the choir of the Santo, wherein, among others, there is the
+scene of Samson embracing the column and destroying the temple of the
+Philistines, in which one sees the fragments of the ruined building duly
+falling, and the death of so many people, not to mention a great
+diversity of attitudes among them as they die, some through the ruins,
+and some through fear; and all this Vellano represented marvellously. In
+the same place are certain works in wax and the models for these scenes,
+and likewise some bronze candelabra wrought by the same man with much
+judgment and invention. From what we see, this craftsman appears to have
+had a very great desire to attain to the standard of Donatello; but he
+did not succeed, for he aimed too high in a most difficult art.
+
+Vellano also took delight in architecture, and was more than passing
+good in that profession; wherefore, having gone to Rome in the year
+1464, at the time of Pope Paul the Venetian, for which Pontiff Giuliano
+da Maiano was architect in the building of the Vatican, he too was
+employed in many things; and by his hand, among other works that he
+made, are the arms of that Pontiff which are seen there with his name
+beside them. He also wrought many of the ornaments of the Palace of S.
+Marco for the same Pope, whose head, by the hand of Vellano, is at the
+top of the staircase. For that building the same man designed a
+stupendous courtyard, with a commodious and elegant flight of steps, but
+the death of the Pontiff intervened to hinder the completion of the
+whole. The while that he stayed in Rome, Vellano made many small things
+in marble and in bronze for the said Pope and for others, but I have not
+been able to find them. In Perugia the same master made a bronze statue
+larger than life, in which he portrayed the said Pope from nature,
+seated in his pontifical robes; and at the foot of this he placed his
+name and the year when it was made. This figure is in a niche of several
+kinds of stone, wrought with much diligence, without the door of S.
+Lorenzo, which is the Duomo of that city. The same man made many medals,
+some of which are still to be seen, particularly that of the
+aforesaid Pope, and those of Antonio Rosello of Arezzo and Batista
+Platina, both Secretaries to that Pontiff.
+
+[Illustration: JONAH CAST INTO THE SEA
+
+(_After the bronze relief by =Vellano da Padova=. Padua: S. Antonio_)
+
+_Anderson_]
+
+Having returned after these works to Padua with a very good name,
+Vellano was held in esteem not only in his native city, but in all
+Lombardy and in the March of Treviso, both because up to that time there
+had been no craftsmen of excellence in those parts, and because he had
+very great skill in the founding of metals. Afterwards, when Vellano was
+already old, the Signoria of Venice determined to have an equestrian
+statue of Bartolommeo da Bergamo made in bronze; and they allotted the
+horse to Andrea del Verrocchio of Florence, and the figure to Vellano.
+On hearing this, Andrea, who thought that the whole work should fall to
+him, knowing himself to be, as indeed he was, a better master than
+Vellano, flew into such a rage that he broke up and destroyed the whole
+model of the horse that he had already finished, and went off to
+Florence. But after a time, being recalled by the Signoria, who gave him
+the whole work to do, he returned once more to finish it; at which
+Vellano felt so much displeasure that he departed from Venice, without
+saying a word or expressing his resentment in any manner, and returned
+to Padua, where he afterwards lived in honour for the rest of his life,
+contenting himself with the works that he had made and with being loved
+and honoured, as he ever was, in his native place. He died at the age of
+ninety-two, and was buried in the Santo with that distinction which his
+excellence, having honoured both himself and his country, had deserved.
+His portrait was sent to me from Padua by certain friends of mine, who
+had it, so they told me, from the very learned and very reverend
+Cardinal Bembo, whose love of our arts was no less remarkable than his
+supremacy over all other men of our age in all the rarest qualities and
+gifts both of mind and body.
+
+
+
+
+FRA FILIPPO LIPPI
+
+
+
+
+LIFE OF FRA FILIPPO LIPPI
+
+PAINTER OF FLORENCE
+
+
+Fra Filippo di Tommaso Lippi, a Carmelite, was born in Florence in a
+street called Ardiglione, below the Canto alla Cuculia and behind the
+Convent of the Carmelites. By the death of his father Tommaso he was
+left a poor little orphan at the age of two, with no one to take care of
+him, for his mother had also died not long after giving him birth. He
+was left, therefore, in the charge of one Mona Lapaccia, his aunt,
+sister of his father, who brought him up with very great inconvenience
+to herself; and when he was eight years of age and she could no longer
+support him, she made him a friar in the aforesaid Convent of the
+Carmine. Living there, in proportion as he showed himself dexterous and
+ingenious in the use of his hands, so was he dull and incapable of
+making any progress in the learning of letters, so that he would never
+apply his intelligence to them or regard them as anything save his
+enemies. This boy, who was called by his secular name of Filippo, was
+kept with others in the noviciate under the discipline of the
+schoolmaster, in order to see what he could do; but in place of studying
+he would never do anything save deface his own books and those of the
+others with caricatures. Whereupon the Prior resolved to give him every
+opportunity and convenience for learning to paint. There was then in the
+Carmine a chapel that had been newly painted by Masaccio, which, being
+very beautiful, pleased Fra Filippo so greatly that he would haunt it
+every day for his recreation; and continually practising there in
+company with many young men, who were ever drawing in it, he surpassed
+the others by a great measure in dexterity and knowledge, insomuch that
+it was held certain that in time he would do something marvellous. Nay,
+not merely in his maturity, but even in his early childhood, he
+executed so many works worthy of praise that it was a miracle. It was no
+long time before he wrought in terra-verde in the cloister, close to the
+Consecration painted by Masaccio, a Pope confirming the Rule of the
+Carmelites; and he painted pictures in fresco on various walls in many
+parts of the church, particularly a S. John the Baptist with some scenes
+from his life. And thus, making progress every day, he had learnt the
+manner of Masaccio very well, so that he made his works so similar to
+those of the other that many said that the spirit of Masaccio had
+entered into the body of Fra Filippo. On a pilaster in the church, close
+to the organ, he made a figure of S. Marziale which brought him infinite
+fame, for it could bear comparison with the works that Masaccio had
+painted. Wherefore, hearing himself so greatly praised by the voices of
+all, at the age of seventeen he boldly threw off his monastic habit.
+
+Now, chancing to be in the March of Ancona, he was disporting himself
+one day with some of his friends in a little boat on the sea, when they
+were all captured together by the Moorish galleys that were scouring
+those parts, and taken to Barbary, where each of them was put in chains
+and held as a slave; and thus he remained in great misery for eighteen
+months. But one day, seeing that he was thrown much into contact with
+his master, there came to him the opportunity and the whim to make a
+portrait of him; whereupon, taking a piece of dead coal from the fire,
+with this he portrayed him at full length on a white wall in his Moorish
+costume. When this was reported by the other slaves to the master (for
+it appeared a miracle to them all, since drawing and painting were not
+known in these parts), it brought about his liberation from the chains
+in which he had been held for so long. Truly glorious was it for this
+art to have caused one to whom the power of condemnation and punishment
+was granted by law, to do the very opposite--nay, in place of inflicting
+pains and death, to consent to show friendliness and grant liberty!
+After having wrought some works in colour for his master, he was brought
+safely to Naples, where he painted for King Alfonso, then Duke of
+Calabria, a panel in distemper for the Chapel of the Castle, where the
+guard-room now is.
+
+[Illustration: FRA FILIPPO LIPPI: THE ANNUNCIATION
+
+(_London: National Gallery, 666. Panel_)]
+
+After this there came upon him a desire to return to Florence, where he
+remained for some months. There he wrought a very beautiful panel for
+the high-altar of the Nuns of S. Ambrogio, which made him very dear to
+Cosimo de' Medici, who became very much his friend for this reason. He
+also painted a panel for the Chapter-house of S. Croce, and another that
+was placed in the chapel of the house of the Medici, on which he painted
+the Nativity of Christ. For the wife of the said Cosimo, likewise, he
+painted a panel with the same Nativity of Christ and with S. John the
+Baptist, which was to be placed in the Hermitage of Camaldoli, in one of
+the hermits' cells, dedicated to S. John the Baptist, which she had
+caused to be built in proof of her devotion. And he painted some little
+scenes that were sent by Cosimo as a gift to Pope Eugenius IV, the
+Venetian; wherefore Fra Filippo acquired great favour with that Pope by
+reason of this work.
+
+It is said that he was so amorous, that, if he saw any women who pleased
+him, and if they were to be won, he would give all his possessions to
+win them; and if he could in no way do this, he would paint their
+portraits and cool the flame of his love by reasoning with himself. So
+much a slave was he to this appetite, that when he was in this humour he
+gave little or no attention to the works that he had undertaken;
+wherefore on one occasion Cosimo de' Medici, having commissioned him to
+paint a picture, shut him up in his own house, in order that he might
+not go out and waste his time; but after staying there for two whole
+days, being driven forth by his amorous--nay, beastly--passion, one
+night he cut some ropes out of his bed-sheets with a pair of scissors
+and let himself down from a window, and then abandoned himself for many
+days to his pleasures. Thereupon, since he could not be found, Cosimo
+sent out to look for him, and finally brought him back to his labour;
+and thenceforward Cosimo gave him liberty to go out when he pleased,
+repenting greatly that he had previously shut him up, when he thought of
+his madness and of the danger that he might run. For this reason he
+strove to keep a hold on him for the future by kindnesses; and so he was
+served by Filippo with greater readiness, and was wont to say that the
+virtues of rare minds were celestial beings, and not slavish hacks.
+
+For the Church of S. Maria Primerana, on the Piazza of Fiesole, he
+painted a panel containing the Annunciation of Our Lady by the Angel,
+which shows very great diligence, and there is such beauty in the figure
+of the Angel that it appears truly a celestial thing. For the Nuns of
+the Murate he painted two panels: one, containing an Annunciation, is
+placed on the high-altar; and the other is on an altar in the same
+church, and contains stories of S. Benedict and S. Bernard. In the
+Palace of the Signoria he painted an Annunciation on a panel, which is
+over a door; and over another door in the said Palace he also painted a
+S. Bernard. For the Sacristy of S. Spirito in Florence he executed a
+panel with the Madonna surrounded by angels, and with saints on either
+side--a rare work, which has ever been held in the greatest veneration
+by the masters of these our arts. In the Chapel of the Wardens of Works
+in S. Lorenzo he wrought a panel with another Annunciation; with one for
+the Della Stufa Chapel, which he did not finish. For a chapel in S.
+Apostolo, in the same city, he painted a panel with some figures round a
+Madonna. In Arezzo, by order of Messer Carlo Marsuppini, he painted the
+panel of the Chapel of S. Bernardo for the Monks of Monte Oliveto,
+depicting therein the Coronation of Our Lady, surrounded by many saints;
+which picture has remained so fresh, that it appears to have been made
+by the hand of Fra Filippo at the present day. It was then that he was
+told by the aforesaid Messer Carlo to give attention to the painting of
+the hands, seeing that his works were much criticized in this respect;
+wherefore from that day onwards, in painting hands, Fra Filippo covered
+the greater part of them with draperies or with some other contrivance,
+in order to avoid the aforesaid criticism. In this work he portrayed the
+said Messer Carlo from the life.
+
+[Illustration: THE VIRGIN ADORING
+
+(_After the panel by =Fra Filippo Lippi=. Florence: Accademia, 79_)
+
+_Anderson_]
+
+For the Nuns of Annalena in Florence he painted a Manger on a panel; and
+some of his pictures are still to be seen in Padua. He sent two little
+scenes with small figures, painted by his hand, to Cardinal Barbo in
+Rome; these were very excellently wrought, and executed with great
+diligence. Truly marvellous was the grace with which he painted, and
+very perfect the harmony that he gave to his works, for which he has
+been ever esteemed by craftsmen and honoured by our modern masters
+with consummate praise; nay, so long as the voracity of time allows his
+many excellent labours to live, he will be held in veneration by every
+age. In Prato, near Florence, where he had some relatives, he stayed for
+many months, executing many works throughout that whole district in
+company with Fra Diamante, a friar of the Carmine, who had been his
+comrade in the noviciate. After this, having been commissioned by the
+Nuns of S. Margherita to paint the panel of their high-altar, he was
+working at this when there came before his eyes a daughter of Francesco
+Buti, a citizen of Florence, who was living there as a ward or as a
+novice. Having set eyes on Lucrezia (for this was the name of the girl),
+who was very beautiful and graceful, Fra Filippo contrived to persuade
+the nuns to allow him to make a portrait of her for a figure of Our Lady
+in the work that he was doing for them. With this opportunity he became
+even more enamoured of her, and then wrought upon her so mightily, what
+with one thing and another, that he stole her away from the nuns and
+took her off on the very day when she was going to see the Girdle of Our
+Lady, an honoured relic of that township, being exposed to view.
+Whereupon the nuns were greatly disgraced by such an event, and her
+father, Francesco, who never smiled again, made every effort to recover
+her; but she, either through fear or for some other reason, refused to
+come back--nay, she insisted on staying with Filippo, to whom she bore a
+male child, who was also called Filippo, and who became, like his
+father, a very excellent and famous painter.
+
+In S. Domenico, in the aforesaid Prato, there are two of his panels; and
+in the tramezzo[12] of the Church of S. Francesco there is a Madonna, in
+the removing of which from the place where it was at first, it was cut
+out from the wall on which it was painted, in order not to spoil it, and
+bound round with wood, and then transported to that wall of the church
+where it is still to be seen to-day. In a courtyard of the Ceppo of
+Francesco di Marco, over a well, there is a little panel by the hand of
+the same man, containing the portrait of the said Francesco di Marco,
+the creator and founder of that holy place. In the Pieve of the said
+township, on a little panel over the side-door as one ascends the steps,
+he painted the Death of S. Bernard, by the touch of whose bier many
+cripples are being restored to health. In this picture are friars
+bewailing the death of their master, and it is a marvellous thing to see
+the beautiful expression of the sadness of lamentation in the heads,
+counterfeited with great art and resemblance to nature. Here there are
+draperies in the form of friars' gowns with most beautiful folds, which
+deserve infinite praise for their good design, colouring, and
+composition; not to mention the grace and proportion that are seen in
+the said work, which was executed with the greatest delicacy by the hand
+of Fra Filippo. The Wardens of Works for the said Pieve, in order to
+have some memorial of him, commissioned him to paint the Chapel of the
+High-Altar in that place; and he gave great proof of his worth in that
+work, which, besides its general excellence and masterliness, contains
+most admirable draperies and heads. He made the figures therein larger
+than life, thus introducing to our modern craftsmen the method of giving
+grandeur to the manner of our own day. There are certain figures with
+garments little used in those times, whereby he began to incite the
+minds of men to depart from that simplicity which should be called
+rather old-fashioned than ancient. In the same work are the stories of
+S. Stephen (the titular Saint of the said Pieve), distributed over the
+wall on the right hand--namely, the Disputation, the Stoning, and the
+Death of that Protomartyr, in whose face, as he disputes with the Jews,
+Filippo depicted so much zeal and so much fervour, that it is a
+difficult thing to imagine it, and much more to express it; and in the
+faces and the various attitudes of the Jews he revealed their hatred,
+disdain, and anger at seeing themselves overcome by him. Even more
+clearly did he make manifest the brutality and rage of those who are
+slaying him with stones, which they have grasped, some large, some
+small, with a horrible gnashing of teeth, and with gestures wholly cruel
+and enraged. None the less, amid so terrible an onslaught, S. Stephen,
+raising his countenance with great calmness to Heaven, is seen making
+supplication to the Eternal Father with the warmest love and fervour for
+the very men who are slaying him. All these conceptions are truly very
+beautiful, and serve to show to others how great is the value of
+invention and of knowing how to express emotions in pictures; and this
+he remembered so well, that in those who are burying S. Stephen he made
+gestures so dolorous, and some faces so afflicted and broken with
+weeping, that it is scarcely possible to look at them without being
+moved. On the other side he painted the Birth of S. John the Baptist,
+the Preaching, the Baptism, the Feast of Herod, and the Beheading of the
+Saint. Here, in his countenance as he is preaching, there is seen the
+Divine Spirit; with various emotions in the multitude that is listening,
+joy and sorrow both in the women and in the men, who are all hanging
+intently on the teaching of S. John. In the Baptism are seen beauty and
+goodness; and, in the Feast of Herod, the majesty of the banquet, the
+dexterity of Herodias, the astonishment of the company, and their
+immeasurable grief when the severed head is presented in the charger.
+Round the banqueting-table are seen innumerable figures with very
+beautiful attitudes, and with good execution both in the draperies and
+in the expressions of the faces. Among these, with a mirror, he
+portrayed himself dressed in the black habit of a prelate; and he made a
+portrait of his disciple Fra Diamante among those who are bewailing S.
+Stephen. This work is in truth the most excellent of all his paintings,
+both for the reasons mentioned above, and because he made the figures
+somewhat larger than life, which encouraged those who came after him to
+give grandeur to their manner. So greatly was he esteemed for his
+excellent gifts, that many circumstances in his life that were worthy of
+blame were passed over in consideration of the eminence of his great
+talents. In this work he portrayed Messer Carlo, the natural son of
+Cosimo de' Medici, who was then Provost of that church, which received
+great benefactions from him and from his house.
+
+In the year 1463, when he had finished this work, he painted a panel in
+distemper, containing a very beautiful Annunciation, for the Church of
+S. Jacopo in Pistoia, by order of Messer Jacopo Bellucci, of whom he
+made therein a most vivid portrait from the life. In the house of
+Pulidoro Bracciolini there is a picture by his hand of the Birth of Our
+Lady; and in the Hall of the Tribunal of Eight in Florence he painted in
+distemper a Madonna with the Child in her arms, on a lunette. In the
+house of Lodovico Capponi there is another picture with a very
+beautiful Madonna; and in the hands of Bernardo Vecchietti, a gentleman
+of Florence and a man of a culture and excellence beyond my power of
+expression, there is a little picture by the hand of the same man,
+containing a very beautiful S. Augustine engaged in his studies. Even
+better is a S. Jerome in Penitence, of the same size, in the guardaroba
+of Duke Cosimo; for if Fra Filippo was a rare master in all his
+pictures, he surpassed himself in the small ones, to which he gave such
+grace and beauty that nothing could be better, as may be seen in the
+predelle of all the panels that he painted. In short, he was such that
+none surpassed him in his own times, and few in our own; and
+Michelagnolo has not only always extolled him, but has imitated him in
+many things.
+
+For the Church of S. Domenico Vecchio in Perugia, also, he painted a
+panel that was afterwards placed on the high-altar, containing a
+Madonna, S. Peter, S. Paul, S. Louis, and S. Anthony the Abbot. Messer
+Alessandro degli Alessandri, a Chevalier of that day and a friend of
+Filippo, caused him to paint a panel for the church of his villa at
+Vincigliata on the hill of Fiesole, containing a S. Laurence and other
+Saints, among whom he portrayed Alessandro and two sons of his.
+
+Fra Filippo was much the friend of gay spirits, and he ever lived a
+joyous life. He taught the art of painting to Fra Diamante, who executed
+many pictures in the Carmine at Prato; and he did himself great credit
+by the close imitation of his master's manner, for he attained to the
+greatest perfection. Sandro Botticelli, Pesello, and Jacopo del Sellaio
+of Florence worked with Fra Filippo in their youth (the last-named
+painted two panels in S. Friano, and one wrought in distemper in the
+Carmine), with a great number of other masters, to whom he ever taught
+the art with great friendliness. He lived honourably by his labours,
+spending extraordinary sums on the pleasures of love, in which he
+continued to take delight right up to the end of his life. He was
+requested by the Commune of Spoleto, through the mediation of Cosimo de'
+Medici, to paint the chapel in their principal church (dedicated to Our
+Lady), which he brought very nearly to completion, working in company
+with Fra Diamante, when death intervened to prevent him from
+finishing it. Some say, indeed, that in consequence of his great
+inclination for his blissful amours some relations of the lady that he
+loved had him poisoned.
+
+[Illustration: MADONNA AND CHILD
+
+(_After the panel (tondo) by =Fra Filippo Lippi=. Florence: Pitti, 343_)
+
+_Anderson_]
+
+Fra Filippo finished the course of his life in 1438, at the age of
+fifty-seven, and left a will entrusting to Fra Diamante his son Filippo,
+a little boy of ten years of age, who learnt the art of painting from
+his guardian. Fra Diamante returned with him to Florence, carrying away
+three hundred ducats, which remained to be received from the Commune of
+Spoleto for the work done; with these he bought some property for
+himself, giving but a little share to the boy. Filippo was placed with
+Sandro Botticelli, who was then held a very good master; and the old man
+was buried in a tomb of red and white marble, which the people of
+Spoleto caused to be erected in the church that he had been painting.
+
+His death grieved many friends, particularly Cosimo de' Medici, as well
+as Pope Eugenius, who offered in his life-time to give him a
+dispensation, so that he might make Lucrezia, the daughter of Francesco
+Buti, his legitimate wife; but this he refused to do, wishing to have
+complete liberty for himself and his appetites.
+
+While Sixtus IV was alive, Lorenzo de' Medici became ambassador to the
+Florentines, and made the journey to Spoleto, in order to demand from
+that community the body of Fra Filippo, to the end that it might be laid
+in S. Maria del Fiore in Florence; but their answer to him was that they
+were lacking in ornaments, and above all in distinguished men, for which
+reason they demanded Filippo from him as a favour in order to honour
+themselves, adding that since there was a vast number of famous men in
+Florence, nay, almost a superfluity, he should consent to do without
+this one; and more than this he could not obtain. It is true, indeed,
+that afterwards, having determined to do honour to him in the best way
+that he could, he sent his son Filippino to Rome to paint a chapel for
+the Cardinal of Naples; and Filippino, passing through Spoleto, caused a
+tomb of marble to be erected for him at the commission of Lorenzo,
+beneath the organ and over the sacristy, on which he spent one hundred
+ducats of gold, which were paid by Nofri Tornabuoni, master of the bank
+of the Medici; and Lorenzo also caused Messer Angelo Poliziano to write
+the following epigram, which is carved on the said tomb in antique
+lettering:
+
+   CONDITUS HIC EGO SUM PICTURÆ FAMA PHILIPPUS;
+     NULLI IGNOTA MEÆ EST GRATIA MIRA MANUS.
+   ARTIFICES POTUI DIGITIS ANIMARE COLORES,
+     SPERATAQUE ANIMOS FALLERE VOCE DIU.
+   IPSA MEIS STUPUIT NATURA EXPRESSA FIGURIS,
+     MEQUE SUIS FASSA EST ARTIBUS ESSE PAREM.
+   MARMOREO TUMULO MEDICES LAURENTIUS HIC ME
+     CONDIDIT; ANTE HUMILI PULVERE TECTUS ERAM.
+
+Fra Filippo was a very good draughtsman, as may be seen in our book of
+drawings by the most famous painters, particularly in some wherein the
+panel of S. Spirito is drawn, with others showing the chapel in Prato.
+
+FOOTNOTES:
+
+[12] See note on p. 57, Vol. I.
+
+
+
+
+PAOLO ROMANO, MAESTRO MINO, AND CHIMENTI CAMICIA
+
+
+
+
+LIVES OF PAOLO ROMANO AND MAESTRO MINO, SCULPTORS
+
+[_MINO DEL REGNO, OR MINO DEL REAME_]
+
+AND CHIMENTI CAMICIA, ARCHITECT
+
+
+We have now to speak of Paolo Romano and Mino del Regno, who were
+contemporaries and of the same profession, but very different in
+character and in knowledge of art, for Paolo was modest and quite able,
+and Mino much less able, but so presumptuous and arrogant, that he was
+not only overbearing in his actions, but also with his speech exalted
+his own works beyond all due measure. When Pope Pius II gave a
+commission for a figure to the Roman sculptor Paolo, Mino tormented and
+persecuted him out of envy so greatly, that Paolo, who was a good and
+most modest man, was forced to show resentment. Whereupon Mino, falling
+into a rage with Paolo, offered to bet a thousand ducats that he would
+make a figure better than Paolo's; and this he said with the greatest
+presumption and effrontery, knowing the nature of Paolo, who disliked
+any annoyance, and believing that he would not accept such a challenge.
+But Paolo accepted the invitation, and Mino, half repentant, bet a
+hundred ducats merely to save his honour The figures finished, the
+victory was given to Paolo as a rare and excellent master, which he was;
+and Mino was scorned as the sort of craftsman whose words were worth
+more than his works.
+
+By the hand of Mino are certain works in marble at Naples, and a tomb at
+Monte Cassino, a seat of the Black Friars in the kingdom of Naples; the
+S. Peter and the S. Paul that are at the foot of the steps of S. Pietro
+in Rome, and the tomb of Pope Paul II in S. Pietro. The figure that
+Paolo made in competition with Mino was the S. Paul that is to be seen
+on a marble base at the head of the Ponte S. Angelo, which stood
+unnoticed for a long time in front of the Chapel of Sixtus IV. It
+afterwards came to pass that one day Pope Clement VII observed this
+figure, which pleased him greatly, for he was a man of knowledge and
+judgment in such matters; wherefore he determined to have a S. Peter
+made of the same size, and also, after removing two little chapels of
+marble, dedicated to those Apostles, which stood at the head of the
+Ponte S. Angelo and obstructed the view of the Castle, to put these two
+statues in their place.
+
+It may be read in the work of Antonio Filarete that Paolo was not only a
+sculptor but also an able goldsmith, and that he wrought part of the
+twelve Apostles in silver which stood, before the sack of Rome, over the
+altar of the Papal Chapel. Part of the work of these statues was done by
+Niccolò della Guardia and Pietro Paolo da Todi, disciples of Paolo, who
+were afterwards passing good masters in sculpture, as is seen from the
+tombs of Pope Pius II and Pope Pius III, on which the said Pontiffs are
+portrayed from nature. By the hand of the same men are medals of three
+Emperors and other great persons. The said Paolo made a statue of an
+armed man on horseback, which is now on the ground in S. Pietro, near
+the Chapel of S. Andrea. A pupil of Paolo was the Roman Gian Cristoforo,
+who was an able sculptor; and there are certain works by his hand in S.
+Maria Trastevere and in other places.
+
+Chimenti Camicia, of whose origin nothing is known save that he was a
+Florentine, was employed in the service of the King of Hungary, for whom
+he made palaces, gardens, fountains, churches, fortresses, and many
+other buildings of importance, with ornaments, carvings, decorated
+ceilings, and other things of the kind, which were executed with much
+diligence by Baccio Cellini. After these works, drawn by love for his
+country, Chimenti returned to Florence, whence he sent to Baccio (who
+remained there), as presents for the King, certain pictures by the hand
+of Berto Linaiuolo, which were held very beautiful in Hungary and much
+extolled by that King. This Berto (of whom I will not refrain from
+making this record as well), after having painted many pictures in a
+beautiful manner, which are in the houses of many citizens, died at the
+very height of his powers, cutting short the great expectations that
+had been formed of him. But to return to Chimenti; he had not been long
+in Florence when he returned to Hungary, where he continued to serve the
+King; but while he was journeying on the Danube in order to give designs
+for mills, in consequence of fatigue he was seized by a sickness, which
+carried him off in a few days to the other life. The works of these
+masters date about the year 1470.
+
+About the same time, during the pontificate of Pope Sixtus IV, there
+lived in Rome one Baccio Pintelli, a Florentine, who was rewarded for
+the great skill that he had in architecture by being employed by that
+Pope in all his building enterprises. With his design, then, were built
+the Church and Convent of S. Maria del Popolo, and certain highly ornate
+chapels therein, particularly that of Domenico della Rovere, Cardinal of
+San Clemente and nephew of that Pope. The same Pontiff erected a palace
+in Borgo Vecchio after the design of Baccio, which was then held to be a
+very beautiful and well-planned edifice. The same master built the Great
+Library under the apartments of Niccola, and that chapel in the Palace
+that is called the Sistine, which is adorned with beautiful paintings.
+He also rebuilt the structure of the new Hospital of S. Spirito in
+Sassia (which was burnt down almost to the foundations in the year
+1471), adding to it a very long loggia and all the useful conveniences
+that could be desired. Within the hospital, along its whole length, he
+caused scenes to be painted from the life of Pope Sixtus, from his birth
+up to the completion of that building--nay, up to the end of his life.
+He also made the bridge that is called the Ponte Sisto, from the name of
+that Pontiff; this was held to be an excellent work, because Baccio
+built it with such stout piers and with the weight so well distributed,
+that it is very strong and very well founded. In the year of the Jubilee
+of 1475, likewise, he built many new little churches throughout Rome,
+which are recognized by the arms of Pope Sixtus--in particular, S.
+Apostolo, S. Pietro in Vincula, and S. Sisto. For Cardinal Guglielmo,
+Bishop of Ostia, he made the model of his church, with that of the
+façade and of the steps, in the manner wherein they are seen to-day.
+Many declare that the design of the Church of S. Pietro a Montorio in
+Rome was by the hand of Baccio, but I cannot say with truth that I have
+found this to be so. This church was built at the expense of the King
+of Portugal, almost at the same time that the Spanish nation had the
+Church of S. Jacopo erected in Rome.
+
+The talent of Baccio was so highly esteemed by that Pontiff, that he
+would never have done anything in the way of building without his
+counsel; wherefore, in the year 1480, hearing that the Church and
+Convent of S. Francesco at Assisi were threatening to fall, he sent
+Baccio thither; and he, making a very stout counterfort on the side of
+the plain, rendered that marvellous fabric perfectly secure. On one
+buttress he placed a statue of that Pontiff, who, not many years before,
+had caused to be made in that same convent many apartments, in the form
+of chambers and halls, which are known not only by their magnificence
+but also by the arms of the said Pope that are seen in them. In the
+courtyard there is one coat of arms much larger than the others, with
+some Latin verses in praise of Pope Sixtus IV, who gave many proofs that
+he held that holy place in great veneration.
+
+
+
+ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO
+
+
+
+
+LIVES OF ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO
+
+[_ANDREA DEGL' IMPICCATI AND DOMENICO DA VENEZIA_]
+
+PAINTERS
+
+
+How reprehensible is the vice of envy, which should never exist in
+anyone, when found in a man of excellence, and how wicked and horrible a
+thing it is to seek under the guise of a feigned friendship to
+extinguish not only the fame and glory of another but his very life, I
+truly believe it to be impossible to express with words, for the
+wickedness of the act overcomes all power and force of speech, however
+eloquent. For this reason, without enlarging further on this subject, I
+will only say that in such men there dwells a spirit not merely inhuman
+and savage but wholly cruel and devilish, and so far removed from any
+sort of virtue that they are no longer men or even animals, and do not
+deserve to live. For even as emulation and rivalry, when men seek by
+honest endeavour to vanquish and surpass those greater than themselves
+in order to acquire glory and honour, are things worthy to be praised
+and to be held in esteem as necessary and useful to the world, so, on
+the contrary, the wickedness of envy deserves a proportionately greater
+meed of blame and vituperation, when, being unable to endure the honour
+and esteem of others, it sets to work to deprive of life those whom it
+cannot despoil of glory; as did that miserable Andrea dal Castagno, who
+was truly great and excellent in painting and design, but even more
+notable for the rancour and envy that he bore towards other painters,
+insomuch that with the blackness of his crime he concealed and obscured
+the splendour of his talents.
+
+This man, having been born at a small village called Castagno in
+Mugello, in the territory of Florence, took that name as his own
+surname when he came to live in Florence, which came about in the
+following manner. Having been left without a father in his earliest
+childhood, he was adopted by an uncle, who employed him for many years
+in watching his herds, since he saw him to be very ready and alert, and
+so masterful, that he could look after not only his cattle but the
+pastures and everything else that touched his own interest. Now, while
+he was following this calling, it came to pass one day that he chanced
+to seek shelter from the rain in a place wherein one of those local
+painters, who work for small prices, was painting a shrine for a
+peasant. Whereupon Andrea, who had never seen anything of the kind
+before, was seized by a sudden marvel and began to look most intently at
+the work and to study its manner; and there came to him on the spot a
+very great desire and so violent a love for that art, that without
+losing time he began to scratch drawings of animals and figures on walls
+and stones with pieces of charcoal or with the point of his knife, in so
+masterly a manner that it caused no small marvel to all who saw them.
+The fame of this new study of Andrea's then began to spread among the
+peasants; whereupon, as his good-fortune would have it, the matter
+coming to the ears of a Florentine gentleman named Bernardetto de'
+Medici, whose possessions were in that district, he expressed a wish to
+know the boy; and finally, having seen him and having heard him
+discourse with great readiness, he asked him whether he would like to
+learn the art of painting. Andrea answered that nothing could happen to
+him that would be more welcome or more pleasing than this, and
+Bernardetto took the boy with him to Florence, to the end that he might
+become perfect in that art, and set him to work with one of those
+masters who were then esteemed the best.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Andrea dal Castagno=. Florence: S. Apollonia_)
+
+_Alinari_]
+
+Thereupon Andrea, following the art of painting and devoting himself
+heart and soul to its studies, displayed very great intelligence in the
+difficulties of that art, above all in draughtsmanship. But he was not
+so successful in the colouring of his works, which he made somewhat
+crude and harsh, thus impairing to a great extent their excellence and
+grace, and depriving them, above all, of a certain quality of
+loveliness, which is not found in his colouring. He showed very great
+boldness in the movements of his figures and much vehemence in the
+heads both of men and of women, making them grave in aspect and
+excellent in draughtsmanship. There are works coloured in fresco,
+painted by his hand in his early youth, in the cloister of S. Miniato al
+Monte as one descends from the church to go into the convent, including
+a story of S. Miniato and S. Cresci leaving their father and mother. In
+S. Benedetto, a most beautiful monastery without the Porta a Pinti, both
+in a cloister and in the church, there were many pictures by the hand of
+Andrea, of which there is no need to make mention, since they were
+thrown to the ground in the siege of Florence. Within the city, in the
+first cloister of the Monastery of the Monks of the Angeli, opposite to
+the principal door, he painted the Crucifix that is still there to-day,
+with the Madonna, S. John, S. Benedict, and S. Romualdo; and at the head
+of the cloister, which is above the garden, he made another like it,
+only varying the heads and a few other details. In S. Trinita, beside
+the Chapel of Maestro Luca, he painted a S. Andrew. In a hall at Legnaia
+he painted many illustrious men for Pandolfo Pandolfini; and a standard
+to be borne in processions, which is held very beautiful, for the
+Company of the Evangelist.
+
+In certain chapels of the Church of the Servi in the said city he
+wrought three flat niches in fresco. In one of these, that of S.
+Giuliano, there are scenes from the life of that Saint, with a good
+number of figures, and a dog in foreshortening that was much extolled.
+Above this, in the chapel dedicated to S. Girolamo, he painted that
+Saint shaven and wasted away, with good design and great diligence. Over
+this he painted a Trinity, with a Crucifix so well foreshortened that
+Andrea deserves to be greatly extolled for it, seeing that he executed
+the foreshortenings with a much better and more modern manner than the
+others before him had shown; but this picture, having been afterwards
+covered with a panel by the family of the Montaguti, can no longer be
+seen. In the third, which is beside the one below the organ, and which
+was erected by Messer Orlando de' Medici, he painted Lazarus, Martha,
+and the Magdalene. For the Nuns of S. Giuliano, over their door, he made
+a Crucifix in fresco, with a Madonna, a S. Dominic, a S. Julian, and a
+S. John; which picture, one of the best that Andrea ever made, is
+universally praised by all craftsmen.
+
+In the Chapel of the Cavalcanti in S. Croce he painted a S. John the
+Baptist and a S. Francis, which are held to be very good figures. But
+what caused all the craftsmen to marvel was a very beautiful picture in
+fresco that he made at the head of the new cloister of the said convent,
+opposite to the door, of Christ being scourged at the Column, wherein he
+painted a loggia with columns in perspective, and groined vaulting with
+diminishing lines, and walls inlaid in a pattern of mandorle, with so
+much art and so much diligence, that he showed that he had no less
+knowledge of the difficulties of perspective than he had of design in
+painting. In the same scene there are beautiful and most animated
+attitudes in those who are scourging Christ, showing hatred and rage in
+their faces as clearly as Jesus Christ is showing patience and humility.
+In the body of Christ, which is bound tightly with ropes to the Column,
+it appears that Andrea tried to demonstrate the suffering of the flesh,
+while the Divinity concealed in that body maintains a certain noble
+splendour, which seems to be moving Pilate, who is seated among his
+councillors, to seek to find some means of liberating Him. In short,
+this picture is such that, if the little care that has been taken of it
+had not allowed it to be scratched and spoilt by children and
+simpletons, who have scratched all the heads and the arms and almost the
+entire persons of the Jews, as though they would thus take vengeance on
+them for the wrongs of Our Lord, it would certainly be the most
+beautiful of all the works of Andrea. And if Nature had given grace of
+colouring to this craftsman, even as she gave him invention and design,
+he would have been held truly marvellous.
+
+In S. Maria del Fiore he painted the image of Niccolò da Tolentino on
+horseback; and while he was working at this a boy who was passing shook
+his ladder, whereupon he flew into such a rage, like the brutal man that
+he was, that he jumped down and ran after him as far as the Canto de'
+Pazzi. In the cemetery of S. Maria Nuova, also, below the Ossa, he
+painted a S. Andrew, which gave so much satisfaction that he was
+afterwards commissioned to paint the Last Supper of Christ with His
+Apostles in the refectory, where the nurses and other attendants have
+their meals. Having acquired favour through this work with the house of
+Portinari and with the Director of the hospital, he was appointed to
+paint a part of the principal chapel, of which another part was allotted
+to Alesso Baldovinetti, and the third to the then greatly celebrated
+painter Domenico da Venezia, who had been summoned to Florence by reason
+of the new method that he knew of painting in oil. Now, while each of
+them applied himself to his part of the work, Andrea was very envious of
+Domenico, because, while knowing himself to be superior to the other in
+design, he was much displeased that the Venetian, although a foreigner,
+should be welcomed and entertained by the citizens; wherefore anger and
+disdain moved him so strongly, that he began to think whether he could
+not in one way or another remove him from his path. Andrea was no less
+crafty in dissimulation than he was excellent in painting, being
+cheerful of countenance at his pleasure, ready of speech, fiery in
+spirit, and as resolute in every bodily action as he was in mind; he
+felt towards others as he did towards Domenico, and, if he saw some
+error in the works of other craftsmen, he was wont to mark it secretly
+with his nail. And in his youth, when his works were criticized in any
+respect, he would give the critics to know by means of blows and insults
+that he was ever able and willing to take revenge in one way or another
+for any affront.
+
+But let us say something of Domenico, before we come to the work of the
+said chapel. Before coming to Florence, Domenico had painted some
+pictures with much grace in the Sacristy of S. Maria at Loreto, in
+company with Piero della Francesca; which pictures, besides what he had
+wrought in other places (such as an apartment in the house of the
+Baglioni in Perugia, which is now in ruins), had made his fame known in
+Florence. Being summoned to that city, before doing anything else, he
+painted a Madonna in the midst of some saints, in fresco, in a shrine on
+the Canto de' Carnesecchi, at the corner of two streets, of which one
+leads to the new Piazza di S. Maria Novella and the other to the old.
+This work, being approved and greatly extolled by the citizens and by
+the craftsmen of those times, caused even greater disdain and envy to
+blaze up in the accursed mind of Andrea against poor Domenico;
+wherefore Andrea, having determined to effect by deceit and treachery
+what he could not carry out openly without manifest peril to himself,
+pretended to be very much the friend of Domenico, who, being a good and
+affectionate fellow, fond of singing and devoted to playing on the lute,
+received him as a friend very willingly, thinking Andrea to be a clever
+and amusing person. And so, continuing this friendship, so true on one
+side and so false on the other, they would come together every night to
+make merry and to serenade their mistresses; and this gave great delight
+to Domenico, who, loving Andrea sincerely, taught him the method of
+colouring in oil, which as yet was not known in Tuscany.
+
+Andrea, then (to take events in their due order), working on his wall in
+the Chapel of S. Maria Nuova, painted an Annunciation, which is held
+very beautiful, for in that work he painted the Angel in the air, which
+had never been done up to that time. But a much more beautiful work is
+held to be that wherein he made the Madonna ascending the steps of the
+Temple, on which he depicted many beggars, and one among them hitting
+another on the head with a pitcher; and not only that figure but all the
+others are wondrously beautiful, for he wrought them with much care and
+love, out of rivalry with Domenico. There is seen, also, in the middle
+of a square, an octagonal temple drawn in perspective, standing by
+itself and full of pilasters and niches, with the façade very richly
+adorned with figures painted to look like marble. Round the square are
+various very beautiful buildings; and on one side of these there falls
+the shadow of the temple, caused by the light of the sun--a beautiful
+conception, carried out with great ingenuity and art.
+
+Maestro Domenico, on his part, painting in oil, represented Joachim
+visiting his consort S. Anna, and below this the Birth of Our Lady,
+wherein he depicted a very ornate chamber, and a boy beating very
+gracefully with a hammer on the door of the said chamber. Beneath this
+he painted the Marriage of the Virgin, with a good number of portraits
+from the life, among which are those of Messer Bernardetto de' Medici,
+Constable of the Florentines, wearing a large red barret-cap; Bernardo
+Guadagni, who was Gonfalonier; Folco Portinari, and others of that
+family. He also painted a dwarf breaking a staff, very life-like, and
+some women wearing garments customary in those times, lovely and
+graceful beyond belief. But this work remained unfinished, for reasons
+that will be told below.
+
+[Illustration: ANDREA DAL CASTAGNO: DANTE
+
+_(Florence: S. Apollonia. Fresco)_]
+
+Meanwhile Andrea had painted in oil on his wall the Death of Our Lady,
+in which, both by reason of his rivalry with Domenico and in order to
+make himself known for the able master that he truly was, he wrought in
+foreshortening, with incredible diligence, a bier containing the dead
+Virgin, which appears to be three braccia in length, although it is not
+more than one and a half. Round her are the Apostles, wrought in such a
+manner, that, although there is seen in their faces their joy at seeing
+their Madonna borne to Heaven by Jesus Christ, there is also seen in
+them their bitter sorrow at being left on earth without her. Among the
+Apostles are some angels holding burning lights, with beautiful
+expressions in their faces, and so well executed that it is seen that he
+was as well able to manage oil-colours as his rival Domenico. In these
+pictures Andrea made portraits from life of Messer Rinaldo degli
+Albizzi, Puccio Pucci, and Falganaccio, who brought about the liberation
+of Cosimo de' Medici, together with Federigo Malevolti, who held the
+keys of the Alberghetto. In like manner he portrayed Messer Bernardo di
+Domenico della Volta, Director of that hospital, who is kneeling and
+appears to be alive; and in a medallion at the beginning of the work he
+painted himself with the face of Judas Iscariot, whom he resembled both
+in appearance and in deed.
+
+Now Andrea, having carried this work very nearly to completion, being
+blinded by envy of the praises that he heard given to the talent of
+Domenico, determined to remove him from his path; and after having
+thought of many expedients, he put one of them into execution in the
+following manner. One summer evening, according to his custom, Domenico
+took his lute and went forth from S. Maria Nuova, leaving Andrea in his
+room drawing, for he had refused to accept the invitation to take his
+recreation with Domenico, under the pretext of having to do certain
+drawings of importance. Domenico therefore went to take his pleasure by
+himself, and Andrea set himself to wait for him in hiding behind a
+street corner; and when Domenico, on his way home, came up to him, he
+crushed his lute and his stomach at one and the same time with certain
+pieces of lead, and then, thinking that he had not yet finished him off,
+beat him grievously on the head with the same weapons; and finally,
+leaving him on the ground, he returned to his room in S. Maria Nuova,
+where he put the door ajar and sat down to his drawing in the manner
+that he had been left by Domenico. Meanwhile an uproar had arisen, and
+the servants, hearing of the matter, ran to call Andrea and to give the
+bad news to the murderer and traitor himself, who, running to where the
+others were standing round Domenico, was not to be consoled, and kept
+crying out: "Alas, my brother! Alas, my brother!" Finally Domenico
+expired in his arms; nor could it be discovered, for all the diligence
+that was used, who had murdered him; and if Andrea had not revealed the
+truth in confession on his death-bed, it would not be known now.
+
+In S. Miniato fra le Torri in Florence Andrea painted a panel containing
+the Assumption of Our Lady, with two figures; and in a shrine in the
+Nave a Lanchetta, without the Porta alla Croce, he painted a Madonna. In
+the house of the Carducci, now belonging to the Pandolfini, the same man
+depicted certain famous men, some from imagination and some portrayed
+from life, among whom are Filippo Spano degli Scolari, Dante, Petrarca,
+Boccaccio, and others. At Scarperia in Mugello, over the door of the
+Vicar's Palace, he painted a very beautiful nude figure of Charity,
+which has since been ruined. In the year 1478, when Giuliano de' Medici
+was killed and his brother Lorenzo wounded in S. Maria del Fiore by the
+family of the Pazzi and their adherents and fellow-conspirators, it was
+ordained by the Signoria that all those who had shared in the plot
+should be painted as traitors on the wall of the Palace of the Podestà.
+This work was offered to Andrea, and he, as a servant and debtor of the
+house of Medici, accepted it very willingly, and, taking it in hand,
+executed it so beautifully that it was a miracle. It would not be
+possible to express how much art and judgment were to be seen in those
+figures, which were for the most part portraits from life, and which
+were hung up by the feet in strange attitudes, all varied and very
+beautiful. This work, which pleased the whole city and particularly all
+who had understanding in the art of painting, brought it about that from
+that time onwards he was called no longer Andrea dal Castagno but Andrea
+degl' Impiccati.[13]
+
+[Illustration: MADONNA AND CHILD
+
+(_After the fresco by =Domenico Viniziano=. London: National Gallery,
+1215_)
+
+_Mansell_]
+
+Andrea lived in honourable style, and since he spent his money freely,
+particularly on dress and on maintaining a fine household, he left
+little property when he passed to the other life at the age of
+seventy-one. But since the crime that he had committed against Domenico,
+who loved him so, became known a short time after his death, it was with
+shameful obsequies that he was buried in S. Maria Nuova, where, at the
+age of fifty-six, the unhappy Domenico had also been buried. The work
+begun by the latter in S. Maria Nuova remained unfinished, nor did he
+ever complete it, as he had done the panel of the high-altar in S. Lucia
+de' Bardi, wherein he executed with much diligence a Madonna with the
+Child in her arms, S. John the Baptist, S. Nicholas, S. Francis, and S.
+Lucia; which panel he had brought to perfect completion a little before
+he was murdered.
+
+Disciples of Andrea were Jacopo del Corso, who was a passing good
+master, Pisanello, Marchino, Piero del Pollaiuolo, and Giovanni da
+Rovezzano.
+
+FOOTNOTES:
+
+[13] _I.e._, hung up.
+
+
+
+
+GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA
+
+
+
+
+LIVES OF GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA[14]
+
+PAINTERS
+
+
+Very great is the advantage enjoyed by one who follows in the steps of a
+predecessor who has gained honour and fame by means of some rare talent,
+for the reason that, if only he follows to some extent the path prepared
+by his master, he seldom fails to arrive without much fatigue at an
+honourable goal; whereas, if he had to reach it by himself, he would
+have need of a much longer time and far greater labours. The truth of
+this could be seen, ready for the finger to point to, as the saying is,
+among many other examples, in that of Pisano, or rather, Pisanello, a
+painter of Verona, who, having spent many years in Florence with Andrea
+dal Castagno, and having finished his works after his death, acquired so
+much credit by means of Andrea's name, that Pope Martin V, coming to
+Florence, took him in his train to Rome, where he caused him to paint
+some scenes in fresco in S. Giovanni Laterano, which are very lovely and
+beautiful beyond belief, because he used therein a great abundance of a
+sort of ultramarine blue given to him by the said Pope, which was so
+beautiful in colour that it has never yet been equalled.
+
+In competition with Pisanello, below the aforesaid scenes, certain
+others were painted by Gentile da Fabriano; of which Platina makes
+mention in his Life of Pope Martin, saying that when that Pontiff had
+caused the pavement, the ceiling, and the roof of S. Giovanni Laterano
+to be reconstructed, Gentile da Fabriano painted many pictures there,
+and, among other figures between the windows, in terretta and in
+chiaroscuro, certain prophets, which are held to be the best paintings
+in the whole of that work. The same Gentile executed an infinite number
+of works in the March, particularly in Agobbio, where some of them are
+still to be seen, and likewise throughout the whole state of Urbino. He
+worked in S. Giovanni at Siena; and in the Sacristy of S. Trinita in
+Florence he painted the Story of the Magi on a panel, wherein he
+portrayed himself from the life. In S. Niccolò, near the Porta a S.
+Miniato, for the family of the Quaratesi, he painted the panel of the
+high-altar, which appears to me without a doubt the best of all the
+works that I have seen by his hand, for, not to mention the Madonna
+surrounded by many saints, all well wrought, the predella of the said
+panel, full of scenes with little figures from the life of S. Nicholas,
+could not be more beautiful or executed better than it is. In S. Maria
+Nuova in Rome, in a little arch over the tomb of the Florentine Cardinal
+Adimari, Archbishop of Pisa, which is beside that of Pope Gregory IX, he
+painted the Madonna with the Child in her arms, between S. Benedict and
+S. Joseph. This work was held in esteem by the divine Michelagnolo, who
+was wont to say, speaking of Gentile, that his hand in painting was
+similar to his name. The same master executed a very beautiful panel in
+S. Domenico in Perugia; and in S. Agostino at Bari he painted a Crucifix
+outlined in the wood, with three very beautiful half-length figures,
+which are over the door of the choir.
+
+But to return to Vittore Pisano; the account that has been given of him
+above was written by us, with nothing more, when this our book was
+printed for the first time, because we had not then received that
+information and knowledge of the works of this excellent craftsman which
+we have since gained from notices supplied by that very reverend and
+most learned Father, Fra Marco de' Medici of Verona, of the Order of
+Preaching Friars, and from the narrative of Biondo da Forlì, where he
+speaks of Verona in his "Italia Illustrata." Vittore was equal in
+excellence to any painter of his age; and to this, not to speak of the
+works enumerated above, most ample testimony is borne by many others
+that are seen in his most noble native city of Verona, although many are
+almost eaten away by time. And because he took particular delight in
+depicting animals, he painted in the Chapel of the Pellegrini family, in
+the Church of S. Anastasia at Verona, a S. Eustace caressing a dog
+spotted with white and tan, which, with its feet raised and leaning
+against the leg of the said Saint, is turning its head backwards as
+though it had heard some noise; and it is making this movement with so
+great vivacity, that a live dog could not do it better. Beneath this
+figure there is seen painted the name of Pisano, who used to call
+himself sometimes Pisano, and sometimes Pisanello, as may be seen from
+the pictures and the medals by his hand. After the said figure of S.
+Eustace, which is truly very beautiful and one of the best that this
+craftsman ever wrought, he painted the whole outer wall of the same
+chapel; and on the other side he made a S. George clad in white armour
+made of silver, as was the custom in that age not only with him but with
+all the other painters. This S. George, wishing to replace his sword in
+the scabbard after slaying the Dragon, is raising his right hand, which
+holds the sword, the point of which is already in the scabbard, and is
+lowering the left hand, to the end that the increased distance may make
+it easier for him to sheathe the sword, which is long; and this he is
+doing with so much grace and with so beautiful a manner, that nothing
+better could be seen. Michele San Michele of Verona, architect to the
+most illustrious Signoria of Venice, and a man with a very wide
+knowledge of these fine arts, was often seen during his life
+contemplating these works of Vittore in a marvel, and then heard to say
+that there was little to be seen that was better than the S. Eustace,
+the dog, and the S. George described above. Over the arch of the said
+chapel is painted the scene when S. George, having slain the Dragon, is
+liberating the King's daughter, who is seen near the Saint, clad in a
+long dress after the custom of those times. Marvellous, likewise, in
+this part of the work, is the figure of the same S. George, who, armed
+as above, and about to remount his horse, is standing with his face and
+person turned towards the spectator, and is seen, with one foot in the
+stirrup and his left hand on the saddle, almost in the act of leaping on
+to the horse, which has its hindquarters towards the spectator, so that
+the whole animal, being foreshortened, is seen very well, although in a
+small space. In a word, it is impossible to contemplate without infinite
+marvel--nay, amazement--a work executed with such extraordinary design,
+grace, and judgment.
+
+[Illustration: GENTILE DA FABRIANO: MADONNA AND CHILD, WITH THREE KINGS
+
+(DETAIL FROM THE ADORATION OF THE MAGI)
+
+(_Florence: Accademia, 165. Panel_)]
+
+The same Pisano painted a picture in S. Fermo Maggiore at Verona (a
+church of the Conventual Friars of S. Francis), in the Chapel of the
+Brenzoni, on the left as one enters by the principal door of the said
+church, over the tomb of the Resurrection of Our Lord, wrought in
+sculpture and very beautiful for those times; he painted, I say, as an
+ornament for that work, the Virgin receiving the Annunciation from the
+Angel, which two figures, picked out with gold according to the use of
+those times, are very beautiful, as are certain very well drawn
+buildings, as well as some little animals and birds scattered throughout
+the work, which are as natural and lifelike as it is possible to
+imagine.
+
+The same Vittore cast in medallions innumerable portraits of Princes and
+other persons of his time, from which there have since been made many
+portraits in painting. And Monsignor Giovio, speaking of Vittore Pisano
+in an Italian letter written to the Lord Duke Cosimo, which may be read
+in print together with many others, says the following words:
+
+"This man was also very excellent in the work of low-relief, which is
+esteemed very difficult among craftsmen, because it is the mean between
+the flat surface of painting and the roundness of statuary. For this
+reason there are seen many highly esteemed medals of great Princes by
+his hand, made in a large form, and in the same proportions as that
+reverse of the horse clad in armour that Guidi has sent me. Of these I
+have that of the great King Alfonso with his hair long, with a captain's
+helmet on the reverse; that of Pope Martin, with the arms of the house
+of Colonna as the reverse; that of the Sultan Mahomet (who took
+Constantinople), showing him on horseback in Turkish dress, with a
+scourge in his hand; Sigismondo Malatesta, with Madonna Isotta of Rimini
+on the reverse; and that of Niccolò Piccinino, wearing a large oblong
+cap on his head, with the said reverse sent to me by Guidi, which I am
+returning. Besides these, I have also a very beautiful medal of John
+Palæologus, Emperor of Constantinople, with that bizarre Greek cap
+which the Emperors used to wear. This was made by Pisano in Florence, at
+the time of the Council of Eugenius, at which the aforesaid Emperor was
+present; and it has on the reverse the Cross of Christ, sustained by two
+hands--namely, the Latin and the Greek."
+
+[Illustration: VITTORE PISANELLO: THE VISION OF S. EUSTACE
+
+(_London: National Gallery, 1436. Panel_)]
+
+So far Giovio, and still further, Vittore also made medals with
+portraits of Filippo de' Medici, Archbishop of Pisa, Braccio da Montone,
+Giovan Galeazzo Visconti, Carlo Malatesta, Lord of Rimini, Giovan
+Caracciolo, Grand Seneschal of Naples, Borso and Ercole D'Este, and many
+other nobles and men distinguished in arms and in letters.
+
+By reason of his fame and reputation in that art, this master gained the
+honour of being celebrated by very great men and rare writers; for,
+besides what Biondo wrote of him, as has been said, he was much extolled
+in a Latin poem by the elder Guerino, his compatriot and a very great
+scholar and writer of those times; of which poem, called, from the
+surname of its subject, "Il Pisano del Guerino," honourable mention is
+made by Biondo. He was also celebrated by the elder Strozzi, Tito
+Vespasiano, father of the other Strozzi, both of whom were very rare
+poets in the Latin tongue. The father honoured the memory of Vittore
+Pisano with a very beautiful epigram, which is in print with the others.
+Such are the fruits that are borne by a worthy life.
+
+Some say that when he was learning art in Florence in his youth, he
+painted in the old Church of the Temple, which stood where the old
+Citadel now is, the stories of that pilgrim who was going to S. Jacopo
+di Galizia, when the daughter of his host put a silver cup into his
+wallet, to the end that he might be punished as a robber; but he was
+rescued by S. Jacopo, who brought him back home in safety. In this
+Pisano gave promise of becoming, as he did, an excellent painter.
+Finally, having come to a good old age, he passed to a better life. And
+Gentile, after making many works in Città di Castello, became palsied,
+and was reduced to such a state that he could no longer do anything
+good; and at length, wasted away by old age, and having lived eighty
+years, he died. The portrait of Pisano I have not been able to find in
+any place whatsoever. Both these painters drew very well, as may be seen
+in our book.
+
+[Illustration: MEDALS OF SIGISMONDO PANDOLFO MALATESTA AND NICCOLÒ
+PICCININO
+
+(_After =Vittore Pisanello=. London: British Museum_)]
+
+FOOTNOTES:
+
+[14] It has recently been shown that Pisanello's name was not Vittore
+but Antonio; see article by G. F. Hill, on p. 288, vol. xiii. of the
+_Burlington Magazine_. In the translation, however, Vittore, the name
+given by Vasari, will be kept.
+
+
+
+
+PESELLO AND FRANCESCO PESELLI
+
+
+
+
+LIVES OF PESELLO AND FRANCESCO PESELLI
+
+[_PESELLINO, OR FRANCESCO DI PESELLO_]
+
+PAINTERS OF FLORENCE
+
+
+It is rarely wont to happen that the disciples of the best masters, if
+they observe their precepts, fail to become very excellent, or, if they
+do not actually surpass them, at least to equal them and to make
+themselves in every way like them. For the burning zeal of imitation,
+with assiduity in studying, has power to make them equal the talent of
+those who show them the true method of working; wherefore the disciples
+become such that they afterwards compete with their masters, and even
+find it easy to outstrip them, because it is always but little labour to
+add to what has been discovered by others. That this is true is proved
+by Francesco di Pesello, who imitated the manner of Fra Filippo so well
+that he would have surpassed him by a long way, if death had not cut him
+off so prematurely. It is also known that Pesello imitated the manner of
+Andrea dal Castagno; and he took so much pleasure in counterfeiting
+animals, of which he kept some of all sorts alive in his house, and made
+them so lifelike and vivacious, that there was no one in his time who
+equalled him in this branch of his profession. He worked up to the age
+of thirty under the discipline of Andrea, learning from him, and became
+a very good master. Wherefore, having given good proof of his knowledge,
+he was commissioned by the Signoria of Florence to paint a panel in
+distemper of the Magi bringing offerings to Christ, which was placed
+half-way up the staircase of their Palace, and acquired great fame for
+Pesello, above all because he had made certain portraits therein,
+including that of Donato Acciaiuoli. In S. Croce, also, in the Chapel of
+the Cavalcanti, below the Annunciation of Donato, he painted a predella
+with little figures, containing stories of S. Nicholas. In the house of
+the Medici he adorned some panelling very beautifully with animals, and
+certain coffers with little scenes of jousts on horseback. And in the
+same house there are seen to this day certain canvases by his hand,
+representing lions pressing against a grating, which appear absolutely
+alive; and he made others on the outside, together with one fighting
+with a serpent; and on another canvas he painted an ox, a fox, and other
+animals, very animated and vivacious. In the Chapel of the Alessandri,
+in S. Piero Maggiore, he made four little scenes with little figures of
+S. Peter, of S. Paul, of S. Zanobi restoring to life the son of the
+widow, and of S. Benedict. In S. Maria Maggiore in the same city of
+Florence, in the Chapel of the Orlandini, he made a Madonna and two
+other very beautiful figures. For the children of the Company of S.
+Giorgio he painted a Crucifix, S. Jerome, and S. Francis; and he made an
+Annunciation on a panel in the Church of S. Giorgio. In the Church of S.
+Jacopo at Pistoia he painted a Trinity, S. Zeno, and S. James; and
+throughout the houses of citizens in Florence there are many pictures,
+both round and square, by the hand of the same man.
+
+Pesello was a temperate and gentle person; and whenever it was in his
+power to assist his friends, he would do it very lovingly and willingly.
+He married young, and had a son named Francesco, known as Pesellino, who
+became a painter, following very closely in the steps of Fra Filippo.
+From what is known of this man, it is clear that if he had lived longer
+he would have done much more than he did, for he was a zealous student
+of his art, and would draw all day and night without ceasing. In the
+Chapel of the Noviciate in S. Croce, below the panel by Fra Filippo,
+there is still seen a most marvellous predella with little figures,
+which appear to be by the hand of Fra Filippo. He made many little
+pictures with small figures throughout Florence, where, having acquired
+a great name, he died at the age of thirty-one; to the great grief of
+Pesello, who followed him after no long time, at the age of
+seventy-seven.
+
+[Illustration: PESELLINO: MADONNA ENTHRONED WITH SAINTS AND ANGELS
+
+(_Empoli: Gallery. Panel_)]
+
+
+
+
+BENOZZO GOZZOLI
+
+[Illustration: THE PROCESSION OF THE MAGI
+
+(_Detail, after the fresco by =Benozzo Gozzoli=. Florence: Palazzo
+Riccardi_)
+
+_Anderson_]
+
+
+
+
+LIFE OF BENOZZO GOZZOLI[15]
+
+PAINTER OF FLORENCE
+
+
+He who pursues the path of excellence in his labours, although it is, as
+men say, both stony and full of thorns, finds himself finally at the end
+of the ascent on a broad plain, with all the blessings that he has
+desired. And as he looks downwards and sees the difficult and perilous
+way that he has come, he thanks God for having brought him out safely,
+and with the greatest contentment he blesses those labours that he has
+just been finding so burdensome. And so, recompensed for his past
+sufferings by the gladness of the happy present, he labours without
+fatigue, in order to demonstrate to all who see him how heat, cold,
+sweat, hunger, thirst, and all the other discomforts that are endured in
+the acquiring of excellence, deliver men from poverty, and bring them to
+that secure and tranquil state in which, with so much contentment,
+Benozzo Gozzoli enjoyed repose from his labours.
+
+This man was a disciple of Fra Giovanni Angelico, by whom he was loved
+with good reason; and by all who knew him he was held to be a practised
+master, very rich in invention, and very productive in the painting of
+animals, perspectives, landscapes, and ornaments. He wrought so many
+works in his day that he showed that he cared little for other delights;
+and although, in comparison with many who surpassed him in design, he
+was not very excellent, yet in this great mass of work he surpassed all
+the painters of his age, for in such a multitude of pictures he
+succeeded in making some that were good. In his youth he painted a panel
+for the altar of the Company of S. Marco in Florence, and, in S. Friano,
+a picture of the passing of S. Jerome, which has been spoilt in
+restoring the façade of the church along the street. In the Chapel of
+the Palace of the Medici he painted the Story of the Magi in fresco.
+
+In the Araceli at Rome, in the Chapel of the Cesarini, he painted the
+stories of S. Anthony of Padua, wherein he made portraits from life of
+Cardinal Giuliano Cesarini and Antonio Colonna. In the Conti Tower,
+likewise, over a door under which one passes, he made in fresco a
+Madonna with many saints; and in a chapel in S. Maria Maggiore, on the
+right hand as one enters the church by the principal door, he painted
+many figures in fresco, which are passing good.
+
+After returning from Rome to Florence, Benozzo went to Pisa, where he
+worked in the cemetery called the Campo Santo, which is beside the
+Duomo, covering the surface of a wall that runs the whole length of the
+building with stories from the Old Testament, wherein he showed very
+great invention. And this may be said to be a truly tremendous work,
+seeing that it contains all the stories of the Creation of the world
+from one day to another. After this come Noah's Ark and the inundation
+of the Flood, represented with very beautiful composition and an
+abundance of figures. Then there follow the building of the proud Tower
+of Nimrod, the burning of Sodom and the other neighbouring cities, and
+the stories of Abraham, wherein there are some very beautiful effects to
+be observed, for the reason that, although Benozzo was not remarkable
+for the drawing of figures, yet he showed his art effectually in the
+Sacrifice of Isaac, for there he painted an ass foreshortened in such a
+manner that it seems to turn to either side, which is held something
+very beautiful. After this comes the Birth of Moses, together with all
+those signs and prodigies that were seen, up to the time when he led his
+people out of Egypt and fed them for so many years in the desert. To
+these he added all the stories of the Hebrews up to the time of David
+and his son Solomon; and in this work Benozzo displayed a spirit truly
+more than bold, for, whereas so great an enterprise might very well have
+daunted a legion of painters, he alone wrought the whole and brought it
+to perfection. Wherefore, having thus acquired very great fame, he won
+the honour of having the following epigram placed in the middle of the
+work:
+
+[Illustration: BENOZZO BOZZOLI: MADONNA AND CHILD
+
+(_Berlin: Kaiser Friedrich Museum, 60B. Panel_)]
+
+   QUID SPECTAS VOLUCRES, PISCES, ET MONSTRA FERARUM,
+     ET VIRIDES SILVAS ÆTHEREASQUE DOMOS,
+   ET PUEROS, JUVENES, MATRES, CANOSQUE PARENTES,
+     QUEIS SEMPER VIVUM SPIRAT IN ORE DECUS?
+   NON HÆC TAM VARIIS FINXIT SIMULACRA FIGURIS
+     NATURA, INGENIO F[OE]TIBUS APTA SUO:
+   EST OPUS ARTIFICIS: PINXIT VIVA ORA BENOXUS;
+     O SUPERI, VIVOS FUNDITE IN ORA SONOS.
+
+Throughout this whole work there are scattered innumerable portraits
+from the life; but, since we have not knowledge of them all, I will
+mention only those that I have recognized as important, and those that I
+know by means of some record. In the scene of the Queen of Sheba going
+to visit Solomon there is the portrait of Marsilio Ficino among certain
+prelates, with those of Argiropolo, a very learned Greek, and of Batista
+Platina, whom he had previously portrayed in Rome; while he himself is
+on horseback, in the form of an old man shaven and wearing a black cap,
+in the fold of which there is a white paper, perchance as a sign, or
+because he intended to write his own name thereon.
+
+In the same city of Pisa, for the Nuns of S. Benedetto a Ripa d'Arno, he
+painted all the stories of the life of that Saint; and in the building
+of the Company of the Florentines, which then stood where the Monastery
+of S. Vito now is, he wrought the panel and many other pictures. In the
+Duomo, behind the chair of the Archbishop, he painted a S. Thomas
+Aquinas on a little panel in distemper, with an infinite number of
+learned men disputing over his works, among whom there is a portrait of
+Pope Sixtus IV, together with a number of Cardinals and many Chiefs and
+Generals of various Orders. This is the best and most highly finished
+work that Benozzo ever made. In S. Caterina, a seat of the Preaching
+Friars in the same city, he executed two panels in distemper, which are
+known very well by the manner; and he also painted another in the Church
+of S. Niccola, with two in S. Croce without Pisa.
+
+In his youth, Benozzo also painted the altar of S. Bastiano in the Pieve
+of San Gimignano, opposite to the principal chapel; and in the Hall of
+the Council there are some figures, partly by his hand, and partly old
+works restored by him. For the Monks of Monte Oliveto, in the same
+territory, he painted a Crucifix and other pictures; but the best work
+that he made in that place was in the principal chapel of S. Agostino,
+where he painted stories of S. Augustine in fresco, from his conversion
+to his death; of the whole of which work I have the design by his hand
+in my book, together with many drawings of the aforesaid scenes in the
+Campo Santo of Pisa. In Volterra, likewise, he executed certain works,
+of which there is no need to make mention.
+
+Now, while Benozzo was working in Rome, there was another painter there
+called Melozzo, who came from Forlì; and many who know no more than
+this, having found the name of Melozzo written and having compared the
+dates, have believed that Melozzo stands for Benozzo; but they are
+mistaken, for the said painter was one who lived at the same time and
+was a very zealous student of the problems of art, devoting particular
+diligence and study to the making of foreshortenings, as may be seen in
+S. Apostolo at Rome, in the tribune of the high-altar, where, in a
+frieze drawn in perspective, as an ornament for that work, there are
+some figures picking grapes, with a cask, which show no little of the
+good. But this is seen more clearly in the Ascension of Jesus Christ, in
+the midst of a choir of angels who are leading him up to Heaven, wherein
+the figure of Christ is so well foreshortened that it seems to be
+piercing the ceiling, and the same is true of the angels, who are
+circling with various movements through the spacious sky. The Apostles,
+likewise, who are on the earth below, are so well foreshortened in their
+various attitudes that the work brought him much praise, as it still
+does, from the craftsmen, who have learnt much from his labours. He was
+also a great master of perspective, as is demonstrated by the buildings
+painted in this work, which he executed at the commission of Cardinal
+Riario, nephew of Pope Sixtus IV, by whom he was richly rewarded.
+
+[Illustration: THE DEATH OF S. AUGUSTINE
+
+(_After the fresco by =Benozzo Gozzoli=. San Gimigano: S. Agostino_)
+
+Brogi]
+
+But to return to Benozzo; wasted away at last by length of years and by
+his labours, he went to his true rest, in the city of Pisa, at the age
+of seventy-eight, while dwelling in a little house that he had bought in
+Carraia di San Francesco during his long sojourn there. This house he
+left at his death to his daughter; and, mourned by the whole city, he
+was honourably buried in the Campo Santo, with the following epitaph,
+which is still to be read there:
+
+   HIC TUMULUS EST BENOTII FLORENTINI, QUI PROXIME HAS PINXIT
+     HISTORIAS. HUNC SIBI PISANOR. DONAVIT HUMANITAS, MCCCCLXXVIII.
+
+Benozzo ever lived the well-ordered life of a true Christian, spending
+all his years in honourable labour. For this and for his good manner and
+qualities he was long looked upon with favour in that city. The
+disciples whom he left behind him were Zanobi Macchiavelli, a
+Florentine, and others of whom there is no need to make further
+record.
+
+FOOTNOTES:
+
+[15] In the heading to the Life Vasari calls him simply Benozzo.
+
+
+
+
+FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO
+
+[Illustration: FRANCESCO DI GIORGIO: S. DOROTHY
+
+(_London: National Gallery_, 1682. _Panel_)]
+
+
+
+
+LIVES OF FRANCESCO DI GIORGIO
+
+SCULPTOR AND ARCHITECT OF SIENA
+
+AND LORENZO VECCHIETTO
+
+SCULPTOR AND PAINTER OF SIENA
+
+
+Francesco di Giorgio of Siena, who was an excellent sculptor and
+architect, made the two bronze angels that are on the high-altar of the
+Duomo in that city. These were truly very beautiful pieces of casting,
+and he finished them afterwards by himself with the greatest diligence
+that it is possible to imagine. This he could do very conveniently, for
+he was endowed with good means as well as with a rare intelligence;
+wherefore he would work when he felt inclined, not through greed of
+gain, but for his own pleasure and in order to leave some honourable
+memorial behind him. He also gave attention to painting and executed
+some pictures, but these did not equal his sculptures. He had very good
+judgment in architecture, and proved that he had a very good knowledge
+of that profession; and to this ample testimony is borne by the palace
+that he built for Duke Federigo Feltro at Urbino, which is commodiously
+arranged and beautifully planned, while the bizarre staircases are well
+conceived and more pleasing than any others that had been made up to his
+time. The halls are large and magnificent, and the apartments are
+conveniently distributed and handsome beyond belief. In a word, the
+whole of that palace is as beautiful and as well built as any other that
+has been erected down to our own day.
+
+Francesco was a very able engineer, particularly in connection with
+military engines, as he showed in a frieze that he painted with his own
+hand in the said palace at Urbino, which is all full of rare things of
+that kind for the purposes of war. He also filled some books with
+designs of such instruments; and the Lord Duke Cosimo de' Medici has the
+best of these among his greatest treasures. The same man was so zealous
+a student of the warlike machines and instruments of the ancients, and
+spent so much time in investigating the plans of the ancient
+amphitheatres and other things of that kind, that he was thereby
+prevented from giving equal attention to sculpture; but these studies
+brought him and still bring him no less honour than sculpture could have
+gained for him. For all these reasons he was so dear to the said Duke
+Federigo, whose portrait he made both on medals and in painting, that
+when he returned to his native city of Siena he found his honours were
+equal to his profits.
+
+For Pope Pius II he made all the designs and models of the Palace and
+Vescovado of Pienza, the native place of the said Pope, which was raised
+by him to the position of a city, and called Pienza after himself, in
+place of its former name of Corsignano. These buildings were as
+magnificent and handsome as they could be for that place; and he did the
+same for the general form and the fortifications of the said city,
+together with the palace and loggia built for the same Pontiff.
+Wherefore he ever lived in honour, and was rewarded with the supreme
+magistracy of the Signoria in his native city; but finally, having
+reached the age of forty-seven, he died. His works date about 1480. He
+left behind him his companion and very dear friend, Jacopo Cozzerello,
+who devoted himself to sculpture and architecture, making some figures
+of wood in Siena, and a work of architecture without the Porta a
+Tufi--namely, S. Maria Maddalena, which remained unfinished by reason of
+his death. To him we are also indebted for the portrait of the aforesaid
+Francesco, which he made with his own hand; to which Francesco much
+gratitude is due for his having facilitated the art of architecture, and
+for his having rendered to it greater services than any other man had
+done from the time of Filippo di Ser Brunellesco to his own.
+
+[Illustration: THE RISEN CHRIST
+
+(_After the bronze by =Lorenzo Vecchietto=. Siena: S. Maria della
+Scala_)
+
+_Alinari_]
+
+A Sienese and also a much extolled sculptor was Lorenzo, the son of
+Piero Vecchietti who, having first been a highly esteemed goldsmith,
+finally devoted himself to sculpture and to casting in bronze; which
+arts he studied so zealously that he became excellent in them, and was
+commissioned to make a tabernacle in bronze for the high-altar of the
+Duomo in his native city of Siena, together with the marble ornaments
+that are still seen therein. This casting, which is admirable, acquired
+very great fame and repute for him by reason of the proportion and grace
+that it shows in all its parts; and whosoever observes this work well
+can see that the design is good, and that the craftsman was a man of
+judgment and of practised ability. For the Chapel of the Painters of
+Siena, in the great Hospital of the Scala, the same man made a beautiful
+metal casting of a nude Christ, of the size of life and holding the
+Cross in His hand; which work was finished with a love and diligence
+worthy of the beautiful success of the casting. In the pilgrim's hall in
+the same place there is a scene painted in colours by Lorenzo. Over the
+door of S. Giovanni he painted an arch with figures wrought in fresco;
+and in like manner, since the baptismal font was not finished, he
+wrought for it certain little figures in bronze, besides finishing, also
+in bronze, a scene formerly begun by Donatello. In this place two scenes
+in bronze had been already wrought by Jacopo della Fonte, whose manner
+Lorenzo ever imitated as closely as he was able. This Lorenzo brought
+the said baptismal font to perfect completion, adding to it some bronze
+figures, formerly cast by Donato but entirely finished by himself, which
+are held to be very beautiful.
+
+For the Loggia of the Ufficiali[16] in Banchi Lorenzo made two life-size
+figures in marble of S. Peter and S. Paul, wrought with consummate grace
+and executed with fine mastery. He disposed the works that he made in
+such a manner that he deserves as much praise for them after death as he
+did when alive. He was a melancholic and solitary person, ever lost in
+contemplation; which was perchance the reason that he did not live
+longer, for he passed to the other life at the age of fifty-eight. His
+works date about the year 1482.
+
+FOOTNOTES:
+
+[16] The officials of the Mercanzia.
+
+
+
+
+GALASSO FERRARESE
+
+
+
+
+LIFE OF GALASSO FERRARESE[17]
+
+[_GALASSO GALASSI_]
+
+PAINTER
+
+
+When strangers come to do work in a city in which there are no craftsmen
+of excellence, there is always some man whose intelligence is afterwards
+stirred to strive to learn that same art, and to bring it about that
+from that time onwards there should be no need for strangers to come and
+embellish his city and carry away her wealth, which he now labours to
+deserve by his own ability, seeking to acquire for himself those riches
+that seemed to him too splendid to be given to foreigners. This was made
+clearly manifest by Galasso Ferrarese, who, seeing Piero dal Borgo a San
+Sepolcro rewarded by the Duke of Ferrara for the works that he executed,
+and also honourably received in Ferrara, was incited so strongly by such
+an example, after Piero's departure, to devote himself to painting, that
+he acquired the name of a good and excellent master in Ferrara. Besides
+this, he was held in all the greater favour in that place for having
+gone to Venice and there learnt the method of painting in oil, which he
+brought to his native place, for he afterwards made an infinity of
+figures in that manner, which are scattered about in many churches
+throughout Ferrara.
+
+Next, having gone to Bologna, whither he was summoned by certain
+Dominican friars, he painted in oil a chapel in S. Domenico; and so his
+fame increased, together with his credit. After this he painted many
+pictures in fresco in S. Maria del Monte, a seat of the Black Friars
+without Bologna, beyond the Porta di S. Mammolo; and the whole church of
+the Casa di Mezzo, on the same road, was likewise painted by his hand
+with works in fresco, in which he depicted the stories of the Old
+Testament.
+
+His life was ever most praiseworthy, and he showed himself very
+courteous and agreeable; which arose from his being used to live and
+dwell more out of his native place than in it. It is true, indeed, that
+through his being somewhat irregular in his way of living, his life did
+not last long; for he left it at the age of about fifty, to go to that
+life which has no end. After his death he was honoured by a friend with
+the following epitaph:
+
+   GALASSUS FERRARIENSIS.
+
+   SUM TANTO STUDIO NATURAM IMITATUS ET ARTE
+       DUM PINGO RERUM QUÆ CREAT ILLA PARENS;
+   HÆC UT SÆPE QUIDEM NON PICTA PUTAVERIT A ME,
+       A SE CREDIDERIT SED GENERATA MAGIS.
+
+In these same times lived Cosmè, also of Ferrara. Works by his hand that
+are to be seen are a chapel in S. Domenico in the said city, and two
+folding-doors that close the organ in the Duomo. This man was better as
+a draughtsman than as a painter; indeed, from what I have been able to
+gather, he does not seem to have painted much.
+
+[Illustration: THE MADONNA ENTHRONED
+
+(_After the tempera panel by =Cosmè= [Cosimo Tura]. Berlin: Kaiser
+Friedrich Museum, 86_)
+
+_Hanfstaengl_]
+
+FOOTNOTES:
+
+[17] This Life appears only in Vasari's first edition.
+
+
+
+
+ANTONIO AND BERNARDO ROSSELLINO
+
+
+
+
+LIVES OF ANTONIO ROSSELLINO, SCULPTOR OF FLORENCE
+
+[_ROSSELLINO DAL PROCONSOLO_]
+
+AND BERNARDO, HIS BROTHER
+
+
+It has ever been a truly laudable and virtuous thing to be modest and to
+be adorned with that gentleness and those rare qualities that are easily
+recognized in the honourable actions of the sculptor Antonio Rossellino,
+who put so much grace into his art that he was esteemed by all who knew
+him as something much more than man, and adored almost as a saint, for
+those supreme virtues that were united to his talent. Antonio was called
+Rossellino dal Proconsolo, because he ever had his shop in a part of
+Florence called by that name. He showed such sweetness and delicacy in
+his works, with a finish and a refinement so perfect, that his manner
+may be rightly called the true one and truly modern.
+
+For the Palace of the Medici he made the marble fountain that is in the
+second court; in which fountain are certain children opening the mouths
+of dolphins that pour out water; and the whole is finished with
+consummate grace and with a most diligent manner. In the Church of S.
+Croce, near the holy-water basin, he made a tomb for Francesco Nori,
+with a Madonna in low-relief above it; and another Madonna in the house
+of the Tornabuoni, together with many other things sent to various
+foreign parts, such as a tomb of marble for Lyons in France. At S.
+Miniato al Monte, a monastery of White Friars without the walls of
+Florence, he was commissioned to make the tomb of the Cardinal of
+Portugal, which was executed by him so marvellously and with such great
+diligence and art, that no craftsman can ever expect to be able to see
+any work likely to surpass it in any respect whatsoever with regard to
+finish or grace. And in truth, if one examines it, it appears not
+merely difficult but impossible for it to have been executed so well;
+for certain angels in the work reveal such grace, beauty, and art in
+their expressions and their draperies, that they appear not merely made
+of marble but absolutely alive. One of these is holding the crown of
+chastity of that Cardinal, who is said to have died celibate; the other
+bears the palm of victory, which he had won from the world. Among the
+many most masterly things that are there, one is an arch of grey-stone
+supporting a looped-back curtain of marble, which is so highly-finished
+that, what with the white of the marble and the grey of the stone, it
+appears more like real cloth than like marble. On the sarcophagus are
+some truly very beautiful boys and the dead man himself, with a Madonna,
+very well wrought, in a medallion. The sarcophagus has the shape of that
+one made of porphyry which is in the Piazza della Ritonda in Rome. This
+tomb of the Cardinal was erected in 1459; and its form, with the
+architecture of the chapel, gave so much satisfaction to the Duke of
+Malfi, nephew of Pope Pius II, that he had another made in Naples by the
+hand of the same master for his wife, similar to the other in every
+respect save in the figure of the dead. For this, moreover, Antonio made
+a panel containing the Nativity of Christ and the Manger, with a choir
+of angels over the hut, dancing and singing with open mouths, in such a
+manner, that he truly seems to have given them all possible movement and
+expression short of breath itself, and that with so much grace and so
+high a finish, that iron tools and man's intelligence could effect
+nothing more in marble. Wherefore his works have been much esteemed by
+Michelagnolo and by all the rest of the supremely excellent craftsmen.
+In the Pieve of Empoli he made a S. Sebastian of marble, which is held
+to be a very beautiful work; and of this we have a drawing by his hand
+in our book, together with others of all the architecture and the
+figures in the said chapel in S. Miniato al Monte, and likewise his own
+portrait.
+
+Antonio finally died in Florence at the age of forty-six, leaving a
+brother called Bernardo, an architect and sculptor, who made a marble
+tomb in S. Croce for Messer Lionardo Bruni of Arezzo, who wrote the
+History of Florence and was a very learned man as all the world knows.
+This Bernardo was much esteemed for his knowledge of architecture by
+Pope Nicholas V, who loved him dearly and made use of him in very many
+works that he carried out in his pontificate, of which he would have
+executed even more if death had not intervened to hinder the works that
+he had in mind. He caused him, therefore, according to the account of
+Giannozzo Manetti, to reconstruct the Piazza of Fabriano, in the year
+when he spent some months there by reason of the plague; and whereas it
+was narrow and badly designed, he enlarged it and brought it to a good
+shape, surrounding it with a row of shops, which were useful, very
+commodious, and very beautiful. After this he restored and founded anew
+the Church of S. Francesco in the same district, which was going to
+ruin. At Gualdo he rebuilt the Church of S. Benedetto; almost anew, it
+may be said, for he added to it good and beautiful buildings. At Assisi
+he made new and stout foundations and a new roof for the Church of S.
+Francesco, which was ruined in certain parts and threatened to go to
+ruin in certain others. At Civitavecchia he built many beautiful and
+magnificent edifices. At Cività Castellana he rebuilt more than a third
+part of the walls in a good form. At Narni he rebuilt the fortress,
+enlarging it with good and beautiful walls. At Orvieto he made a great
+fortress with a most beautiful palace--a work of great cost and no less
+magnificence. At Spoleto, likewise, he enlarged and strengthened the
+fortress, making within it dwellings so beautiful, so commodious, and so
+well conceived, that nothing better could be seen. He restored the baths
+of Viterbo at great expense and in a truly royal spirit, making certain
+dwellings there that would have been worthy not merely of the invalids
+who went to bathe there every day, but of the greatest of Princes. All
+these works were executed by the said Pontiff without the city of Rome,
+from the designs of Bernardo.
+
+In Rome he restored, and in many places renewed, the walls of the city,
+which were for the greater part in ruins; adding to them certain towers,
+and enclosing within these some new fortifications that he built without
+the Castle of S. Angelo, with many apartments and decorations that he
+made within. The said Pontiff also had a project in his mind, of which
+he brought the greater part nearly to completion, of restoring or
+rebuilding, according as it might be necessary, the forty Churches of
+the Stations formerly instituted by the Saint, Pope Gregory I, who
+received the surname of Great. Thus he restored S. Maria Trastevere, S.
+Prassedia, S. Teodoro, S. Pietro in Vincula, and many other minor
+churches. But it was with much greater zeal, adornment, and diligence
+that he did this for six of the seven greater and principal
+churches--namely, S. Giovanni Laterano, S. Maria Maggiore, S. Stefano in
+Celio Monte, S. Apostolo, S. Paolo, and S. Lorenzo extra muros. I say
+nothing of S. Pietro, for of this he made an undertaking by itself.
+
+The same Pope was minded to make the whole of the Vatican into a
+separate city, in the form of a fortress; and for this he was designing
+three roads that should lead to S. Pietro, situated, I believe, where
+the Borgo Vecchio and the Borgo Nuovo now are; and on both sides of
+these roads he meant to build loggie, with very commodious shops,
+keeping the nobler and richer trades separate from the humbler, and
+grouping each in a street by itself. He had already built the Great
+Round Tower, which is still called the Torrione di Niccola. Over these
+shops and loggie were to be erected magnificent and commodious houses,
+built in a very beautiful and very practical style of architecture, and
+designed in such a manner as to be sheltered and protected from all the
+pestiferous winds of Rome, and freed from all the inconveniences of
+water and garbage likely to generate unhealthy exhalations. All this the
+said Pontiff would have finished if he had been granted a little longer
+life, for he had a great and resolute spirit, and an understanding so
+profound, that he gave as much guidance and direction to the craftsmen
+as they gave to him. When this is so, and when the patron has knowledge
+of his own and capacity enough to take an immediate resolution, great
+enterprises can be easily brought to completion; whereas an irresolute
+and incapable man, wavering between yes and no in a sea of conflicting
+designs and opinions, very often lets time slip past unprofitably
+without doing anything. But of this design of Nicholas there is no need
+to say any more, since it was not carried into effect.
+
+[Illustration: TOMB OF CARDINAL JACOPO OF PORTUGAL
+
+(_After =Antonio Rossellino=. Florence: S. Miniato_)
+
+_Brogi_]
+
+Besides this, he wished to build the Papal Palace with so much
+magnificence and grandeur, and with so many conveniences and such
+loveliness, that it might be in all respects the greatest and most
+beautiful edifice in Christendom; and he intended that it should not
+only serve for the person of the Supreme Pontiff, the Chief of all
+Christians, and for the sacred college of Cardinals, who, being his
+counsellors and assistants, had always to be about him, but also that it
+should provide accommodation for the transaction of all the business,
+resolutions, and judicial affairs of the Court; so that the grouping
+together of all the offices and courts would have produced great
+magnificence, and, if such a word may be used in such a context, an
+effect of incredible pomp. What is infinitely more, it was meant for the
+reception of all Emperors, Kings, Dukes, and other Christian Princes who
+might, either on affairs of their own or out of devotion, visit that
+most holy apostolic seat. It is incredible, but he proposed to make
+there a theatre for the crowning of the Pontiffs, with gardens, loggie,
+aqueducts, fountains, chapels, libraries, and a most beautiful building
+set apart for the Conclave. In short, this edifice--I know not whether I
+should call it palace, or castle, or city--would have been the most
+superb work that had ever been made, so far as is known, from the
+Creation of the world to our own day. What great glory it would have
+been for the Holy Roman Church to see the Supreme Pontiff, her Chief,
+gather together, as into the most famous and most holy of monasteries,
+all those ministers of God who dwell in the city of Rome, to live there,
+as it were in a new earthly Paradise, a celestial, angelic, and most
+holy life, giving an example to all Christendom, and awakening the minds
+of the infidels to the true worship of God and of the Blessed Jesus
+Christ! But this great work remained unfinished--nay, scarcely begun--by
+reason of the death of that Pontiff; and the little that was carried out
+is known by his arms, or the device that he used as his arms, namely,
+two keys crossed on a field of red. The fifth of the five works that the
+same Pope intended to execute was the Church of S. Pietro, which he had
+proposed to make so vast, so rich, and so ornate, that it is better to
+be silent than to attempt to speak of it, because I could not describe
+even the least part of it, and the rather as the model was afterwards
+destroyed, and others have been made by other architects. If any man
+wishes to gain a full knowledge of the grand conception of Pope Nicholas
+V in this matter, let him read what Giannozzo Manetti, a noble and
+learned citizen of Florence, has written with the most minute detail in
+the Life of the said Pontiff, who availed himself in all the aforesaid
+designs, as has been said, as well as in his others, of the intelligence
+and great industry of Bernardo Rossellino.
+
+Antonio, brother of Bernardo (to return at length to the point whence,
+with so fair an occasion, I digressed), wrought his sculptures about the
+year 1490; and since the more men's works display diligence and
+difficulties the more they are admired, and these two characteristics
+are particularly noticeable in Antonio's works, he deserves fame and
+honour as a most illustrious example from which modern sculptors have
+been able to learn how those statues should be made that are to secure
+the greatest praise and fame by reason of their difficulties. For after
+Donatello he did most towards adding a certain finish and refinement to
+the art of sculpture, seeking to give such depth and roundness to his
+figures that they appear wholly round and finished, a quality which had
+not been seen to such perfection in sculpture up to that time; and since
+he first introduced it, in the ages after his and in our own it appears
+a marvel.
+
+[Illustration: TOMB OF LEONARDO BRUNI
+
+(_After =Bernardo Rossellino=. Florence: S. Croce_)
+
+_Brogi_]
+
+
+
+
+DESIDERIO DA SETTIGNANO
+
+
+
+
+LIFE OF DESIDERIO DA SETTIGNANO
+
+SCULPTOR
+
+
+Very great is the obligation that is owed to Heaven and to Nature by
+those who bring their works to birth without effort and with a certain
+grace which others cannot give to their creations, either by study or by
+imitation. It is a truly celestial gift, which pours down on these works
+in such a manner, that they ever have about them a loveliness and a
+charm which attract not only those who are versed in that calling, but
+also many others who do not belong to the profession. And this springs
+from facility in the production of the good, which presents no crudeness
+or harshness to the eye, such as is often shown by works wrought with
+labour and difficulty; and this grace and simplicity, which give
+universal pleasure and are recognized by all, are seen in all the works
+made by Desiderio.
+
+Of this man, some say that he came from Settignano, a place two miles
+distant from Florence, while certain others hold him to be a Florentine;
+but this matters nothing, the distance between the one place and the
+other being so small. He was an imitator of the manner of Donato,
+although he had a natural gift of imparting very great grace and
+loveliness to his heads; and in the expressions of his women and
+children there is seen a delicate, sweet, and charming manner, produced
+as much by nature, which had inclined him to this, as by the zeal with
+which he had practised his intelligence in the art. In his youth he
+wrought the base of Donato's David, which is in the Duke's Palace in
+Florence, making on it in marble certain very beautiful harpies, and
+some vine-tendrils in bronze, very graceful and well conceived. On the
+façade of the house of the Gianfigliazzi he made a large and very
+beautiful coat of arms, with a lion; besides other works in stone, which
+are in the same city. For the Chapel of the Brancacci in the Carmine he
+made an angel of wood; and he finished with marble the Chapel of the
+Sacrament in S. Lorenzo, carrying it to complete perfection with much
+diligence. There was in it a child of marble in the round, which was
+removed and is now set up on the altar at the festivals of the Nativity
+of Christ, as an admirable work; and in place of this Baccio da
+Montelupo made another, also of marble, which stands permanently over
+the Tabernacle of the Sacrament. In S. Maria Novella he made a marble
+tomb for the Blessed Villana, with certain graceful little angels, and
+portrayed her there from nature in such a manner that she appears not
+dead but asleep; and for the Nuns of the Murate he wrought a little
+Madonna with a lovely and graceful manner, in a tabernacle standing on a
+column; insomuch that both these works are very highly esteemed and very
+greatly prized. In S. Pietro Maggiore, also, he made the Tabernacle of
+the Sacrament in marble with his usual diligence; and although there are
+no figures in this work, yet it shows a beautiful manner and infinite
+grace, like his other works. And he portrayed from the life, likewise in
+marble, the head of Marietta degli Strozzi, who was so beautiful that
+the work turned out very excellent.
+
+In S. Croce he made a tomb for Messer Carlo Marsuppini of Arezzo, which
+not only amazed the craftsmen and the people of understanding who saw it
+at that time, but still fills with marvel all who see it at the present
+day; for on the sarcophagus he wrought some foliage, which, although
+somewhat stiff and dry, was held--since but few antiquities had been
+discovered up to that time--to be something very beautiful. Among other
+parts of the said work are seen certain wings, acting as ornaments for a
+shell at the foot of the sarcophagus, which seem to be made not of
+marble but of feathers--difficult things to imitate in marble, seeing
+that the chisel is not able to counterfeit hair and feathers. There is a
+large shell of marble, more real than if it were an actual shell. There
+are also some children and some angels, executed with a beautiful and
+lively manner; and consummate excellence and art are likewise seen in
+the figure of the dead, portrayed from nature on the sarcophagus, and in
+a Madonna in low-relief on a medallion, wrought after the manner of
+Donato with judgment and most admirable grace; as are many other
+works that he made in low-relief on marble, some of which are in the
+guardaroba of the Lord Duke Cosimo, and in particular a medallion with
+the head of Our Lord Jesus Christ and with that of John the Baptist as a
+boy. At the foot of the tomb of the said Messer Carlo he laid a large
+stone in memory of Messer Giorgio, a famous Doctor, and Secretary to the
+Signoria of Florence, with a very beautiful portrait in low-relief of
+Messer Giorgio, clad in his Doctor's robes according to the use of those
+times.
+
+[Illustration: TOMB OF CARLO MARSUPPINI
+
+(_After =Desiderio da Settignano=. Florence: S. Croce_)
+
+_Alinari_]
+
+If death had not snatched so prematurely from the world a spirit which
+worked so nobly, he would have done so much later on by means of
+experience and study, that he would have outstripped in art all those
+whom he had surpassed in grace. Death cut the thread of his life at the
+age of twenty-eight, which caused great grief to those who were looking
+forward to seeing so great an intellect attain to perfection in old age;
+and they were left in the deepest dismay at such a loss. He was followed
+by his relatives and by many friends to the Church of the Servi; and a
+vast number of epigrams and sonnets continued for a long time to be
+placed on his tomb, of which I have contented myself with including only
+the following:
+
+   COME VIDE NATURA
+     DAR DESIDERIO AI FREDDI MARMI VITA,
+     E POTER LA SCULTURA
+     AGGUAGLIAR SUA BELLEZZA ALMA E INFINITA,
+     SI FERMÒ SBIGOTTITA
+     E DISSE; OMAI SARÀ MIA GLORIA OSCURA.
+     E PIENA D'ALTO SDEGNO
+     TRONCÒ LA VITA A COSÌ BELL' INGEGNO.
+     MA IN VAN; CHE SE COSTUI
+     DIÈ VITA ETERNA AI MARMI, E I MARMI A LUI.
+
+The sculptures of Desiderio date about 1485. He left unfinished a figure
+of S. Mary Magdalene in Penitence, which was afterwards completed by
+Benedetto da Maiano, and is now in S. Trinita in Florence, on the right
+hand as one enters the church; and the beauty of this figure is beyond
+the power of words to express. In our book are certain very beautiful
+pen-drawings by Desiderio; and his portrait was obtained from some of
+his relatives in Settignano.
+
+
+
+
+MINO DA FIESOLE
+
+
+
+
+LIFE OF MINO DA FIESOLE
+
+[_MINO DI GIOVANNI_]
+
+SCULPTOR
+
+
+When our craftsmen seek to do no more in the works that they execute
+than to imitate the manner of their masters, or that of some other man
+of excellence whose method of working pleases them, either in the
+attitudes of the figures, or in the expressions of the heads, or in the
+folds of the draperies, and when they study these things only, they may
+with time and diligence come to make them exactly the same, but they
+cannot by these means alone attain to perfection in their art, seeing
+that it is clearly evident that one who ever walks behind rarely comes
+to the front, since the imitation of nature becomes fixed in the manner
+of a craftsman who has developed that manner out of long practice. For
+imitation is a definite art of copying what you represent exactly after
+the model of the most beautiful things of nature, which you must take
+pure and free from the manner of your master or that of others, who also
+reduce to a manner the things that they take from nature. And although
+it may appear that the imitations made by excellent craftsmen are
+natural objects, or absolutely similar, it is not possible with all the
+diligence in the world to make them so similar that they shall be like
+nature herself, or even, by selecting the best, to compose a body so
+perfect as to make art excel nature. Now, if this is so, it follows that
+only objects taken from nature can make pictures and sculptures perfect,
+and that if a man studies closely only the manner of other craftsmen,
+and not bodies and objects of nature, it is inevitable that he should
+make works inferior both to nature and to those of the man whose manner
+he adopts. Wherefore it has been seen in the case of many of our
+craftsmen, who have refused to study anything save the works of their
+masters, leaving nature on one side, that they have failed to gain any
+real knowledge of them or to surpass their masters, but have done very
+great injury to their own powers; whereas, if they had studied the
+manner of their masters and the objects of nature together, they would
+have produced much greater fruits in their works than they did. This is
+seen in the works of the sculptor Mino da Fiesole, who, having an
+intelligence capable of achieving whatsoever he wished, was so
+captivated by the manner of his master Desiderio da Settignano, by
+reason of the beautiful grace that he gave to the heads of women,
+children, and every other kind of figure, which appeared to Mino's
+judgment to be superior to nature, that he practised and studied it
+alone, abandoning natural objects and thinking them useless; wherefore
+he had more grace than solid grounding in his art.
+
+It was on the hill of Fiesole, a very ancient city near Florence, that
+there was born the sculptor Mino di Giovanni, who, having been
+apprenticed to the craft of stone-cutting under Desiderio da Settignano,
+a young man excellent in sculpture, showed so much inclination to his
+master's art, that, while he was labouring at the hewing of stones, he
+learnt to copy in clay the works that Desiderio had made in marble; and
+this he did so well that his master, seeing that he was likely to make
+progress in that art, brought him forward and set him to work on his own
+figures in marble, in which he sought with very great attention to
+reproduce the model before him. Nor did he continue long at this before
+he became passing skilful in that calling; at which Desiderio was
+greatly pleased, and still more pleased was Mino by the loving-kindness
+of his master, seeing that Desiderio was ever ready to teach him how to
+avoid the errors that can be committed in that art. Now, while he was on
+the way to becoming excellent in his profession, his ill luck would have
+it that Desiderio should pass to a better life, and this loss was a very
+great blow to Mino, who departed from Florence, almost in despair, and
+went to Rome. There, assisting masters who were then executing works in
+marble, such as tombs of Cardinals, which were placed in S. Pietro,
+although they have since been thrown to the ground in the building of
+the new church, he became known as a very experienced and capable
+master; and he was commissioned by Cardinal Guglielmo Destovilla, who
+was pleased with his manner, to make the marble altar where lies the
+body of S. Jerome, in the Church of S. Maria Maggiore, together with
+scenes in low-relief from his life, which he executed to perfection,
+with a portrait of that Cardinal.
+
+[Illustration: TOMB OF MARGRAVE HUGO
+
+(_After =Mino da Fiesole=. Florence: Badia_)
+
+_Alinari_]
+
+Afterwards, when Pope Paul II, the Venetian, was erecting his Palace of
+S. Marco, Mino was employed thereon in making certain coats of arms.
+After the death of that Pope, Mino was commissioned to make his tomb,
+which he delivered finished and erected in S. Pietro in the space of two
+years. This tomb was then held to be the richest, both in ornaments and
+in figures, that had ever been made for any Pontiff; but it was thrown
+to the ground by Bramante in the demolition of S. Pietro, and remained
+there buried among the rubbish for some years, until 1547, when certain
+Venetians had it rebuilt in the old S. Pietro, against a wall near the
+Chapel of Pope Innocent. And although some believe that this tomb is by
+the hand of Mino del Reame, yet, notwithstanding that these two masters
+lived almost at the same time, it is without doubt by the hand of Mino
+da Fiesole. It is true, indeed, that the said Mino del Reame made some
+little figures on the base, which can be recognized; if in truth his
+name was Mino, and not, as some maintain, Dino.
+
+But to return to our craftsman; having acquired a good name in Rome by
+the said tomb, by the sarcophagus that he made for the Minerva, on which
+he placed a marble statue of Francesco Tornabuoni from nature, which is
+held very beautiful, and by other works, it was not long before he
+returned to Fiesole with a good sum of money saved, and took a wife. And
+no long time after this, working for the Nuns of the Murate, he made a
+marble tabernacle in half-relief to contain the Sacrament, which was
+brought to perfection by him with all the diligence in his power. This
+he had not yet fixed into its place, when the Nuns of S. Ambrogio--who
+desired to have an ornament made, similar in design but richer in
+adornment, to contain that most holy relic, the Miracle of the
+Sacrament--hearing of the ability of Mino, commissioned him to execute
+that work, which he finished with so great diligence that those nuns,
+being satisfied with him, gave him all that he asked as the price of the
+work. And a little after this he undertook, at the instance of Messer
+Dietisalvi Neroni, to make a little panel with figures of Our Lady with
+the Child in her arms, and S. Laurence on one side and S. Leonard on the
+other, in half-relief, which was intended for the priests or chapter of
+S. Lorenzo; but it has remained in the Sacristy of the Badia of
+Florence. For those monks he made a marble medallion containing a
+Madonna in relief with the Child in her arms, which they placed over the
+principal door of entrance into the church; and since it gave great
+satisfaction to all, he received a commission for a tomb for the
+Magnificent Chevalier, Messer Bernardo de' Giugni, who, having been an
+honourable man of high repute, rightly received this memorial from his
+brothers. On this tomb, besides the sarcophagus and the portrait from
+nature of the dead man, Mino executed a figure of Justice, which
+resembles the manner of Desiderio closely, save only that its draperies
+are a little too full of detail in the carving. This work induced the
+Abbot and Monks of the Badia of Florence, in which place the said tomb
+was erected, to entrust Mino with the making of one for Count Ugo, son
+of the Marquis Uberto of Magdeburg, who bequeathed great wealth and many
+privileges to that abbey. And so, desiring to honour him as much as they
+could, they caused Mino to make a tomb of Carrara marble, which was the
+most beautiful work that Mino ever made; for in it there are some boys,
+upholding the arms of that Count, who are standing in very spirited
+attitudes, with a childish grace; and besides the figure of the dead
+Count, with his likeness, which he made on the sarcophagus, in the
+middle of the wall above the bier there is a figure of Charity, with
+certain children, wrought with much diligence and very well in harmony
+with the whole. The same is seen in a Madonna with the Child in her
+arms, in a lunette, which Mino made as much like the manner of Desiderio
+as he could; and if he had assisted his methods of work by studying from
+the life, there is no doubt that he would have made very great progress
+in his art. This tomb, with all its expenses, cost 1,600 lire, and he
+finished it in 1481, thereby acquiring much honour, and obtaining a
+commission to make a tomb for Lionardo Salutati, Bishop of Fiesole, in
+the Vescovado of that place, in a chapel near the principal chapel, on
+the right hand as one goes up; on which tomb he portrayed him in his
+episcopal robes, as lifelike as possible. For the same Bishop he made a
+head of Christ in marble, life-size and very well wrought, which was
+left among other bequests to the Hospital of the Innocenti; and at the
+present day the Very Reverend Don Vincenzio Borghini, Prior of that
+hospital, holds it among his most precious examples of these arts, in
+which he takes a delight beyond my power to express in words.
+
+In the Pieve of Prato Mino made a pulpit entirely of marble, in which
+there are stories of Our Lady, executed with much diligence and put
+together so well, that the work appears all of one piece. This pulpit
+stands over one corner of the choir, almost in the middle of the church,
+above certain ornaments made under the direction of the same Mino. He
+also made portraits of Piero di Lorenzo de' Medici and his wife,
+marvellously lifelike and true to nature. These two heads stood for many
+years over two doors in Piero's apartment in the house of the Medici,
+each in a lunette; afterwards they were removed, with the portraits of
+many other illustrious men of that house, to the guardaroba of the Lord
+Duke Cosimo. Mino also made a Madonna in marble, which is now in the
+Audience Chamber of the Guild of the Masters in Wood and Stone; and to
+Perugia, for Messer Baglione Ribi, he sent a marble panel, which was
+placed in the Chapel of the Sacrament in S. Pietro, the work being in
+the form of a tabernacle, with S. John on one side and S. Jerome on the
+other--good figures in half-relief. The Tabernacle of the Sacrament in
+the Duomo of Volterra is likewise by his hand, with the two angels
+standing one on either side of it, so well and so diligently executed
+that this work is deservedly praised by all craftsmen.
+
+Finally, attempting one day to move certain stones, and not having the
+needful assistance at hand, Mino fatigued himself so greatly that he was
+seized by pleurisy and died of it; and he was honourably buried by his
+friends and relatives in the Canon's house at Fiesole in the year 1486.
+The portrait of Mino is in our book of drawings, but I do not know by
+whose hand; it was given to me together with some drawings made with
+blacklead by Mino himself, which have no little beauty.
+
+
+
+
+LORENZO COSTA
+
+
+
+
+LIFE OF LORENZO COSTA
+
+PAINTER OF FERRARA
+
+
+Although men have ever practised the arts of design more in Tuscany than
+in any other province of Italy, and perhaps of Europe, yet it is none
+the less true that in every age there has arisen in the other provinces
+some genius who has proved himself rare and excellent in the same
+professions, as has been shown up to the present in many of the Lives,
+and will be demonstrated even more in those that are to follow. It is
+true, indeed, that where there are no studies, and where men are not
+disposed by custom to learn, they are not able to advance so rapidly or
+to become so excellent as they do in those places where craftsmen are
+for ever practising and studying in competition. But as soon as one or
+two make a beginning, it seems always to come to pass that many
+others--such is the force of excellence--strive to follow them, with
+honour both for themselves and for their countries.
+
+Lorenzo Costa of Ferrara, being inclined by nature to the art of
+painting, and hearing that Fra Filippo, Benozzo, and others were
+celebrated and highly esteemed in Tuscany, betook himself to Florence in
+order to see their works; and on his arrival, finding that their manner
+pleased him greatly, he stayed there many months, striving to imitate
+them to the best of his power, particularly in drawing from nature. In
+this he succeeded so happily, that, after returning to his own country,
+although his manner was a little dry and hard, he made many praiseworthy
+works there; as may be seen from the choir of the Church of S. Domenico
+in Ferrara, wrought entirely by his hand, from which it is evident that
+he used great diligence in his art and put much labour into his works.
+In the guardaroba of the Lord Duke of Ferrara there are seen portraits
+from life in many pictures by his hand, which are very well wrought and
+very lifelike. In the houses of noblemen, likewise, there are works by
+his hand which are held in great veneration.
+
+In the Church of S. Domenico at Ravenna, in the Chapel of S. Sebastiano,
+he painted the panel in oil and certain scenes in fresco, which were
+much extolled. Being next summoned to Bologna, he painted a panel in the
+Chapel of the Mariscotti in S. Petronio, representing S. Sebastian bound
+to the column and pierced with arrows, with many other figures, which
+was the best work in distemper that had been made up to that time in
+that city. By his hand, also, was the panel of S. Jerome in the Chapel
+of the Castelli, and likewise that of S. Vincent, wrought in like manner
+in distemper, which is in the Chapel of the Griffoni; the predella of
+this he caused to be painted by a pupil of his, who acquitted himself
+much better than the master did in the panel, as will be told in the
+proper place. In the same city, and in the same church, Lorenzo painted
+a panel for the Chapel of the Rossi, with Our Lady, S. James, S. George,
+S. Sebastian, and S. Jerome; which work is better and sweeter in manner
+than any other that he ever made.
+
+Afterwards, having entered the service of Signor Francesco Gonzaga,
+Marquis of Mantua, Lorenzo painted many scenes for him, partly in
+gouache and partly in oil, in an apartment in the Palace of S.
+Sebastiano. In one is the Marchioness Isabella, portrayed from life,
+accompanied by many ladies who are singing various parts and making a
+sweet harmony. In another is the Goddess Latona, who is transforming
+certain peasants into frogs, according to the fable. In the third is the
+Marquis Francesco, led by Hercules along the path of virtue upon the
+summit of a mountain consecrated to Eternity. In another picture the
+same Marquis is seen triumphant on a pedestal, with a staff in his hand;
+and round him are many nobles and retainers with standards in their
+hands, all rejoicing and full of jubilation at his greatness, among whom
+there is an infinite number of portraits from the life. And in the great
+hall, where the triumphal processions by the hand of Mantegna now are,
+he painted two pictures, one at each end. In the first, which is in
+gouache, are many naked figures lighting fires and making sacrifices to
+Hercules; and in this is a portrait from life of the Marquis, with
+his three sons, Federigo, Ercole, and Ferrante, who afterwards became
+very great and very illustrious lords; and there are likewise some
+portraits of great ladies. In the other, which was painted in oil many
+years after the first, and which was one of the last works that Lorenzo
+executed, is the Marquis Federigo, grown to man's estate, with a staff
+in his hand, as General of Holy Church under Leo X; and round him are
+many lords portrayed by Costa from the life.
+
+[Illustration: THE CORONATION OF THE VIRGIN
+
+(_After the panel by =Lorenzo Costa=. Bologna: S. Giovanni in Monte_)
+
+_Alinari_]
+
+In Bologna, in the Palace of Messer Giovanni Bentivogli, the same man
+painted certain rooms in competition with many other masters; but of
+these, since they were thrown to the ground in the destruction of that
+palace, no further mention will be made. But I will not forbear to say
+that, of the works that he executed for the Bentivogli, only one
+remained standing--namely, the chapel that he painted for Messer
+Giovanni in S. Jacopo, wherein he wrought two scenes of triumphal
+processions, which are held very beautiful, with many portraits. In the
+year 1497, also, for Jacopo Chedini, he painted a panel for a chapel in
+S. Giovanni in Monte, in which he wished to be buried after death; in
+this he made a Madonna, S. John the Evangelist, S. Augustine, and other
+saints. On a panel in S. Francesco he painted a Nativity, S. James, and
+S. Anthony of Padua. In S. Pietro he made a most beautiful beginning in
+a chapel for Domenico Garganelli, a gentleman of Bologna; but, whatever
+may have been the reason, after making some figures on the ceiling, he
+left it unfinished, nay, scarcely begun.
+
+In Mantua, besides the works that he executed there for the Marquis, of
+which we have spoken above, he painted a Madonna on a panel for S.
+Silvestro; and on one side, S. Sylvester recommending the people of that
+city to her, and, on the other, S. Sebastian, S. Paul, S. Elizabeth, and
+S. Jerome. It is reported that the said panel was placed in that church
+after the death of Costa, who, having finished his life in Mantua, in
+which city his descendants have lived ever since, wished to have a
+burial-place in that church both for himself and for his successors.
+
+The same man made many other pictures, of which nothing more will be
+said, for it is enough to have recorded the best. His portrait I
+received in Mantua from Fermo Ghisoni, an excellent painter, who assured
+me that it was by the hand of Costa, who was a passing good draughtsman,
+as may be seen from a pen-drawing on parchment in our book, wherein is
+the Judgment of Solomon, with a S. Jerome in chiaroscuro, which are both
+very well wrought.
+
+Disciples of Lorenzo were Ercole da Ferrara, his compatriot, whose Life
+will be written below, and Lodovico Malino, likewise of Ferrara, by whom
+there are many works in his native city and in other places; but the
+best that he made was a panel which is in the Church of S. Francesco in
+Bologna, in a chapel near the principal door, representing Jesus Christ
+at the age of twelve disputing with the Doctors in the Temple. The elder
+Dosso of Ferrara, of whose works mention will be made in the proper
+place, also learnt his first principles from Costa. And this is as much
+as I have been able to gather about the life and works of Lorenzo Costa
+of Ferrara.
+
+
+
+
+ERCOLE FERRARESE
+
+
+
+
+LIFE OF ERCOLE FERRARESE
+
+[_ERCOLE DA FERRARA_]
+
+PAINTER
+
+
+Although, long before Lorenzo Costa died, his disciple Ercole Ferrarese
+was in very good repute and was invited to work in many places, he would
+never abandon his master (a thing which is rarely wont to happen), and
+was content to work with him for meagre gains and praise, rather than
+labour by himself for greater profit and credit. For this gratitude, in
+view of its rarity among the men of to-day, all the more praise is due
+to Ercole, who, knowing himself to be indebted to Lorenzo, put aside all
+thought of his own interest in favour of his master's wishes, and was
+like a brother or a son to him up to the end of his life.
+
+Ercole, then, who was a better draughtsman than Costa, painted, below
+the panel executed by Lorenzo in the Chapel of S. Vincenzio in S.
+Petronio, certain scenes in distemper with little figures, so well and
+with so beautiful and good a manner, that it is scarcely possible to see
+anything better, or to imagine the labour and diligence that Ercole put
+into the work: and thus the predella is a much better painting than the
+panel. Both were wrought at one and the same time during the life of
+Costa. After his master's death, Ercole was employed by Domenico
+Garganelli to finish that chapel in S. Petronio which Lorenzo, as has
+been said above, had begun, completing only a small part. Ercole, to
+whom the said Domenico was giving four ducats a month for this, with his
+own expenses and those of a boy, and all the colours that were to be
+used for the painting, set himself to work and finished the whole in
+such a manner, that he surpassed his master by a long way both in
+drawing and colouring as well as in invention. In the first part, or
+rather, wall, is the Crucifixion of Christ, wrought with much judgment:
+for besides the Christ, who is seen there already dead, he represented
+very well the tumult of the Jews who have come to see the Messiah on the
+Cross, among whom there is a marvellous variety of heads, whereby it is
+seen that Ercole sought with very great pains to make them so different
+one from another that they should not resemble each other in any
+respect. There are also some figures bursting into tears of sorrow,
+which demonstrate clearly enough how much he sought to imitate reality.
+There is the swooning of the Madonna, which is most moving; but much
+more so are the Maries, who are facing her, for they are seen full of
+compassion and with an aspect so heavy with sorrow, that it is almost
+impossible to imagine it, at seeing that which mankind holds most dear
+dead before their eyes, and themselves in danger of losing the second.
+Among other notable things in this work is Longinus on horseback, riding
+a lean beast, which is foreshortened and in very strong relief; and in
+him we see the impiety that made him pierce the side of Christ, and the
+penitence and conversion that followed from his enlightenment. He gave
+strange attitudes, likewise, to the figures of certain soldiers who are
+playing for the raiment of Christ, with bizarre expressions of
+countenance and fanciful garments. Well wrought, too, with beautiful
+invention, are the Thieves on the Cross. And since Ercole took much
+delight in making foreshortenings, which, if well conceived, are very
+beautiful, he made in that work a soldier on a horse, which, rearing its
+fore-legs on high, stands out in such a manner that it appears to be in
+relief; and as the wind is bending a banner that the soldier holds in
+his hand, he is making a most beautiful effort to hold it up. He also
+made a S. John, flying away wrapped in a sheet. In like manner, the
+soldiers that are in this work are very well wrought, with more natural
+and appropriate movements than had been seen in any other figures up to
+that time; and all these attitudes and gestures, which could scarcely be
+better done, show that Ercole had a very great intelligence and took
+great pains with his art.
+
+On the wall opposite to this one the same man painted the Passing of Our
+Lady, who is surrounded by the Apostles in very beautiful attitudes,
+among whom are six figures portrayed so well from life, that those
+who knew them declare that these are most vivid likenesses. In the
+same work he also made his own portrait, and that of Domenico
+Garganelli, the owner of the chapel, who, when it was finished, moved by
+the love that he bore to Ercole and by the praises that he heard given
+to the work, bestowed upon him a thousand lire in Bolognese currency. It
+is said that Ercole spent twelve years in labouring at this work; seven
+in executing it in fresco, and five in retouching it on the dry. It is
+true, indeed, that during this time he painted some other works; and in
+particular, so far as is known, the predella of the high-altar of S.
+Giovanni in Monte, in which he wrought three scenes of the Passion of
+Christ.
+
+[Illustration: THE ISRAELITES GATHERING MANNA
+
+(_After the panel by =Ercole Ferrarese=. London: National Gallery,
+1217_)
+
+_Mansell_]
+
+Ercole was eccentric in character, particularly in his custom of
+refusing to let any man, whether painter or not, see him at work;
+wherefore he was greatly hated in Bologna by the painters of that city,
+who have ever borne an envious hatred to the strangers who have been
+summoned to work there; nay, they sometimes show the same among
+themselves out of rivalry with each other, although this may be said to
+be the particular vice of the professors of these our arts in every
+place. Certain Bolognese painters, then, having come to an agreement one
+day with a carpenter, shut themselves up by his help in the church,
+close to the chapel where Ercole was working; and when night came,
+breaking into it by force, they did not content themselves with seeing
+the work, which should have sufficed them, but carried off all his
+cartoons, sketches, and designs, and every other thing of value that was
+there. At this Ercole fell into such disdain that when the work was
+finished he departed from Bologna, without stopping another day there,
+taking with him Duca Tagliapietra, a sculptor of much renown, who carved
+the very beautiful foliage in marble which is in the parapet in front of
+the chapel wherein Ercole painted the said work, and who afterwards made
+all the stone windows of the Ducal Palace at Ferrara, which are most
+beautiful. Ercole, therefore, weary at length of living away from home,
+remained ever after in company with this man in Ferrara, and made many
+works in that city.
+
+Ercole had an extraordinary love of wine, and his frequent drunkenness
+did much to shorten his life, which he had enjoyed without any accident
+up to the age of forty, when he was smitten one day by apoplexy, which
+made an end of him in a short time.
+
+He left a pupil, the painter Guido Bolognese, who, in 1491, as may be
+seen from the place where he put his name, under the portico of S.
+Pietro at Bologna, painted a Crucifixion in fresco, with the Maries, the
+Thieves, horses, and other passing good figures. And desiring very
+greatly to become esteemed in that city, as his master had been, he
+studied so zealously and subjected himself to so many hardships that he
+died at the age of thirty-five. If Guido had set himself to learn his
+art in his childhood, and not, as he did, at the age of eighteen, he
+would not only have equalled his master without difficulty, but would
+even have surpassed him by a great measure. In our book there are
+drawings by the hands of Ercole and Guido, very well wrought, and
+executed with grace and in a good manner.
+
+
+
+
+JACOPO, GIOVANNI, AND GENTILE BELLINI
+
+
+
+
+LIVES OF JACOPO, GIOVANNI, AND GENTILE BELLINI
+
+PAINTERS OF VENICE
+
+
+Enterprises that are founded on excellence, although their beginnings
+often appear humble and mean, keep climbing higher step by step, nor do
+they ever halt or take rest until they have reached the supreme heights
+of glory: as could be clearly seen from the poor and humble beginning of
+the house of the Bellini, and from the rank to which it afterwards rose
+by means of painting.
+
+Jacopo Bellini, a painter of Venice, having been a disciple of Gentile
+da Fabriano, worked in competition with that Domenico who taught the
+method of colouring in oil to Andrea dal Castagno; but, although he
+laboured greatly to become excellent in that art, he did not acquire
+fame therein until after the departure of Domenico from Venice. Then,
+finding himself in that city without any competitor to equal him, he
+kept growing in credit and fame, and became so excellent that he was the
+greatest and most renowned man in his profession. And to the end that
+the name which he had acquired in painting might not only be maintained
+in his house and for his descendants, but might grow greater, there were
+born to him two sons of good and beautiful intelligence, strongly
+inclined to the art: one was Giovanni, and the other Gentile, to whom he
+gave that name in tender memory of Gentile da Fabriano, who had been his
+master and like a loving father to him. Now, when the said two sons had
+grown to a certain age, Jacopo himself with all diligence taught them
+the rudiments of drawing; but no long time passed before both one and
+the other surpassed his father by a great measure, whereat he rejoiced
+greatly, ever encouraging them and showing them that he desired them to
+do as the Tuscans did, who gloried among themselves in making efforts
+to outstrip each other, according as one after another took up the art:
+even so should Giovanni vanquish himself, and Gentile should vanquish
+them both, and so on in succession.
+
+The first works that brought fame to Jacopo were the portraits of
+Giorgio Cornaro and of Caterina, Queen of Cyprus; a panel which he sent
+to Verona, containing the Passion of Christ, with many figures, among
+which he portrayed himself from the life; and a picture of the Story of
+the Cross, which is said to be in the Scuola of S. Giovanni Evangelista.
+All these works and many others were painted by Jacopo with the aid of
+his sons; and the last-named picture was painted on canvas, as it has
+been almost always the custom to do in that city, where they rarely
+paint, as is done elsewhere, on panels of the wood of that tree that is
+called by many oppio[18] and by some gattice.[19] This wood, which grows
+mostly beside rivers or other waters, is very soft, and admirable for
+painting on, for it holds very firmly when joined together with
+carpenters' glue. But in Venice they make no panels, and, if they do
+make a few, they use no other wood than that of the fir, of which that
+city has a great abundance by reason of the River Adige, which brings a
+very great quantity of it from Germany, not to mention that no small
+amount comes from Sclavonia. It is much the custom in Venice, then, to
+paint on canvas, either because it does not split and does not grow
+worm-eaten, or because it enables pictures to be made of any size that
+is desired, or because, as was said elsewhere, they can be sent easily
+and conveniently wherever they are wanted, with very little expense and
+labour. Be the reason what it may, Jacopo and Gentile, as was said
+above, made their first works on canvas.
+
+[Illustration: JACOPO BELLINI: THE MADONNA AND CHILD
+
+(_Florence: Uffizi, 1562. Panel_)]
+
+To the last-named Story of the Cross Gentile afterwards added by himself
+seven other pictures, or rather, eight, in which he painted the miracle
+of the Cross of Christ, which the said Scuola preserves as a relic;
+which miracle was as follows. The said Cross was thrown, I know not by
+what chance, from the Ponte della Paglía into the Canal, and, by reason
+of the reverence that many bore to the piece of the Cross of Christ that
+it contained, they threw themselves into the water to recover it; but it
+was the will of God that no one should be worthy to succeed in grasping
+it save the Prior of that Scuola. Gentile, therefore, representing
+this story, drew in perspective, along the Grand Canal, many houses, the
+Ponte della Paglía, the Piazza di S. Marco, and a long procession of men
+and women walking behind the clergy; also many who have leapt into the
+water, others in the act of leaping, many half immersed, and others in
+other very beautiful actions and attitudes; and finally he painted the
+said Prior recovering the Cross. Truly great were the labour and
+diligence of Gentile in this work, considering the infinite number of
+people, the many portraits from life, the diminution of the figures in
+the distance, and particularly the portraits of almost all the men who
+then belonged to that Scuola, or rather, Confraternity. Last comes the
+picture of the replacing of the said Cross, wrought with many beautiful
+conceptions. All these scenes, painted on the aforesaid canvases,
+acquired a very great name for Gentile.
+
+[Illustration: GIOVANNI BELLINI: THE DOGE LEONARDO LOREDANO
+
+(_London: National Gallery, 189. Panel_)]
+
+Afterwards, Jacopo withdrew to work entirely by himself, as did his two
+sons, each of them devoting himself to his own studies in the art. Of
+Jacopo I will make no further mention, seeing that his works were
+nothing out of the ordinary in comparison with those of his sons, and
+because he died not long after his sons withdrew themselves from him;
+and I judge it much better to speak at some length only of Giovanni and
+Gentile. I will not, indeed, forbear to say that although these brothers
+retired to live each by himself, nevertheless they had so much respect
+for each other, and both had such reverence for their father, that each,
+extolling the other, ever held himself inferior in merit; and thus they
+sought modestly to surpass one another no less in goodness and courtesy
+than in the excellence of their art.
+
+The first works of Giovanni were some portraits from the life, which
+gave much satisfaction, and particularly that of Doge Loredano--although
+some say that this was a portrait of Giovanni Mozzenigo, brother of that
+Piero who was Doge many years before Loredano. Giovanni then painted a
+panel for the altar of S. Caterina da Siena in the Church of S.
+Giovanni, in which picture--a rather large one--he painted Our Lady
+seated, with the Child in her arms, and S. Dominic, S. Jerome, S.
+Catherine, S. Ursula, and two other Virgins; and at the feet of the
+Madonna he made three boys standing, who are singing from a book--a very
+beautiful group. Above this he made the inner part of a vault in a
+building, which is very beautiful. This work was one of the best that
+had been made in Venice up to that time. For the altar of S. Giobbe in
+the Church of that Saint, the same man painted a panel with good design
+and most beautiful colouring, in the middle of which he made the Madonna
+with the Child in her arms, seated on a throne slightly raised from the
+ground, with nude figures of S. Job and S. Sebastian, beside whom are S.
+Dominic, S. Francis, S. John, and S. Augustine; and below are three
+boys, sounding instruments with much grace. This picture was not only
+praised then, when it was seen as new, but it has likewise been extolled
+ever afterwards as a very beautiful work.
+
+Certain noblemen, moved by the great praises won by these works, began
+to suggest that it would be a fine thing, in view of the presence of
+such rare masters, to have the Hall of the Great Council adorned with
+stories, in which there should be depicted the glories and the
+magnificence of their marvellous city--her great deeds, her exploits in
+war, her enterprises, and other things of that kind, worthy to be
+perpetuated by painting in the memory of those who should come after--to
+the end that there might be added, to the profit and pleasure drawn from
+the reading of history, entertainment both for the eye and for the
+intellect, from seeing the images of so many illustrious lords wrought
+by the most skilful hands, and the glorious works of so many noblemen
+right worthy of eternal memory and fame. And so Giovanni and Gentile,
+who kept on making progress from day to day, received the commission for
+this work by order of those who governed the city, who commanded them to
+make a beginning as soon as possible. But it must be remarked that
+Antonio Viniziano had made a beginning long before with the painting of
+the same Hall, as was said in his Life, and had already finished a large
+scene, when he was forced by the envy of certain malignant spirits to
+depart and to leave that most honourable enterprise without carrying it
+on further.
+
+[Illustration: THE MIRACLE OF THE TRUE CROSS
+
+(_After the panel by =Gentile Bellini=. Venice: Accademia, 568_)
+
+_Anderson_]
+
+Now Gentile, either because he had more experience and greater skill in
+painting on canvas than in fresco, or for some other reason, whatever it
+may have been, contrived without difficulty to obtain leave to
+execute that work not in fresco but on canvas. And thus, setting to
+work, in the first scene he made the Pope presenting a wax candle to the
+Doge, that he might bear it in the solemn processions which were to take
+place; in which picture Gentile painted the whole exterior of S. Marco,
+and made the said Pope standing in his pontifical robes, with many
+prelates behind him, and the Doge likewise standing, accompanied by many
+Senators. In another part he represented the Emperor Barbarossa; first,
+when he is receiving the Venetian envoys in friendly fashion, and then,
+when he is preparing for war, in great disdain; in which scene are very
+beautiful perspectives, with innumerable portraits from the life,
+executed with very good grace and amid a vast number of figures. In the
+following scene he painted the Pope exhorting the Doge and the Signori
+of Venice to equip thirty galleys at their common expense, to go out to
+battle against Frederick Barbarossa. This Pope is seated in his rochet
+on the pontifical chair, with the Doge beside him and many Senators at
+his feet. In this part, also, Gentile painted the Piazza and the façade
+of S. Marco, and the sea, but in another manner, with so great a
+multitude of men that it is truly a marvel. Then in another part the
+same Pope, standing in his pontifical robes, is giving his benediction
+to the Doge, who appears to be setting out for the fray, armed, and with
+many soldiers at his back; behind the Doge are seen innumerable noblemen
+in a long procession, and in the same part are the Palace and S. Marco,
+drawn in perspective. This is one of the best works that there are to be
+seen by the hand of Gentile, although there appears to be more invention
+in that other which represents a naval battle, because it contains an
+infinite number of galleys fighting together and an incredible multitude
+of men, and because, in short, he showed clearly therein that he had no
+less knowledge of naval warfare than of his own art of painting. And
+indeed, all that Gentile executed in this work--the crowd of galleys
+engaged in battle; the soldiers fighting; the boats duly diminishing in
+perspective; the finely ordered combat; the soldiers furiously striving,
+defending, and striking; the wounded dying in various manners; the
+cleaving of the water by the galleys; the confusion of the waves; and
+all the kinds of naval armament--all this vast diversity of subjects,
+I say, cannot but serve to prove the great spirit, art, invention, and
+judgment of Gentile, each detail being most excellently wrought in
+itself, as well as the composition of the whole. In another scene he
+made the Doge returning with the victory so much desired, and the Pope
+receiving him with open arms, and giving him a ring of gold wherewith to
+espouse the sea, as his successors have done and still do every year, as
+a sign of the true and perpetual dominion that they deservedly hold over
+it. In this part there is Otto, son of Frederick Barbarossa, portrayed
+from the life, and kneeling before the Pope; and as behind the Doge
+there are many armed soldiers, so behind the Pope there are many
+Cardinals and noblemen. In this scene only the poops of the galleys
+appear; and on the Admiral's galley is seated a Victory painted to look
+like gold, with a crown on her head and a sceptre in her hand.
+
+The scenes that were to occupy the other parts of the Hall were
+entrusted to Giovanni, the brother of Gentile; but since the order of
+the stories that he painted there is connected with those executed in
+great part, but not finished, by Vivarino, it is necessary to say
+something of the latter. That part of the Hall which was not done by
+Gentile was given partly to Giovanni and partly to the said Vivarino, to
+the end that rivalry might induce each man to do his best. Vivarino,
+then, putting his hand to the part that belonged to him, painted, beside
+the last scene of Gentile, the aforesaid Otto offering to the Pope and
+to the Venetians to go to conclude peace between them and his father
+Frederick; and, having obtained this, he is dismissed on oath and goes
+his way. In this first part, besides other things, which are all worthy
+of consideration, Vivarino painted an open temple in beautiful
+perspective, with steps and many figures. Before the Pope, who is seated
+and surrounded by many Senators, is the said Otto on his knees, binding
+himself by an oath. Beside this scene, he painted the arrival of Otto
+before his father, who is receiving him gladly; with buildings wrought
+most beautifully in perspective, Barbarossa on his throne, and his son
+kneeling and taking his hand, accompanied by many Venetian noblemen, who
+are portrayed from the life so finely that it is clear that he imitated
+nature very well. Poor Vivarino would have completed the remainder
+of his part with great honour to himself, but, having died, as it
+pleased God, from exhaustion and through being of a weakly habit of
+body, he carried it no further--nay, even what he had done was not
+wholly finished, and it was necessary for Giovanni Bellini to retouch it
+in certain places.
+
+[Illustration: GIOVANNI BELLINI: LA FORTUNA
+
+(_Venice: Accademia, 595. Panel_)]
+
+[Illustration: GIOVANNI BELLINI: THE DEAD CHRIST
+
+(_Milan: Poldi Pezzoli, 624. Panel_)]
+
+Meanwhile, Giovanni had also made a beginning with four scenes, which
+follow in due order those mentioned above. In the first he painted the
+said Pope in S. Marco--which church he portrayed exactly as it
+stood--presenting his foot to Frederick Barbarossa to kiss; but this
+first picture of Giovanni's, whatever may have been the reason, was
+rendered much more lifelike and incomparably better by the most
+excellent Tiziano. However, continuing his scenes, Giovanni made in the
+next the Pope saying Mass in S. Marco, and afterwards, between the said
+Emperor and the Doge, granting plenary and perpetual indulgence to all
+who should visit the said Church of S. Marco at certain times,
+particularly at that of the Ascension of Our Lord. There he depicted the
+interior of that church, with the said Pope in his pontifical robes at
+the head of the steps that issue from the choir, surrounded by many
+Cardinals and noblemen--a vast group, which makes this a crowded, rich,
+and beautiful scene. In the one below this the Pope is seen in his
+rochet, presenting a canopy to the Doge, after having given another to
+the Emperor and keeping two for himself. In the last that Giovanni
+painted are seen Pope Alexander, the Emperor, and the Doge arriving in
+Rome, without the gates of which the Pope is presented by the clergy and
+by the people of Rome with eight standards of various colours and eight
+silver trumpets, which he gives to the Doge, that he and his successors
+may have them for insignia. Here Giovanni painted Rome in somewhat
+distant perspective, a great number of horses, and an infinity of
+foot-soldiers, with many banners and other signs of rejoicing on the
+Castle of S. Angelo. And since these works of Giovanni, which are truly
+very beautiful, gave infinite satisfaction, arrangements were just being
+made to give him the commission to paint all the rest of that Hall,
+when, being now old, he died.
+
+Up to the present we have spoken of nothing save the Hall, in order not
+to interrupt the sequence of the scenes; but now we must turn back a
+little and say that there are many other works to be seen by the hand of
+the same man. One is a panel which is now on the high-altar of S.
+Domenico in Pesaro. In the Church of S. Zaccheria in Venice, in the
+Chapel of S. Girolamo, there is a panel of Our Lady and many saints,
+executed with great diligence, with a building painted with much
+judgment; and in the same city, in the Sacristy of the Friars Minor,
+called the "Cà Grande," there is another by the same man's hand, wrought
+with beautiful design and a good manner. There is likewise one in S.
+Michele di Murano, a monastery of Monks of Camaldoli; and in the old
+Church of S. Francesco della Vigna, a seat of the Frati del Zoccolo,
+there was a picture of a Dead Christ, so beautiful that it was highly
+extolled before Louis XI, King of France, whereupon he demanded it from
+its owners with great insistence, so that they were forced, although
+very unwillingly, to gratify his wish. In its place there was put
+another with the name of the same Giovanni, but not so beautiful or so
+well executed as the first; and some believe that this substitute was
+wrought for the most part by Girolamo Moretto, a pupil of Giovanni. The
+Confraternity of S. Girolamo also possesses a work with little figures
+by the same Bellini, which is much extolled. And in the house of Messer
+Giorgio Cornaro there is a picture, likewise very beautiful, containing
+Christ, Cleophas, and Luke.
+
+In the aforesaid Hall he also painted, though not at the same time, a
+scene of the Venetians summoning forth from the Monastery of the Carità
+a Pope--I know not which--who, having fled to Venice, had secretly
+served for a long time as cook to the monks of that monastery; in which
+scene there are many portraits from the life, and other very beautiful
+figures.
+
+[Illustration: MADONNA AND SAINTS
+
+(_After the panel by =Giovanni Bellini=. Venice: S. Francesco della
+Vigna_)
+
+_Anderson_]
+
+No long time after, certain portraits were taken to Turkey by an
+ambassador as presents for the Grand Turk, which caused such
+astonishment and marvel to that Emperor, that, although pictures are
+forbidden among that people by the Mahometan law, nevertheless he
+accepted them with great good-will, praising the art and the craftsman
+without ceasing; and what is more, he demanded that the master of the
+work should be sent to him. Whereupon the Senate, considering that
+Giovanni had reached an age when he could ill endure hardships, not to
+mention that they did not wish to deprive their own city of so great a
+man, particularly because he was then engaged on the aforesaid Hall of
+the Great Council, determined to send his brother Gentile, believing
+that he would do as well as Giovanni. Therefore, having caused Gentile
+to make his preparations, they brought him safely in their own galleys
+to Constantinople, where, after being presented by the Commissioner of
+the Signoria to Mahomet, he was received very willingly and treated with
+much favour as something new, above all after he had given that Prince a
+most lovely picture, which he greatly admired, being wellnigh unable to
+believe that a mortal man had within himself so much divinity, so to
+speak, as to be able to represent the objects of nature so vividly.
+Gentile had been there no long time when he portrayed the Emperor
+Mahomet from the life so well, that it was held a miracle. That Emperor,
+after having seen many specimens of his art, asked Gentile whether he
+had the courage to paint his own portrait; and Gentile, having answered
+"Yes," did not allow many days to pass before he had made his own
+portrait with a mirror, with such resemblance that it appeared alive.
+This he brought to the Sultan, who marvelled so greatly thereat, that he
+could not but think that he had some divine spirit within him; and if it
+had not been that the exercise of this art, as has been said, is
+forbidden by law among the Turks, that Emperor would never have allowed
+Gentile to go. But either in fear of murmurings, or for some other
+reason, one day he summoned him to his presence, and after first causing
+him to be thanked for the courtesy that he had shown, and then praising
+him in marvellous fashion as a man of the greatest excellence, he bade
+him demand whatever favour he wished, for it would be granted to him
+without fail. Gentile, like the modest and upright man that he was,
+asked for nothing save a letter of recommendation to the most Serene
+Senate and the most Illustrious Signoria of Venice, his native city.
+This was written in the warmest possible terms, and afterwards he was
+dismissed with honourable gifts and with the dignity of Chevalier. Among
+other things given to him at parting by that Sovereign, in addition to
+many privileges, there was placed round his neck a chain wrought in the
+Turkish manner, equal in weight to 250 gold crowns, which is still in
+the hands of his heirs in Venice.
+
+Departing from Constantinople, Gentile returned after a most prosperous
+voyage to Venice, where he was received with gladness by his brother
+Giovanni and by almost the whole city, all men rejoicing at the honours
+paid to his talent by Mahomet. Afterwards, on going to make his
+reverence to the Doge and the Signoria, he was received very warmly, and
+commended for having given great satisfaction to that Emperor according
+to their desire. And to the end that he might see in what great account
+they held the letters in which that Prince had recommended him, they
+decreed him a provision of 200 crowns a year, which was paid to him for
+the rest of his life. Gentile made but few works after his return;
+finally, having almost reached the age of eighty, and having executed
+the aforesaid works and many others, he passed to the other life, and
+was given honourable burial by his brother Giovanni in S. Giovanni e
+Paolo, in the year 1501.
+
+Giovanni, thus bereft of Gentile, whom he had ever loved most tenderly,
+went on doing a little work, although he was old, to pass the time. And
+having devoted himself to making portraits from the life, he introduced
+into Venice the fashion that everyone of a certain rank should have his
+portrait painted either by him or by some other master; wherefore in all
+the houses of Venice there are many portraits, and in many gentlemen's
+houses one may see their fathers and grandfathers, up to the fourth
+generation, and in some of the more noble they go still farther back--a
+fashion which has ever been truly worthy of the greatest praise, and
+existed even among the ancients. Who does not feel infinite pleasure and
+contentment, to say nothing of the honour and adornment that they
+confer, at seeing the images of his ancestors, particularly if they have
+been famous and illustrious for their part in governing their republics,
+for noble deeds performed in peace or in war, or for learning or any
+other notable and distinguished talent? And to what other end, as has
+been said in another place, did the ancients set up images of their
+great men in public places, with honourable inscriptions, than to
+kindle in the minds of their successors a love of excellence and of
+glory?
+
+[Illustration: GENTILE BELLINI: S. DOMINIC
+
+(_London: National Gallery, 1440. Canvas_)]
+
+For Messer Pietro Bembo, then, before he went to live with Pope Leo X,
+Giovanni made a portrait of the lady that he loved, so lifelike that,
+even as Simone Sanese had been celebrated in the past by the Florentine
+Petrarca, so was Giovanni deservedly celebrated in his verses by this
+Venetian, as in the following sonnet:
+
+   O imagine mia celeste e pura,
+
+where, at the beginning of the second quatrain, he says,
+
+   Credo che'l mio Bellin con la figura,
+
+with what follows. And what greater reward can our craftsmen desire for
+their labours than that of being celebrated by the pens of illustrious
+poets, as that most excellent Tiziano has been by the very learned
+Messer Giovanni della Casa, in that sonnet which begins--
+
+   Ben veggio, Tiziano, in forme nuove,
+
+and in that other--
+
+   Son queste, Amor, le vaghe treccie bionde.
+
+Was not the same Bellini numbered among the best painters of his age by
+the most famous Ariosto, at the beginning of the thirty-third canto of
+the "_Orlando Furioso_"?
+
+But to return to the works of Giovanni--that is, to his principal works,
+for it would take too long to try to make mention of all the pictures
+and portraits that are in the houses of gentlemen in Venice and in other
+parts of that country. In Rimini, for Signor Sigismondo Malatesti, he
+made a large picture containing a Pietà, supported by two little boys,
+which is now in S. Francesco in that city. And among other portraits he
+made one of Bartolommeo da Liviano, Captain of the Venetians.
+
+Giovanni had many disciples, for he was ever most willing to teach
+anyone. Among them, now sixty years ago, was Jacopo da Montagna, who
+imitated his manner closely, in so far as is shown by his works, which
+are to be seen in Padua and in Venice. But the man who imitated him most
+faithfully and did him the greatest honour was Rondinello da Ravenna,
+of whom Giovanni availed himself much in all his works. This master
+painted a panel in S. Domenico at Ravenna, and another in the Duomo,
+which is held a very beautiful example of that manner. But the work that
+surpassed all his others was that which he made in the Church of S.
+Giovanni Battista, a seat of the Carmelite Friars, in the same city; in
+which picture, besides Our Lady, he made a very beautiful head in a
+figure of S. Alberto, a friar of that Order, and the whole figure is
+much extolled. A pupil of Giovanni's, also, although he gained but
+little thereby, was Benedetto Coda of Ferrara, who dwelt in Rimini,
+where he made many pictures, leaving behind him a son named Bartolommeo,
+who did the same. It is said that Giorgione Castelfranco also pursued
+his first studies of art under Giovanni, and likewise many others, both
+from the territory of Treviso and from Lombardy, of whom there is no
+need to make record.
+
+Finally, having lived ninety years, Giovanni passed from this life,
+overcome by old age, leaving an eternal memorial of his name in the
+works that he had made both in his native city of Venice and abroad; and
+he was honourably buried in the same church and in the same tomb in
+which he had laid his brother Gentile to rest. Nor were there wanting in
+Venice men who sought to honour him when dead with sonnets and epigrams,
+even as he, when alive, had honoured both himself and his country. About
+the same time that these Bellini were alive, or a little before, many
+pictures were painted in Venice by Giacomo Marzone, who, among other
+things, painted one in the Chapel of the Assumption in S. Lena--namely,
+the Virgin with a palm, S. Benedict, S. Helen, and S. John; but in the
+old manner, with the figures on tip-toe, as was the custom of those
+painters who lived in the time of Bartolommeo da Bergamo.
+
+FOOTNOTES:
+
+[18] Poplar.
+
+[19] White poplar.
+
+
+
+
+COSIMO ROSSELLI
+
+
+
+
+LIFE OF COSIMO ROSSELLI
+
+PAINTER OF FLORENCE
+
+
+Many men take an unholy delight in covering others with ridicule and
+scorn--a delight which generally turns to their own confusion, as it
+came to pass in the case of Cosimo Rosselli, who threw back on their own
+heads the ridicule of those who sought to vilify his labours. This
+Cosimo, although he was not one of the rarest or most excellent painters
+of his time, nevertheless made works that were passing good. In his
+youth he painted a panel in the Church of S. Ambrogio in Florence, which
+is on the right hand as one enters the church; and three figures over an
+arch for the Nuns of S. Jacopo delle Murate. In the Church of the Servi,
+also in Florence, he painted the panel of the Chapel of S. Barbara; and
+in the first court, before one enters into the church, he wrought in
+fresco the story of the Blessed Filippo taking the Habit of Our Lady.
+For the Monks of Cestello he painted the panel of their high-altar, with
+another in a chapel in the same church; and likewise that one which is
+in a little church above the Bernardino, beside the entrance to
+Cestello. He painted a standard for the children of the Company of the
+said Bernardino, and likewise that of the Company of S. Giorgio, on
+which there is an Annunciation. For the aforesaid Nuns of S. Ambrogio he
+painted the Chapel of the Miracle of the Sacrament, which is a passing
+good work, and is held the best of his in Florence; in this he
+counterfeited a procession on the piazza of that church, with the Bishop
+bearing the Tabernacle of the said Miracle, accompanied by the clergy
+and by an infinity of citizens and women in costumes of those times.
+Here, among many others, is a portrait from life of Pico della
+Mirandola, so excellently wrought that it appears not a portrait but a
+living man. In the Church of S. Martino in Lucca, by the entrance into
+the church through the lesser door of the principal façade, on the right
+hand, he painted a scene of Nicodemus making the statue of the Holy
+Cross, and then that statue being brought by sea in a boat and by land
+to Lucca. In this work are many portraits, and in particular that of
+Paolo Guinigi, which he copied from one done in clay by Jacopo della
+Fonte when the latter made the tomb of Paolo's wife. In S. Marco at
+Florence, in the Chapel of the Cloth Weavers, he painted a panel with
+the Holy Cross in the middle, and, at the sides, S. Mark, S. John the
+Evangelist, S. Antonino, Archbishop of Florence, and other figures.
+
+Being afterwards summoned, with the other painters, to execute the work
+that Pope Sixtus IV had undertaken in the Chapel of the Palace, he
+laboured there in company with Sandro Botticelli, Domenico Ghirlandajo,
+the Abbot of S. Clemente, Luca da Cortona, and Pietro Perugino, and
+painted three scenes with his own hand, wherein he depicted the
+Submersion of Pharaoh in the Red Sea, the Preaching of Christ to the
+people on the shore of the Sea of Tiberias, and the Last Supper of the
+Apostles with the Saviour. In this last scene he made an octagonal table
+drawn in perspective, with the ceiling above it likewise octagonal, the
+eight angles of which he foreshortened so well as to show that he had as
+good a knowledge of this art as any of the others. It is said that the
+Pope had offered a prize, which was to be given to the man who, in the
+judgment of the Pontiff himself, should turn out to have done the best
+work in these pictures. The scenes finished, therefore, His Holiness
+went to see them; and each of the painters had done his utmost to merit
+the said prize and honour. Cosimo, feeling himself weak in invention and
+draughtsmanship, had sought to conceal his shortcomings by covering his
+work with the finest ultramarine blues and other lively colours, and had
+illuminated his scenes with a plentiful amount of gold, so that there
+was no tree, or plant, or drapery, or cloud, that was not thus
+illuminated; for he was convinced that the Pope, like a man who knew
+little of that art, must therefore give him the prize of victory. When
+the day arrived on which the works of all were to be unveiled, that of
+Cosimo was seen with the rest, and was scorned and ridiculed with much
+laughter and jeering by all the other craftsmen, who all mocked him
+instead of having compassion on him. But the scorners turned out to be
+the scorned, for, as Cosimo had foreseen, those colours at the first
+glance so dazzled the eyes of the Pope, who had little knowledge of such
+things, although he took no little delight in them, that he judged the
+work of Cosimo to be much better than that of the others. And so,
+causing the prize to be given to him, he bade all the others cover their
+pictures with the best blues that could be found, and to pick them out
+with gold, to the end that they might be similar to those of Cosimo in
+colouring and in richness. Whereupon the poor painters, in despair at
+having to satisfy the small intelligence of the Holy Father, set
+themselves to spoil all the good work that they had done; and Cosimo
+laughed at the men who had just been laughing at his methods.
+
+Afterwards, returning to Florence with some money, he set himself to
+work as usual, living much at his ease, and having as his companion that
+Piero, his disciple, who was ever called Piero di Cosimo, and who
+assisted him in his labours in the Sistine Chapel at Rome, and painted
+there, besides other things, a landscape in the picture of the Preaching
+of Christ, which landscape is held to be the best thing there. Andrea di
+Cosimo also worked with him, occupying himself much with grotesques.
+Finally, having reached the age of sixty-eight, Cosimo died in the year
+1484, wasted away by a long infirmity; and he was buried in S. Croce by
+the Company of Bernardino.
+
+Cosimo took so much delight in alchemy that he wasted therein all that
+he possessed, as all do who meddle with it, insomuch that it swallowed
+up all his means and finally reduced him from easy circumstances to the
+greatest poverty. He was a very good draughtsman, as may be seen in our
+book, not only from the drawing of the aforesaid story of the Preaching
+which he painted in the Sistine Chapel, but also from many others made
+with the style and in chiaroscuro. And in the said book we have his
+portrait by the hand of Agnolo di Donnino, a painter who was much his
+friend. This Agnolo showed great diligence in his works, as may be seen,
+not to mention his drawings, in the loggia of the Hospital of Bonifazio,
+where, upon the corbel of a vault, there is a Trinity in fresco by his
+hand; and beside the door of the said hospital, where the foundlings now
+live, there are certain beggars painted by the same man, with the
+Director receiving them, all very well wrought, and likewise certain
+women. This man spent his life labouring and wasting all his time over
+drawings, without putting them into execution; and at length he died as
+poor as he could well be. But to return to Cosimo; he left only one son,
+who was a builder and a passing good architect.
+
+[Illustration: CHRIST HEALING THE LEPER
+
+(_Detail from the fresco by =Cosimo Rosselli=. Rome: Sistine Chapel_)
+
+_Anderson_]
+
+
+
+
+CECCA
+
+
+
+
+CECCA
+
+ENGINEER OF FLORENCE
+
+
+If necessity had not forced men to exercise their ingenuity for their
+own advantage and convenience, architecture would not have become so
+excellent and so marvellous in the minds and in the works of those who
+have practised it in order to acquire profit and fame, gaining that
+great honour which is paid to them every day by all who have knowledge
+of the good. It was necessity that first gave rise to buildings;
+necessity that created ornaments for them; necessity that led to the
+various Orders, the statues, the gardens, the baths, and all those other
+sumptuous adjuncts which all desire but few possess; and it was
+necessity that excited rivalry and competition in the minds of men with
+regard not only to buildings, but also to their accessories. For this
+reason craftsmen have been forced to display industry in inventing
+appliances for traction, and in making engines of war, waterworks, and
+all those devices and contrivances which, under the name of mechanical
+and architectural inventions, confer beauty and convenience on the
+world, discomfiting their enemies and assisting their friends. And
+whenever a man has been able to make such things better than his
+fellows, he has not only raised himself beyond all the anxieties of
+want, but has also been consummately extolled and prized by all other
+men.
+
+This was the case in the time of our fathers with the Florentine Cecca,
+into whose hands there came many highly honourable works in his day; and
+in these he acquitted himself so well, toiling in the service of his
+country with economy and with great satisfaction to his fellow-citizens,
+that his ingenious and industrious labours have made him famous and
+illustrious among the number of distinguished and renowned craftsmen.
+It is said that in his youth Cecca was a very good carpenter, and that
+he had concentrated all his powers on seeking to solve the difficulties
+connected with engines, and how to make machines for assaulting walls in
+war--scaling-ladders for climbing into cities, battering-rams for
+breaching fortifications, defences for protecting soldiers in the
+attack, and everything that could injure his enemies and assist his
+friends--wherefore, being a person of the greatest utility to his
+country, he well deserved the permanent provision that the Signoria of
+Florence gave him. For this reason, when there was no war going on, he
+would go through the whole territory inspecting the fortresses and the
+walls of cities and townships, and, if any were weak, he would provide
+them with designs for ramparts and everything else that was wanting.
+
+It is said that the Clouds which were borne in procession throughout
+Florence on the festival of S. John--things truly most ingenious and
+beautiful--were invented by Cecca, who was much employed in such matters
+at that time, when the city was greatly given to holding festivals. In
+truth, although such festivals and representations have now fallen
+almost entirely out of use, they were very beautiful spectacles, and
+they were celebrated not only by the Companies, or rather,
+Confraternities, but also in the private houses of gentlemen, who were
+wont to form certain associations and societies, and to meet together at
+certain times to make merry; and among them there were ever many courtly
+craftsmen, who, besides being fanciful and amusing, served to make the
+preparations for such festivals. Among others, four most solemn public
+spectacles took place almost every year, one for each quarter of the
+city, with the exception of that of S. Giovanni, for the festival of
+which a most solemn procession was held, as will be told. The quarter of
+S. Maria Novella kept the feast of S. Ignazio; S. Croce, that of S.
+Bartholomew, called S. Baccio; S. Spirito, that of the Holy Spirit; and
+the Carmine, those of the Ascension of Our Lord and of the Assumption of
+Our Lady. This festival of the Ascension--for of the others of
+importance an account has been or will be given--was very beautiful,
+seeing that Christ was uplifted on a cloud covered with angels from a
+Mount very well made of wood, and was borne upwards to a Heaven, leaving
+the Apostles on the Mount; and the whole was so well contrived that it
+was a marvel, above all because the said Heaven was somewhat larger than
+that of S. Felice in Piazza, although the machinery was almost the same.
+And since the said Church of the Carmine, where this representation used
+to take place, is no little broader and higher than that of S. Felice,
+in addition to the part that supported Christ another Heaven was
+sometimes erected, according as it was thought advisable, over the chief
+tribune, wherein were certain great wheels made in the shape of reels,
+which, from the centres to the edges, moved in most beautiful order ten
+circles standing for the ten Heavens, which were all full of little
+lights representing the stars, contained in little copper lamps hanging
+on pivots, so that when the wheels revolved they remained upright, in
+the manner of certain lanterns that are now universally used by all.
+From this Heaven, which was truly a very beautiful thing, there issued
+two stout ropes fastened to the staging or tramezzo[20] which is in the
+said church, and over which the representation took place. To these
+ropes were attached, by each end of a so-called brace-fastening, two
+little bronze pulleys which supported an iron upright fixed into a level
+platform, on which stood two angels fastened by their girdles. These
+angels were kept upright by a counterpoise of lead which they had under
+their feet, and by another that was under the platform on which they
+stood; and this also served to make them balanced one with another. The
+whole was covered with a quantity of cotton-wool, very well arranged in
+the form of a cloud, which was full of cherubim and seraphim, and
+similar kinds of angels, varied in colour and very well contrived. These
+angels, when a little rope was unwound from the Heaven above, came down
+the two larger ropes on to the said tramezzo, where the representation
+took place, and announced to Christ that He was to ascend into Heaven,
+and performed their other functions. And since the iron to which they
+were bound by the girdle was fixed to the platform on which they stood,
+in such a way that they could turn round and round, they could make
+obeisance and turn about both when they had come forth and when they
+were returning, according as was necessary; wherefore in reascending
+they turned towards the Heaven, and were then drawn up again as they had
+come down.
+
+These machines and inventions are said to have been Cecca's, for,
+although Filippo Brunelleschi had made similar things long before, many
+additions were made to them with great judgment by Cecca; and it was
+from these that the thought came to the same man to make those Clouds
+which were borne in procession through the city every year on S. John's
+Eve, and the other beautiful things that were made. And this was his
+charge, because, as it has been said, he was a servant of the public.
+
+Now with this occasion it will not be out of place to describe some of
+the features of the said festival and procession, to the end that some
+memory of them may descend to posterity, seeing that they have now for
+the most part fallen into disuse. First, then, the Piazza di S. Giovanni
+was all covered over with blue cloth, on which were sewn many large
+lilies of yellow cloth; and in the middle, on certain circles also of
+cloth, and ten braccia in diameter, were the arms of the People and
+Commune of Florence, with those of the Captain of the Guelph party and
+others; and all around, from the borders of the said canopy, which
+covered the whole piazza, vast as it is, there hung great banners also
+of cloth, painted with various devices, with the arms of magisterial
+bodies and guilds, and with many lions, which form one of the emblems of
+the city. This canopy, or rather, awning, made thus, was about twenty
+braccia off the ground, and was supported by very strong ropes fastened
+to a number of irons, which are still to be seen round the Church of S.
+Giovanni, on the façade of S. Maria del Fiore, and on the houses that
+surround the said piazza on every side. Between one rope and another ran
+cords that likewise supported the awning, which was so well strengthened
+throughout, particularly at the edges, with ropes, cords, linings,
+double widths of cloth, and hems of sacking, that it is impossible to
+imagine anything better. What is more, everything was arranged so well
+and with such great diligence, that although the awning was often
+swelled out and shaken by the wind, which is always very powerful in
+that place, as everyone knows, yet it was never disturbed or damaged in
+any way whatever. This awning was made of five pieces, to the end that
+it might be easier to handle, but, when set into place, they were all
+joined and fastened and sewn together in such a manner that it appeared
+like one whole. Three pieces covered the piazza and the space that is
+between S. Giovanni and S. Maria del Fiore; and in the middle piece, in
+a straight line between the principal doors, were the aforesaid circles
+containing the arms of the Commune. And the remaining two pieces covered
+the sides--one towards the Misericordia, and the other towards the
+Canon's house and the Office of Works of S. Giovanni.
+
+The Clouds, which were made of various kinds and with diverse inventions
+by the Companies, were generally fashioned in the following manner. A
+square framework was made of planks, about two braccia in height, with
+four stout legs at the corners, contrived after the manner of the
+trestles of a table, and fastened together with cross-pieces. On this
+framework two panels were laid crosswise, each one braccio wide, with a
+hole in the middle half a braccio in diameter, in which was fixed a high
+pole, whereon there was placed a mandorla all covered with cotton-wool,
+cherubim, lights, and other ornaments, and within this, on a horizontal
+bar of iron, there sat or stood, according as might be desired, a person
+representing that Saint whom the particular Company principally honoured
+as their peculiar patron and protector--to be exact, a Christ, or a
+Madonna, or a S. John, or some other--and the draperies of this figure
+covered the iron bar in such a manner that it could not be seen. Round
+the same pole, lower down, below the mandorla, there radiated four or
+five iron bars in the manner of the branches of a tree, and at the end
+of each, attached likewise with irons, stood a little boy dressed like
+an angel. These boys could move round and round at pleasure on the iron
+brackets on which their feet rested, for the brackets hung on hinges.
+And with similar branches there were sometimes made two or three tiers
+of angels or of saints, according to the nature of the subjects to be
+represented. The whole of this structure, with the pole and the iron
+bars (which sometimes represented a lily, sometimes a tree, and often a
+cloud or some other similar thing), was covered with cotton-wool, and,
+as has been said, with cherubim, seraphim, golden stars, and other
+suchlike ornaments. Within were porters or peasants, who carried it on
+their shoulders, placing themselves round the wooden base that we have
+called the framework, in which, below the places where the weight rested
+on their shoulders, were fixed cushions of leather stuffed with down, or
+cotton-wool, or some other soft and yielding material. All the
+machinery, steps, and other things were covered, as has been said above,
+with cotton-wool, which made a beautiful effect; and all these
+contrivances were called Clouds. Behind them came troops of men on
+horseback and foot-soldiers of various sorts, according to the nature of
+the story to be represented, even as in our own day they go behind the
+cars or other things that are used in place of the said Clouds. Of the
+form of the latter I have some designs in my book of drawings, very well
+done by the hand of Cecca, which are truly ingenious and full of
+beautiful conceptions.
+
+It was from the plans of the same man that those saints were made that
+went or were carried in processions, either dead or tortured in various
+ways, for some appeared to be transfixed by a lance or a sword, others
+had a dagger in the throat, and others had other suchlike weapons in
+their bodies. With regard to this, it is very well known to-day that it
+is done with a sword, lance, or dagger broken in half, the pieces of
+which are held firmly opposite to one another on either side by iron
+rings, after taking away the proportionate amount that has to appear to
+be fixed in the person of the sufferer; wherefore I will say no more
+about them, save that they seem for the most part to have been invented
+by Cecca.
+
+The giants, likewise, that went about in the said festival, were made in
+the following manner. Certain men who were very skilful at walking on
+stilts, or, as they are called in other parts, on wooden legs, had some
+made five or six braccia high, and, having dressed and decked them with
+great masks and other ornaments in the way of draperies, and imitations
+of armour, so that they seemed to have the members and heads of giants,
+they mounted them and walked dexterously along, appearing truly to be
+giants. In front of them, however, they had a man who carried a pike, on
+which the giant leant with one hand, but in such a fashion that the pike
+appeared to be his own weapon, whether mace, lance, or a great
+bell-clapper, such as Morgante is said by the poets of romance to have
+been wont to carry. And even as there were giants, so there were also
+giantesses, which produced a truly beautiful and marvellous effect.
+
+Different from these, again, were the little phantoms, for these walked
+on similar stilts five or six braccia high, without anything save their
+own proper form, in such a manner that they appeared to be true spirits.
+They likewise had a man in front of them with a pike to assist them; but
+it is stated that some actually walked very well at so great a height
+without leaning on anything whatsoever, and I am sure that he who knows
+what Florentine brains are will in no way marvel at this. For, not to
+mention that native of Montughi (near Florence) who has surpassed all
+the masters that ever lived at climbing and dancing on the rope, whoever
+knew a man called Ruvidino, who died less than ten years ago, remembers
+that climbing to any height on a rope or cord, leaping from the walls of
+Florence to the earth, and walking on stilts much higher than those
+described above, were as easy to him as it is for an ordinary man to
+walk on the level. Wherefore it is no marvel if the men of those times,
+who practised suchlike exercises for money or for other reasons, did
+what has been related above, and even greater things.
+
+I will not speak of certain waxen candles which used to be painted with
+various fanciful devices, but so rudely that they have given their name
+to vulgar painters, insomuch that bad pictures are called "candle
+puppets"; for it is not worth the trouble. I will only say that at the
+time of Cecca they fell for the most part into disuse, and that in their
+place were made the cars that are still used to-day, in the form of
+triumphal chariots. The first of these was the car[21] of the Mint,
+which was brought to that perfection which is still seen every year when
+it is sent out for the said festival by the Masters and Lords of the
+Mint, with a S. John on the highest part and with many other angels and
+saints around and below him, all represented by living persons. Not long
+ago it was determined that one should be made for every borough that
+gave an offering of wax, and ten were made, in order to do magnificent
+honour to that festival; but the plan was carried no further, by reason
+of events that supervened no long time after. That first car of the
+Mint, then, was made under the direction of Cecca by Domenico, Marco,
+and Giuliano del Tasso, who were among the best master-carpenters, both
+in squared-work and in carving, who were then working in Florence; and
+in this car, among other things, no small praise is due to the wheels
+below it, which are pivoted, in order that the structure may be able to
+turn sharp corners, and may be managed in such a manner as to shake it
+as little as possible, particularly for the sake of those who stand
+fastened upon it.
+
+The same man made a structure for the cleaning and restoration of the
+mosaics in the tribune of S. Giovanni, which could be turned, raised,
+lowered, and advanced at pleasure, and that with such ease that two men
+could handle it; which invention gave Cecca very great repute.
+
+When the Florentine army was besieging Piancaldoli, Cecca ingeniously
+contrived to enable the soldiers to enter it by means of mines, without
+striking a blow. Afterwards, continuing to follow the same army to
+certain other strongholds, his evil fortune would have it that he should
+be killed while attempting to measure certain heights at a difficult
+point; for when he had put his head out beyond the wall in order to let
+a plumb-line down, a priest who was with the enemy (who feared the
+genius of Cecca more than the might of the whole camp) discharged a
+catapult at him and fixed a great dart in his head, insomuch that the
+poor fellow died on the spot. The fate and the loss of Cecca caused
+great grief to the whole army and to his fellow-citizens; but since
+there was no remedy, they sent him back in a coffin to Florence, where
+his sisters gave him honourable burial in S. Piero Scheraggio; and below
+his portrait in marble there was placed the following epitaph:
+
+   FABRUM MAGISTER CICCA, NATUS OPPIDIS VEL OBSIDENDIS VEL TUENDIS,
+   HIC JACET. VIXIT ANN. XXXXI, MENS. IV, DIES XIV. OBIIT PRO PATRIA
+   TELO ICTUS. PIÆ SORORES MONUMENTUM FECERUNT MCCCCXCIX.
+
+FOOTNOTES:
+
+[20] See note on p. 57, Vol. I.
+
+[21] The word in the Italian text is not "carro" but "cero," which is
+obviously an error.
+
+
+
+
+DON BARTOLOMMEO DELLA GATTA
+
+
+
+
+DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE
+
+ILLUMINATOR AND PAINTER
+
+
+Rarely does it happen that a man of good character and exemplary life
+fails to be provided by Heaven with the best of friends and with
+honourable dwellings, or to be held in veneration when alive by reason
+of the goodness of his ways, and very greatly regretted when dead by all
+who knew him, as was Don Bartolommeo della Gatta, Abbot of S. Clemente
+in Arezzo, who was excellent in diverse pursuits and most praiseworthy
+in all his actions. This man, who was a monk of the Angeli in Florence,
+a seat of the Order of Camaldoli, was in his youth--perchance for the
+reasons mentioned above in the Life of Don Lorenzo--a very rare
+illuminator, and a very able master of design. Of this we have proof in
+the books that he illuminated for the Monks of SS. Fiore e Lucilla in
+the Abbey of Arezzo, particularly a missal that was presented to Pope
+Sixtus, in which, on the first page of the Secret Prayers, there was a
+very beautiful Passion of Christ. Those are likewise by his hand which
+are in S. Martino, the Duomo of Lucca.
+
+A little while after these works the said Abbey of S. Clemente in Arezzo
+was presented to this father by Mariotto Maldoli of Arezzo, General of
+the Order of Camaldoli, who belonged to the same family from which
+sprang that Maldolo who gave the site and lands of Camaldoli, then
+called Campo di Maldolo, to S. Romualdo, the founder of that Order. Don
+Bartolommeo, in gratitude for that benefice, afterwards executed many
+works for that General and for his Order. After this there came the
+plague of 1468, by reason of which the Abbot, like many others, stayed
+indoors without going about much, and devoted himself to painting large
+figures; and seeing that he was succeeding as well as he could desire,
+he began to execute certain works. The first was a S. Rocco that he
+painted on a panel for the Rectors of the Confraternity of Arezzo, which
+is now in the Audience Chamber where they assemble. This figure is
+recommending the people of Arezzo to Our Lady, and in this picture he
+portrayed the Piazza of the said city and the holy house of that
+Confraternity, with certain grave-diggers who are returning from burying
+the dead. He also painted another S. Rocco for the Church of S. Pietro,
+likewise on a panel, wherein he portrayed the city of Arezzo exactly as
+it stood at that time, when it was very different from what it is
+to-day. And he made another, which was much better than the two
+mentioned above, on a panel which is in the Chapel of the Lippi in the
+Church of the Pieve of Arezzo; and this S. Rocco is a rare and beautiful
+figure, almost the best that he ever made, and the head and hands are as
+beautiful and natural as they could be. In the same city of Arezzo, in
+S. Pietro, a seat of the Servite Friars, he painted an Angel Raphael on
+a panel; and in the same place he made a portrait of the Blessed Jacopo
+Filippo of Piacenza.
+
+Afterwards, being summoned to Rome, he painted a scene in the Chapel of
+Pope Sixtus, in company with Luca da Cortona and Pietro Perugino. On
+returning to Arezzo, he painted a S. Jerome in Penitence in the Chapel
+of the Gozzari in the Vescovado; and this figure, lean and shaven, with
+the eyes fixed most intently on the Crucifix, and beating his breast,
+shows very clearly how greatly the passions of love can disturb the
+chastity even of a body so grievously wasted away. In this work he made
+an enormous crag, with certain cliffs of rock, among the fissures of
+which he painted some stories of that Saint, with very graceful little
+figures. After this, in a chapel in S. Agostino, for the Nuns of the
+Third Order, as they are called, he wrought in fresco a Coronation of
+Our Lady, which is very well done and much extolled; and below this, in
+another chapel, a large panel with an Assumption and certain angels
+beautifully robed in delicate draperies. This panel, for a work made in
+distemper, is much extolled, and in truth it was wrought with good
+design and executed with extraordinary diligence. In the lunette that is
+over the door of the Church of S. Donato, in the Fortress of Arezzo,
+the same man painted in fresco a Madonna with the Child in her arms, S.
+Donatus, and S. Giovanni Gualberto, all very beautiful figures. In the
+Abbey of S. Fiore in the said city, beside the principal door of
+entrance into the church, there is a chapel painted by his hand, wherein
+are S. Benedict and other saints, wrought with much grace, good
+handling, and sweetness.
+
+For Gentile of Urbino, Bishop of Arezzo, who was much his friend, and
+with whom he almost always lived, he painted a Dead Christ in a chapel
+in the Palace of the Vescovado; and in a loggia he portrayed the Bishop
+himself, his vicar, and Ser Matteo Francini, his court-notary, who is
+reading a Bull to him; and there he also made his own portrait and those
+of certain canons of that city. For the same Bishop he designed a loggia
+which issues from the Palace and leads to the Vescovado, on the same
+level with both. In the centre of this the Bishop had intended to make a
+place of burial for himself in the form of a chapel, in which he wished
+to be interred after his death; and he had carried it well on, when he
+was overtaken by death, and it remained unfinished, for, although he
+left orders that it should be completed by his successor, nothing more
+was done, as generally happens with works of this sort which are left by
+a man to be finished after his death. For the said Bishop the Abbot
+painted a large and beautiful chapel in the Duomo Vecchio, but, as it
+had only a short life, there is no need to say more about it.
+
+Besides this, he made works in various places throughout the whole city,
+such as three figures in the Carmine, and the Chapel of the Nuns of S.
+Orsina. At Castiglione Aretino, for the Chapel of the High-Altar in the
+Pieve of S. Giuliano, he painted a panel in distemper, containing a very
+beautiful Madonna, S. Julian, and S. Michelagnolo--figures very well
+wrought and executed, particularly S. Julian, who, with his eyes fixed
+on the Christ lying in the arms of the Madonna, appears to be much
+afflicted at having killed his father and mother. In a chapel a little
+below this, likewise, is a little door painted by his hand (which
+formerly belonged to an old organ), wherein there is a S. Michael, which
+is held to be a marvellous thing, with a child in swaddling-clothes,
+which appears alive, in the arms of a woman. For the Nuns of the Murate
+at Arezzo he painted the Chapel of the High-Altar, a work which is
+truly much extolled. At Monte San Savino he painted a shrine opposite to
+the Palace of Cardinal di Monte, which was held very beautiful. And at
+Borgo San Sepolcro, where there is now the Vescovado, he decorated a
+chapel, which brought him very great praise and profit.
+
+Don Clemente was a man of very versatile intelligence, and, besides
+being a great musician, he made organs of lead with his own hand. In S.
+Domenico he made one of cardboard, which has ever remained sweet and
+good; and in S. Clemente there was another, also by his hand, which was
+placed on high, with the keyboard below on the level of the choir--truly
+with very beautiful judgment, since, the place being such that the monks
+were few, he wished that the organist should sing as well as play. And
+since this Abbot loved his Order, like a true minister and not a
+squanderer of the things of God, he enriched that place greatly with
+buildings and pictures, particularly by rebuilding the principal chapel
+of his church and painting the whole of it; and in two niches, one on
+either side of it, he painted a S. Rocco and a S. Bartholomew, which
+were ruined together with the church.
+
+But to return to the Abbot, who was a good and worthy churchman. He left
+a disciple in painting named Maestro Lappoli, an Aretine, who was an
+able and practised painter, as is shown by the works from his hand which
+are in S. Agostino, in the Chapel of S. Sebastiano, where there is that
+Saint wrought in relief by the same man, with figures round him, in
+painting, of S. Biagio, S. Rocco, S. Anthony of Padua, and S.
+Bernardino; while on the arch of the chapel is an Annunciation, and on
+the vaulting are the four Evangelists, wrought in fresco with a high
+finish. By the hand of the same man, in another chapel on the left hand
+as one enters the said church by the side-door, is a Nativity in fresco,
+with the Madonna receiving the Annunciation from the Angel, in the
+figure of which Angel he portrayed Giuliano Bacci, then a young man of
+very beautiful aspect. Over the said door, on the outer side, he made an
+Annunciation, with S. Peter on one side and S. Paul on the other,
+portraying in the face of the Madonna the mother of Messer Pietro
+Aretino, a very famous poet. In S. Francesco, for the Chapel of S.
+Bernardino, he painted a panel with that Saint, who appears alive, and
+so beautiful that this is the best figure that he ever made. In the
+Chapel of the Pietramaleschi in the Vescovado he painted a very
+beautiful S. Ignazio on a panel in distemper; and in the Pieve, at the
+entrance of the upper door which opens on the piazza, a S. Andrew and a
+S. Sebastian. For the Company of the Trinità, by order of Buoninsegna
+Buoninsegni of Arezzo, he made a work with beautiful invention, which
+can be numbered among the best that he ever executed, and this was a
+Crucifix over an altar, with a S. Martin on one side and a S. Rocco on
+the other, and two figures kneeling at the foot, one in the form of a
+poor man, lean, emaciated, and wretchedly clothed, from whom there
+issued certain rays that shone straight on the wounds of the Saviour,
+while the Saint gazed on him most intently; and the other in the form of
+a rich man, clothed in purple and fine linen, and all ruddy and cheerful
+in countenance, whose rays, as he was adoring Christ, although they were
+issuing from his heart, like those of the poor man, appeared not to
+shine directly on the wounds of the Crucified Christ, but to stray and
+spread over certain plains and fields full of grain, green crops,
+cattle, gardens, and other suchlike things, while some diverged over the
+sea towards certain boats laden with merchandise; and others, finally,
+shone on certain money-changers' tables. All these things were wrought
+by Matteo with judgment, great mastery, and much diligence; but they
+were thrown to the ground no long time after in the making of a chapel.
+Beneath the pulpit of the Pieve the same man made a Christ with the
+Cross for Messer Leonardo Albergotti.
+
+A disciple of the Abbot of S. Clemente, likewise, was a Servite friar of
+Arezzo, who painted in colours the façade of the house of the Belichini
+in Arezzo, and two chapels in fresco, one beside the other, in S.
+Pietro. Another disciple of Don Bartolommeo was Domenico Pecori of
+Arezzo, who made three figures in distemper on a panel at Sargiano, and
+painted a very beautiful banner in oil, to be carried in processions,
+for the Company of S. Maria Maddalena. For Messer Presentino Bisdomini,
+in the Chapel of S. Andrea in the Pieve, he made a picture of S.
+Apollonia, similar to that mentioned above; and he finished many works
+left incomplete by his master, such as the panel of S. Sebastian and S.
+Fabiano with the Madonna, in S. Pietro, for the family of the Benucci.
+In the Church of S. Antonio he painted the panel of the high-altar,
+wherein is a very devout Madonna, with some saints; and since the said
+Madonna is adoring the Child, whom she has in her lap, he made it appear
+that a little angel, kneeling behind her, is supporting Our Lord on a
+cushion, the Madonna not being able to uphold Him because she has her
+hands clasped in the act of adoration. In the Church of S. Giustino, for
+Messer Antonio Roselli, he painted a chapel with the Magi in fresco; and
+for the Company of the Madonna, in the Pieve, he painted a very large
+panel containing a Madonna in the sky, with the people of Arezzo
+beneath, in which he made many portraits from the life. In this last
+work he was helped by a Spanish painter, who painted very well in oil
+and therein gave assistance to Domenico, who had not as much skill in
+painting in oil as he had in distemper. With the help of the same man he
+executed a panel for the Company of the Trinità, containing the
+Circumcision of Our Lord, which was held a very good work, and a "Noli
+Me Tangere" in fresco in the garden of S. Fiore. Finally, he painted a
+panel with many figures in the Vescovado, for Messer Donato Marinelli,
+Primicere. This work, which then brought him and still continues to
+bring him very great honour, shows good invention, good design, and
+strong relief; and in making it, being now very old, he called in the
+aid of a Sienese painter, Capanna, a passing good master, who painted so
+many walls in chiaroscuro and so many panels in Siena, and who, if he
+had lived longer, would have done himself much credit in his art, in so
+far as one may judge from the little that he executed. Domenico wrought
+for the Confraternity of Arezzo a baldacchino painted in oil, a rich and
+costly work, which was lent not many years ago for the holding of a
+representation in S. Francesco at the festival of S. John and S. Paul,
+to adorn a Paradise near the roof of the church. A fire breaking out in
+consequence of the great quantity of lights, this work was burnt,
+together with the man who was representing God the Father, who, being
+fastened, could not escape, as the angels did, and many church-hangings
+were destroyed, while great harm came to the spectators, who, terrified
+by the fire, struggled furiously to fly from the church, everyone
+seeking to be the first, so that about eighty were trampled down in the
+press, which was something very pitiful. This baldacchino was afterwards
+reconstructed with greater richness, and painted by Giorgio Vasari.
+Domenico then devoted himself to the making of glass windows, and there
+were three by his hand in the Vescovado, which were ruined by the
+artillery in the wars.
+
+Another pupil of the same master was the painter Angelo di Lorentino,
+who was a man of passing good ability. He painted the arch over the door
+of S. Domenico, and if he had received assistance he would have become a
+very good master.
+
+The Abbot died at the age of eighty-three, leaving unfinished the Temple
+of the Madonna delle Lacrime, for which he had made a model; it was
+afterwards completed by various masters. He deserves praise, then, as
+illuminator, architect, painter, and musician. He was given burial by
+his monks in his Abbey of S. Clemente, and his works have ever been so
+highly esteemed in the said city that the following verses may be read
+over his tomb:
+
+   PINGEBAT DOCTE ZEUSIS, CONDEBAT ET AEDES
+       NICON, PAN CAPRIPES, FISTULA PRIMA TUA EST.
+   NON TAMEN EX VOBIS MECUM CERTAVERIT ULLUS;
+       QUÆ TRES FECISTIS, UNICUS HÆC FACIO.
+
+He died in 1461, having added to the art of illumination that beauty
+which is seen in all his works, as some drawings by his hand can bear
+witness which are in our book. His method of working was afterwards
+imitated by Girolamo Padovano in some books that he illuminated for S.
+Maria Nuova in Florence; by Gherardo, a Florentine illuminator; (and by
+Attavante,[22]) who was also called Vante, of whom we have spoken in
+another place, particularly with regard to those of his works which are
+in Venice; with respect to which I included word for word a note sent to
+me by certain gentlemen of Venice, contenting myself, in order to
+recompense them for the great pains that they had taken to discover all
+that is to be read there, with relating the whole as they wrote it,
+since I had no personal knowledge of these works on which to form a
+judgment of my own.
+
+FOOTNOTES:
+
+[22] The words in brackets have been added to correct an obvious
+omission in the text. The account of Attavante is to be found at the end
+of the Life of Fra Giovanni Angelico.
+
+
+
+
+GHERARDO
+
+
+
+
+GHERARDO
+
+ILLUMINATOR OF FLORENCE
+
+
+It is certain that among all the enduring works that are made in colours
+there is none that resists the assault of wind and water better than
+mosaic. And well was this known in his day to the elder Lorenzo de'
+Medici of Florence, who, like a man of spirit given to investigating the
+memorials of the ancients, sought to bring back into use what had been
+hidden for many years, and, since he took great delight in pictures and
+sculptures, could not fail to take delight also in mosaic. Wherefore,
+seeing that Gherardo, an illuminator of that time and a man of inquiring
+brain, was investigating the difficulties of that calling, he showed him
+great favour, as one who ever assisted those in whom he saw some germ of
+spirit and intellect. Placing him, therefore, in the company of Domenico
+del Ghirlandajo, he obtained for him from the Wardens of Works of S.
+Maria del Fiore a commission for decorating the chapels of the
+transepts, beginning with that of the Sacrament, wherein lies the body
+of S. Zanobi. Whereupon Gherardo, growing ever in keenness of
+intelligence, would have executed most marvellous works in company with
+Domenico, if death had not intervened, as may be judged from the
+beginning of that chapel, which remained unfinished.
+
+Gherardo, in addition to his mosaics, was a most delicate illuminator,
+and he also made large figures on walls. Without the Porta alla Croce
+there is a shrine in fresco by his hand, and there is another in
+Florence, much extolled, at the head of the Via Larga. On the façade of
+the Church of S. Gilio at S. Maria Nuova, beneath the stories painted by
+Lorenzo di Bicci, wherein is the consecration of that church by Pope
+Martin V, Gherardo depicted the same Pope conferring the monk's habit
+and many privileges on the Director of the Hospital. In this scene there
+were far fewer figures than it appeared to require, because it was cut
+in half by a shrine containing a Madonna, which has been removed
+recently by Don Isidoro Montaguto, the present Director of that place,
+in the reconstructing of a principal door for the building; and
+Francesco Brini, a young painter of Florence, has been commissioned to
+paint the rest of the scene. But to return to Gherardo; it would
+scarcely have been possible for even a well-practised master to
+accomplish without great fatigue and diligence what he did in that work,
+which is wrought most excellently in fresco. For the church of the same
+hospital Gherardo illuminated an infinite number of books, with some for
+S. Maria del Fiore in Florence, and certain others for Matthias
+Corvinus, King of Hungary. These last, on the death of the said King,
+together with some by the hand of Vante and of other masters who worked
+for that King in Florence, were purchased and taken over by the
+Magnificent Lorenzo de' Medici, who placed them among those so greatly
+celebrated which were being collected for the formation of the library
+afterwards built by Pope Clement VII, which is now being thrown open to
+the public by order of Duke Cosimo.
+
+Having thus developed, as has been related, from a master of
+illumination into a painter, in addition to the said works, he made some
+great figures in a large cartoon for the Evangelists that he had to make
+in mosaic in the Chapel of S. Zanobi. But before the Magnificent Lorenzo
+de' Medici had obtained for him the commission for the said chapel,
+wishing to show that he understood the art of mosaic, and that he could
+work without a companion, he made a life-size head of S. Zanobi, which
+remained in S. Maria del Fiore, and on days of the highest solemnity it
+is set up on the altar of the said Saint, or in some other place, as a
+rare thing.
+
+The while that Gherardo was labouring at these things, there were
+brought to Florence certain prints in the German manner wrought by
+Martin and by Albrecht Dürer; whereupon, being much pleased with that
+sort of engraving, he set himself to work with the graver and copied
+some of those plates very well, as may be seen from certain examples
+that are in our book, together with some drawings by the same man's
+hand. Gherardo painted many pictures which were sent abroad, one of
+which is in the Chapel of S. Caterina da Siena in the Church of S.
+Domenico at Bologna, containing a very good painting of S. Catherine.
+And in S. Marco at Florence, over the table of Pardons, he painted a
+lunette full of very graceful figures. But the more he satisfied others
+the less did he satisfy himself in any of his works, with the exception
+of mosaic, in which sort of painting he was rather the rival than the
+companion of Domenico Ghirlandajo; and if he had lived longer he would
+have become most excellent in that art, for he was very willing to take
+pains with it, and he had discovered the greater part of its best
+secrets.
+
+Some declare that Attavante, otherwise Vante, an illuminator of
+Florence, of whom we have spoken above in more than one place, was a
+disciple of Gherardo, as was Stefano, likewise a Florentine illuminator;
+but I hold it as certain, considering that both lived at the same time,
+that Attavante was rather the friend, companion, and contemporary of
+Gherardo than his disciple. Gherardo died well advanced in years,
+leaving everything that he used in his art to his disciple Stefano, who,
+devoting himself no long time after to architecture, abandoned the art
+of illuminating, and handed over all his appliances in connection with
+that profession to the elder Boccardino, who illuminated the greater
+part of the books that are in the Badia of Florence. Gherardo died at
+the age of sixty-three, and his works date about the year of our
+salvation 1470.
+
+
+
+
+DOMENICO GHIRLANDAJO
+
+
+
+
+DOMENICO GHIRLANDAJO
+
+PAINTER OF FLORENCE
+
+
+Domenico di Tommaso del Ghirlandajo, who, from his talent and from the
+greatness and the vast number of his works, may be called one of the
+most important and most excellent masters of his age, was made by nature
+to be a painter; and for this reason, in spite of the opposition of
+those who had charge of him (which often nips the finest fruits of our
+intellects in the bud by occupying them with work for which they are not
+suited, and by diverting them from that to which nature inclines them),
+he followed his natural instinct, secured very great honour for himself
+and profit for his art and for his kindred, and became the great delight
+of his age. He was apprenticed by his father to his own art of
+goldsmith, in which Tommaso was a master more than passing good, for it
+was he who made the greater part of the silver votive offerings that
+were formerly preserved in the press of the Nunziata, and the silver
+lamps of the chapel, which were all destroyed in the siege of the city
+in the year 1529. Tommaso was the first who invented and put into
+execution those ornaments worn on the head by the girls of Florence,
+which are called ghirlande;[23] whence he gained the name of
+Ghirlandajo, not only because he was their first inventor, but also
+because he made an infinite number of them, of a beauty so rare that
+none appeared to please save such as came out of his shop.
+
+Being thus apprenticed to the goldsmith's art, but taking no pleasure
+therein, he was ever occupied in drawing. Endowed by nature with a
+perfect spirit and with an admirable and judicious taste in painting,
+although he was a goldsmith in his boyhood, yet, by devoting himself
+ever to design, he became so quick, so ready, and so facile, that many
+say that while he was working as a goldsmith he would draw a portrait of
+all who passed the shop, producing a likeness in a second; and of this
+we still have proof in an infinite number of portraits in his works,
+which show a most lifelike resemblance.
+
+His first pictures were in the Chapel of the Vespucci in Ognissanti,
+where there is a Dead Christ with some saints, and a Misericordia over
+an arch, in which is the portrait of Amerigo Vespucci, who made the
+voyages to the Indies; and in the refectory of that place he painted a
+Last Supper in fresco. In S. Croce, on the right hand of the entrance
+into the church, he painted the Story of S. Paulino; wherefore, having
+acquired very great fame and coming into much credit, he painted a
+chapel in S. Trinita for Francesco Sassetti, with stories of S. Francis.
+This work was admirably executed by him, and wrought with grace,
+lovingness, and a high finish; and he counterfeited and portrayed
+therein the Ponte a S. Trinita, with the Palace of the Spini. On the
+first wall he depicted the story of S. Francis appearing in the air and
+restoring the child to life; and here, in those women who see him being
+restored to life--after their sorrow for his death as they bear him to
+the grave--there are seen gladness and marvel at his resurrection. He
+also counterfeited the friars issuing from the church behind the Cross,
+together with some grave-diggers, to bury him, all wrought very
+naturally; and there are likewise other figures marvelling at that event
+which give no little pleasure to the eye, among which are portraits of
+Maso degli Albizzi, Messer Agnolo Acciaiuoli, and Messer Palla Strozzi,
+eminent citizens often cited in the history of the city. On another wall
+he painted S. Francis, in the presence of the vicar, renouncing his
+inheritance from his father, Pietro Bernardone, and assuming the habit
+of sackcloth, which he is girding round him with the cord. On the middle
+wall he is shown going to Rome and having his Rule confirmed by Pope
+Honorius, and presenting roses in January to that Pontiff. In this scene
+he depicted the Hall of the Consistory, with Cardinals seated around,
+and certain steps ascending to it, furnishing the flight of steps with a
+balustrade, and painting there some half-length figures portrayed from
+the life, among which is the portrait of the elder Lorenzo de' Medici,
+the Magnificent; and there he also painted S. Francis receiving the
+Stigmata. In the last he made the Saint dead, with his friars mourning
+for him, among whom is one friar kissing his hands--an effect that could
+not be rendered better in painting; not to mention that a Bishop in full
+robes, with spectacles on his nose, is chanting the prayers for the dead
+so vividly, that only the lack of sound shows him to be painted. In one
+of two pictures that are on either side of the panel he portrayed
+Francesco Sassetti on his knees, and in the other his wife, Monna Nera,
+with their children (but these last are in the aforesaid scene of the
+child being restored to life), and with certain beautiful maidens of the
+same family, whose names I have not been able to discover, all in the
+costumes and fashions of that age, which gives no little pleasure.
+Besides this, he made four Sibyls on the vaulting, and an ornament above
+the arch on the front wall without the chapel, containing the scene of
+the Tiburtine Sibyl making the Emperor Octavian adore Christ, which is
+executed in a masterly manner for a work in fresco, with much vivacity
+and loveliness in the colours. To this work he added a panel wrought in
+distemper, also by his hand, containing a Nativity of Christ that should
+amaze any person of understanding, wherein he portrayed himself and made
+certain heads of shepherds, which are held to be something divine. Of
+this Sibyl and of other parts of this work there are some very beautiful
+drawings in our book, made in chiaroscuro, and in particular the view in
+perspective of the Ponte a S. Trinita.
+
+For the Frati Ingesuati he painted a panel for their high-altar, with
+certain Saints kneeling--namely, S. Giusto, Bishop of Volterra, who was
+the titular Saint of that church; S. Zanobi, Bishop of Florence; an
+Angel Raphael; a S. Michael, clad in most beautiful armour; and other
+saints. For this work Domenico truly deserves praise, for he was the
+first who began to counterfeit with colours certain trimmings and
+ornaments of gold, which had not been done up to that time; and he swept
+away in great measure those borders of gilding that were made with
+mordant or with bole, which were more suitable for church-hangings than
+for the work of good masters. More beautiful than all the other figures
+is the Madonna, who has the Child in her arms and four little angels
+round her. This panel, which is wrought as well as any work in distemper
+could be, was then placed in the church of those friars without the
+Porta a Pinti; but since that building, as will be told elsewhere, was
+destroyed, it is now in the Church of S. Giovannino, within the Porta S.
+Piero Gattolini, where there is the Convent of the aforesaid Ingesuati.
+
+In the Church of Cestello he painted a panel--afterwards finished by his
+brothers David and Benedetto--containing the Visitation of Our Lady,
+with certain most charming and beautiful heads of women. In the Church
+of the Innocenti he painted the Story of the Magi on a panel in
+distemper, which is much extolled. In this are heads most beautiful in
+expression and varied in features, both young and old; and in the head
+of Our Lady, in particular, are seen all the dignity, beauty, and grace
+that art can give to the Mother of the Son of God. On the tramezzo[24]
+of the Church of S. Marco there is another panel, with a Last Supper in
+the guest-room, both executed with diligence; and in the house of
+Giovanni Tornabuoni there is a round picture with the Story of the Magi,
+wrought with diligence. In the Little Hospital, for the elder Lorenzo
+de' Medici, he painted the story of Vulcan, in which many nude figures
+are at work with hammers making thunderbolts for Jove. And in the Church
+of Ognissanti in Florence, in competition with Sandro di Botticello, he
+painted a S. Jerome in fresco (which is now beside the door that leads
+to the choir), surrounding him with an infinite number of instruments
+and books, such as are used by the learned. The friars having occasion
+to remove the choir from the place where it stood, this picture,
+together with that of Sandro di Botticello, has been bound round with
+irons and transported without injury into the middle of the church, at
+the very time when these Lives are being printed for the second time. He
+also painted the arch over the door of S. Maria Ughi, and a little
+shrine for the Guild of Linen-Manufacturers, and likewise a very
+beautiful S. George, slaying the Dragon, in the same Church of
+Ognissanti. And in truth he had a very good knowledge of the method of
+painting on walls, which he did with very great facility, although he
+was scrupulously careful in the composition of his works.
+
+[Illustration: THE DEATH OF S. FRANCIS
+
+(_After the fresco by =Domenico Ghirlandajo=. Florence: S. Trinita_)
+
+_Alinari_]
+
+Being then summoned to Rome by Pope Sixtus IV to paint his chapel, in
+company with other masters, he painted there Christ calling Peter and
+Andrew from their nets, and the Resurrection of Jesus Christ, the
+greater part of which has since been spoilt in consequence of being over
+the door, on which it became necessary to replace an architrave that had
+fallen down. There was living in Rome at this same time Francesco
+Tornabuoni, a rich and honoured merchant, much the friend of Domenico.
+This man, whose wife had died in childbirth, as is told in the Life of
+Andrea Verrocchio, desiring to honour her as became their noble station,
+had caused a tomb to be made for her in the Minerva; and he also wished
+Domenico to paint the whole wall against which this tomb stood, and
+likewise to make for it a little panel in distemper. On that wall,
+therefore, he painted four stories--two of S. John the Baptist and two
+of the Madonna--which brought him truly great praise at that time. And
+Francesco took so much pleasure in his dealings with Domenico, that,
+when the latter returned to Florence rich in honour and in gains,
+Francesco recommended him by letters to his relative Giovanni, telling
+him how well the painter had served him in that work, and how well
+satisfied the Pope had been with his pictures. Hearing this, Giovanni
+began to contemplate employing him on some magnificent work, such as
+would honour his own memory and bring fame and profit to Domenico.
+
+Now it chanced that the principal chapel of S. Maria Novella (a convent
+of Preaching Friars), formerly painted by Andrea Orcagna, was injured in
+many parts by rain in consequence of the roof of the vaulting being
+badly covered. For this reason many citizens had wished to restore it,
+or rather, to have it painted anew; but the owners, who belonged to the
+family of the Ricci, had never consented to this, being unable to bear
+so great an expense themselves, and unwilling to allow others to do so,
+lest they should lose the rights of ownership and the distinction of the
+arms handed down to them by their ancestors. Giovanni, then, being
+desirous that Domenico should make him his memorial there, set to work
+in this matter, trying various ways; and finally he promised the Ricci
+to bear the whole expense himself, to give them some sort of recompense,
+and to have their arms placed in the most conspicuous and honourable
+place in that chapel. And so they came to an agreement, making a
+contract in the form of a very precise instrument according to the terms
+described above. Giovanni allotted this work to Domenico, with the same
+subjects as were painted there before; and they agreed that the price
+should be 1,200 gold ducats of full weight, with 200 more in the event
+of the work giving satisfaction to Giovanni. Thereupon Domenico put his
+hand to the work and laboured without ceasing for four years until he
+had finished it--which was in 1485--to the very great satisfaction and
+contentment of Giovanni, who, while admitting that he had been well
+served, and confessing ingenuously that Domenico had earned the
+additional 200 ducats, said that he would be pleased if he would be
+satisfied with the original price. And Domenico, who esteemed glory and
+honour much more than riches, immediately let him off all the rest,
+declaring that he set much greater store on having given him
+satisfaction than on the matter of complete payment.
+
+Giovanni afterwards caused two large coats of arms to be made of
+stone--one for the Tornaquinci and the other for the Tornabuoni--and
+placed on the pilasters without the chapel, and in the arch he placed
+other arms belonging to that family, which is divided into various names
+and various arms--namely, in addition to the two already mentioned,
+those of the Ghiachinotti, Popoleschi, Marabottini, and Cardinali. And
+afterwards, when Domenico painted the altar-panel, he caused to be
+placed in the gilt ornament, under an arch, as a finishing touch to that
+panel, a very beautiful Tabernacle of the Sacrament, on the frontal of
+which he made a little shield a quarter of a braccio in length,
+containing the arms of the said owners--that is, the Ricci. And a fine
+jest it was at the opening of the chapel, for these Ricci looked for
+their arms with much ado, and finally, not being able to find them, went
+off to the Tribunal of Eight, contract in hand. Whereupon the Tornabuoni
+showed that these arms had been placed in the most conspicuous and most
+honourable part of the work; and although the others exclaimed that they
+were invisible, they were told that they were in the wrong, and that
+they must be content, since the Tornabuoni had caused them to be placed
+in so honourable a position as the neighbourhood of the most Holy
+Sacrament. And so it was decided by that tribunal that they should be
+left untouched, as they may be seen to-day. Now, if this should appear
+to anyone to be outside the scope of the Life that I have to write, let
+him not be vexed, for it all flowed naturally from the tip of my pen.
+And it should serve, if for nothing else, at least to show how easily
+poverty falls a prey to riches, and how riches, if accompanied by
+discretion, achieve without censure anything that a man desires.
+
+[Illustration: DOMENICO GHIRLANDAJO: THE VISION OF S. FINA
+
+(_San Gimignano. Fresco_)]
+
+But to return to the beautiful works of Domenico; in that chapel, first
+of all, are the four Evangelists on the vaulting, larger than life; and,
+on the window-wall, stories of S. Dominic, S. Peter Martyr, S. John
+going into the Desert, the Madonna receiving the Annunciation from the
+Angel, and many patron saints of Florence on their knees above the
+window; while at the foot, on the right hand, is a portrait from life of
+Giovanni Tornabuoni, with one of his wife on the left, which are both
+said to be very lifelike. On the right-hand wall are seven scenes--six
+below, in compartments as large as the wall allows, and the last above,
+twice as broad as any of the others and bounded by the arch of the
+vaulting; and on the left-hand wall are also seven scenes from the life
+of S. John the Baptist. The first on the right-hand wall is the
+Expulsion of Joachim from the Temple, wherein patience is depicted in
+his countenance, with that contempt and hatred in the faces of the
+others which the Jews felt for those who came to the Temple without
+having children. In this scene, in the part near the window, are four
+men portrayed from life, one of whom, old, shaven, and wearing a red
+cap, is Alesso Baldovinetti, Domenico's master in painting and in
+mosaic. Another, bareheaded, who is holding one hand on his side and is
+wearing a red mantle, with a blue garment below, is Domenico himself,
+the master of the work, who portrayed himself in a mirror. The one who
+has long black locks and thick lips is Bastiano da San Gimignano, his
+disciple and brother-in-law; and the last, who has his back turned, with
+a little cap on his head, is the painter David Ghirlandajo, his brother.
+All these are said, by those who knew them, to be truly vivid and
+lifelike portraits. In the second scene is the Nativity of Our Lady,
+executed with great diligence, and, among other notable things that he
+painted therein, there is in the building (drawn in perspective) a
+window that gives light to the room, which deceives all who see it.
+Besides this, while S. Anna is in bed, and certain ladies are visiting
+her, he painted some women washing the Madonna with great care--one is
+getting ready the water, another is preparing the swaddling-clothes, a
+third is busy with some service, a fourth with another, and, while each
+is attending to her own duty, another woman is holding the little child
+in her arms and making her laugh by smiling at her, with a womanly grace
+truly worthy of such a work; besides many other expressions that are in
+each figure. In the third, which is above the first, is the Madonna
+ascending the steps of the Temple, with a building which recedes from
+the eye correctly enough, in addition to a nude figure that brought him
+praise at that time, when few were to be seen, although it had not that
+complete perfection which is shown by those painted in our own day, for
+those masters were not as excellent as ours. Next to this is the
+Marriage of Our Lady, wherein he represented the unbridled rage of those
+who are breaking their rods because they do not blossom like that of
+Joseph; and this scene has an abundance of figures in an appropriate
+building. In the fifth are seen the Magi arriving in Bethlehem with a
+great number of men, horses, and dromedaries, and a variety of other
+things--a scene truly well composed. Next to this is the sixth, showing
+the impious cruelty practised by Herod against the Innocents, wherein
+there is seen a most beautiful combat between women and soldiers, with
+horses that are striking and driving them about; and in truth this is
+the best of all the stories that are to be seen by his hand, for it is
+executed with judgment, intelligence, and great art. There may be seen
+therein the impious resolution of those who, at the command of Herod,
+without regard for the mothers, are slaying those poor infants, among
+which is one, still clinging to the breast, that is dying from wounds
+received in its throat, so that it is sucking, not to say drinking, as
+much blood as milk from that breast--an effect truly natural, and, being
+wrought in such a manner as it is, able to kindle a spark of pity in the
+coldest heart. There is also a soldier who has seized a child by force,
+and while he runs off with it, pressing it against his breast to kill
+it, the mother is seen hanging from his hair in the utmost fury, and
+forcing him to bend his back in the form of an arch, so that three very
+beautiful effects are shown among them--one in the death of the child,
+which is seen expiring; the second in the impious rage of the soldier,
+who, feeling himself drawn backwards so strangely, is shown in the act
+of avenging himself on the child; and the third is that the mother,
+seeing the death of her babe, is seeking with fury, grief, and disdain
+to prevent the villain from going off scathless; and the whole is truly
+more the work of a philosopher admirable in judgment than of a painter.
+There are many other emotions depicted, which will demonstrate to him
+who studies them that this man was without doubt an excellent master in
+his time. Above this, in the seventh scene, which embraces the space of
+two, and is bounded by the arch of the vaulting, are the Death and the
+Assumption of Our Lady, with an infinite number of angels, and
+innumerable figures, landscapes, and other ornaments, of which he used
+to paint an abundance in his facile and practised manner.
+
+[Illustration: THE BIRTH OF S. JOHN THE BAPTIST
+
+(_After the fresco by =Domenico Ghirlandajo=. Florence: S. Maria
+Novella_)
+
+_Anderson_]
+
+On the other wall are stories of S. John, and in the first is Zacharias
+sacrificing in the Temple, when the Angel appears to him and makes him
+dumb for his unbelief. In this scene, showing how sacrifices in temples
+are ever attended by a throng of the most distinguished men, and wishing
+to make it as honourable as he was able, he portrayed a good number of
+the Florentine citizens who then governed that State, particularly all
+those of the house of Tornabuoni, both young and old. Besides this, in
+order to show that his age was rich in every sort of talent, above all
+in learning, he made a group of four half-length figures conversing
+together at the foot of the scene, representing the most learned men
+then to be found in Florence. The first of these, who is wearing the
+dress of a Canon, is Messer Marsilio Ficino; the second, in a red
+mantle, with a black band round his neck, is Cristofano Landino; the
+figure turning towards him is Demetrius the Greek; and he who is
+standing between them, with one hand slightly raised, is Messer Angelo
+Poliziano; and all are very lifelike and vivacious. In the second scene,
+next to this, there follows the Visitation of Our Lady to S. Elizabeth,
+with a company of many women dressed in costumes of those times, among
+whom is a portrait of Ginevra de' Benci, then a most beautiful maiden.
+In the third, above the first, is the birth of S. John, wherein there
+is a very beautiful scene, for while S. Elizabeth is lying in bed, and
+certain neighbours come to see her, and the nurse is seated suckling the
+infant, one woman is joyfully demanding it from her, that she may show
+to the others what an unexampled feat the mistress of the house has
+performed in her old age. Finally, there is a woman, who is very
+beautiful, bringing fruits and flasks from the country, according to the
+Florentine custom. In the fourth scene, next to this, is Zacharias,
+still dumb, marvelling--but with undaunted heart--that this child should
+have been born to him; and while they keep asking him about the name, he
+is writing on his knee, with his eyes fixed on his son, whom a woman who
+has knelt down before him is holding reverently in her arms, and he is
+tracing with his pen on the paper, "John shall be his name," to the no
+little marvel of many other figures, who appear to be in doubt whether
+the thing be true or not. There follows in the fifth his preaching to
+the multitude, in which scene there is shown that attention which the
+populace ever gives when hearing new things, particularly in the heads
+of the Scribes, who, while listening to John, appear from a certain
+expression of countenance to be deriding his law, and even to hate it;
+and there are seen many men and women, variously attired, both standing
+and seated. In the sixth S. John is seen baptizing Christ, in whose
+reverent expression Domenico showed very clearly the faith that should
+be placed in such a Sacrament. And since this did not fail to achieve a
+very great effect, he depicted many already naked and barefooted,
+waiting to be baptized, and revealing faith and willingness carved in
+their faces; and one among them, who is taking off his shoe, personifies
+readiness itself. In the last, which is in the arch next to the
+vaulting, are the sumptuous Feast of Herod and the Dance of Herodias,
+with an infinite number of servants performing various services in that
+scene; not to mention the grandeur of an edifice drawn in perspective,
+which proves the talent of Domenico no less clearly than do the other
+pictures.
+
+The panel, which stands by itself, he executed in distemper, as he did
+the other figures in the six pictures. Besides the Madonna, who is
+seated in the sky with the Child in her arms, and the other saints who
+are round her, there are S. Laurence and S. Stephen, who are absolutely
+alive, with S. Vincent and S. Peter Martyr, who lack nothing save
+speech. It is true that a part of this panel remained unfinished in
+consequence of his death; but he had carried it so far on that there was
+nothing left to complete save certain figures on the back, where there
+is the Resurrection of Christ, with three figures in the other pictures,
+and the whole was afterwards finished by Benedetto and David
+Ghirlandajo, his brothers. This chapel was held to be a very beautiful
+work, grand, ornate, and lovely, through the vivacity of the colours,
+through the masterly finish in their application on the walls, and
+because very little retouching was done on the dry, not to mention the
+invention and the composition of the subjects. And in truth Domenico
+deserves the greatest praise on all accounts, particularly for the
+liveliness of the heads, which, being portrayed from nature, present to
+every eye most lifelike effigies of many distinguished persons.
+
+For the same Giovanni Tornabuoni, at his Villa of Casso Maccherelli,
+which stands on the River Terzolle at no great distance from the city,
+he painted a chapel which has since been half destroyed through being
+too near to the river; but the paintings, although they have been
+uncovered for many years, continually washed by rain and scorched by the
+sun, have remained so fresh that one might think they had been
+covered--so great is the value of working in fresco, when the work is
+done with care and judgment and not retouched on the dry. He also made
+many figures of Florentine Saints, with most beautiful adornments, in
+that hall of the Palace of the Signoria which contains the marvellous
+clock of Lorenzo della Volpaia. And so great was his love of working and
+of giving satisfaction to all, that he commanded his lads to accept any
+work that might be brought to his shop, even hoops for women's baskets,
+saying that if they would not do them he would paint them himself, to
+the end that none might leave the shop unsatisfied. But when household
+cares fell upon him he was troubled, and he therefore laid the charge of
+all expenditure on his brother David, saying to him, "Leave me to work,
+and do thou provide, for now that I have begun to understand the methods
+of this art, it grieves me that they will not commission me to paint
+the whole circuit of the walls of the city of Florence with stories";
+thus revealing a spirit absolutely invincible and resolute in every
+action.
+
+For S. Martino in Lucca he painted S. Peter and S. Paul on a panel. In
+the Abbey of Settimo, without Florence, he painted the wall of the
+principal chapel in fresco, with two panels in distemper in the
+tramezzo[25] of the church. In Florence, also, he executed many
+pictures, round, square, and of other kinds, which can only be seen in
+the houses of individual citizens. In Pisa he painted the recess behind
+the high-altar of the Duomo, and he worked in many parts of that city,
+painting, for example, on the front wall of the Office of Works, a scene
+of King Charles, portrayed from life, making supplication for Pisa; and
+two panels in distemper, that of the high-altar and another, for the
+Frati Gesuati in S. Girolamo. In that place there is also a picture of
+S. Rocco and S. Sebastian by the hand of the same man, which was given
+by one or other of the Medici to those fathers, who have therefore added
+to it the arms of Pope Leo X.
+
+He is said to have been so accurate in draughtsmanship, that, when
+making drawings of the antiquities of Rome, such as arches, baths,
+columns, colossea, obelisks, amphitheatres, and aqueducts, he would work
+with the eye alone, without rule, compasses, or measurements; and after
+he had made them, on being measured, they were found absolutely correct,
+as if he had used measurements. He drew the Colosseum by the eye,
+placing at the foot of it a figure standing upright, from the
+proportions of which the whole edifice could be measured; this was tried
+by some masters after his death, and found quite correct.
+
+Over a door of the cemetery of S. Maria Nuova he painted a S. Michael in
+fresco, clad in armour which reflects the light most beautifully--a
+thing seldom done before his day. At the Abbey of Passignano, a seat of
+the Monks of Vallombrosa, he wrought certain works in company with his
+brother David and Bastiano da San Gimignano. Here the two others,
+finding themselves poorly fed by the monks before the arrival of
+Domenico, complained to the Abbot, praying him to have them better
+served, since it was not right that they should be treated like
+bricklayers' labourers. This the Abbot promised to do, saying in excuse
+that it was due more to the ignorance of the monks who looked after
+strangers than to malice. Domenico arrived, but everything continued
+just the same; whereupon David, seeking out the Abbot once again,
+declared with due apologies that he was not doing this for his own sake
+but on account of the merits and talents of his brother. But the Abbot,
+like the ignorant man that he was, made no other answer. That evening,
+then, when they had sat down to supper, up came the stranger's steward
+with a board covered with bowls and messes only fit for a hangman,
+exactly the same as before. Thereupon David, flying into a rage, upset
+the soup over the friar, and, seizing the loaf that was on the table,
+fell upon him with it and belaboured him in such a manner that he was
+carried away to his cell more dead than alive. The Abbot, who was
+already in bed, got up and ran to the noise, believing that the
+monastery was tumbling down; and finding the friar in a sorry plight, he
+began to upbraid David. Enraged by this, David bade him be gone out of
+his sight, saying that the talent of Domenico was worth more than all
+the pigs of Abbots like him that had ever lived in that monastery.
+Whereupon the Abbot, seeing himself in the wrong, did his utmost from
+that time onwards to treat them like the important men that they were.
+
+This work finished, Domenico returned to Florence, where he painted a
+panel for Signor di Carpi, sending another to Rimini for Signor Carlo
+Malatesta, who had it placed in his chapel in S. Domenico. The latter
+panel was in distemper, with three very beautiful figures, and with
+little scenes below; and behind were figures painted to look like
+bronze, with very great design and art. Besides these, he painted two
+panels for the Abbey of S. Giusto, a seat of the Order of Camaldoli,
+without Volterra; these panels, which are wondrously beautiful, he
+executed at the order of the Magnificent Lorenzo de' Medici, for the
+reason that the abbey was then held "in commendam" by his son Cardinal
+Giovanni de' Medici, who was afterwards Pope Leo. This abbey was
+restored not many years ago by the Very Reverend Messer Giovan Batista
+Bava of Volterra, who likewise held it "in commendam," to the said
+Congregation of Camaldoli.
+
+Being then summoned to Siena through the agency of the Magnificent
+Lorenzo de' Medici, Domenico undertook to adorn the façade of the Duomo
+with mosaics, Lorenzo acting as surety for him in this work to the
+extent of 20,000 ducats. And he began the work with much confidence and
+a better manner, but, being overtaken by death, he left it unfinished;
+even as, by reason of the death of the aforesaid Magnificent Lorenzo,
+there remained unfinished at Florence the Chapel of S. Zanobi, on which
+Domenico had begun to work in mosaic in company with the illuminator
+Gherardo. By the hand of Domenico is a very beautiful Annunciation in
+mosaic that is to be seen over that side-door of S. Maria del Fiore
+which leads to the Servi; and nothing better than this has yet been seen
+among the works of our modern masters of mosaic. Domenico used to say
+that painting was mere drawing, and that the true painting for eternity
+was mosaic.
+
+A pupil of his, who lived with him in order to learn, was Bastiano
+Mainardi da San Gimignano, who became a very able master of his manner
+in fresco; wherefore he went with Domenico to San Gimignano, where they
+painted in company the Chapel of S. Fina, which is a beautiful work. Now
+the faithful and willing service of Bastiano, who acquitted himself very
+well, induced Domenico to judge him worthy to have a sister of his own
+for wife; and so their friendship was changed into relationship--a proof
+of liberality worthy of a loving master, who was pleased to reward the
+proficiency that his disciple had acquired by labouring at his art.
+Domenico caused the said Bastiano to paint a Madonna ascending into
+Heaven in the Chapel of the Baroncelli and Bandini in S. Croce (although
+he made the cartoon himself), with S. Thomas below receiving the
+Girdle--a beautiful work in fresco. In Siena, in an apartment of the
+Palace of the Spannocchi, Domenico and Bastiano together painted many
+scenes in distemper, with little figures; and in Pisa, in addition to
+the aforesaid recess in the Duomo, they filled the whole arch of that
+chapel with angels, besides painting the folding doors that close the
+organ, and beginning to overlay the ceiling with gold. Afterwards, just
+when Domenico was about to put his hand to some very great works both in
+Pisa and in Siena, he fell sick of a most grievous putrid fever,
+which cut short his life in five days. As he lay ill, the Tornabuoni
+sent him a hundred ducats of gold as a gift, proving their regard and
+particular friendship for Domenico in return for his unceasing labours
+in the service of Giovanni and of his house. Domenico lived forty-four
+years, and he was buried with beautiful obsequies in S. Maria Novella by
+his brothers David and Benedetto and his son Ridolfo, amid much weeping
+and sorrowful regrets. The loss of so great a man was a great grief to
+his friends; and many excellent foreign painters, hearing that he was
+dead, wrote to his relatives lamenting his most untimely death. The
+disciples that he left were David and Benedetto Ghirlandajo, Bastiano
+Mainardi da San Gimignano, the Florentine Michelagnolo Buonarroti,
+Francesco Granaccio, Niccolò Cieco, Jacopo del Tedesco, Jacopo dell'
+Indaco, Baldino Baldinelli, and other masters, all Florentines. He died
+in 1495.
+
+[Illustration: THE MADONNA GIVING THE GIRDLE TO S. THOMAS
+
+(_After the panel by =Bastiano Mainardi=. Florence: S. Croce_)
+
+_Brogi_]
+
+Domenico enriched the art of painting by working in mosaic with a manner
+more modern than was shown by any of the innumerable Tuscans who essayed
+it, as is proved by the works that he wrought, few though they may be.
+Wherefore he has deserved to be held in honour and esteem for such rich
+and undying benefits to art, and to be celebrated with extraordinary
+praises after his death.
+
+FOOTNOTES:
+
+[23] Garlands.
+
+[24] See note on p. 57, Vol. I.
+
+[25] See note on p. 57, Vol. I.
+
+
+
+
+ANTONIO AND PIERO POLLAIUOLO
+
+
+
+
+LIVES OF ANTONIO AND PIERO POLLAIUOLO
+
+PAINTERS AND SCULPTORS OF FLORENCE
+
+
+Many men begin in a humble spirit with unimportant works, who, gaining
+courage from proficiency, grow also in power and ability, in such a
+manner that they aspire to greater undertakings and almost reach Heaven
+with their beautiful thoughts. Raised by fortune, they very often chance
+upon some liberal Prince, who, finding himself well served by them, is
+forced to remunerate their labours so richly that their descendants
+derive great benefits and advantages from them. Wherefore such men walk
+through this life to the end with so much glory, that they leave
+marvellous memorials of themselves to the world, as did Antonio and
+Piero del Pollaiuolo, who were greatly esteemed in their day for the
+rare acquirements that they had made with their industry and labour.
+
+These men were born in the city of Florence, one no long time after the
+other, from a father of humble station and no great wealth, who,
+recognizing by many signs the good and acute intelligence of his sons,
+but not having the means to educate them in letters, apprenticed Antonio
+to the goldsmith's art under Bartoluccio Ghiberti, a very excellent
+master in that calling at that time; and Piero he placed under Andrea
+dal Castagno, who was then the best painter in Florence, to learn
+painting. Antonio, then, being pushed on by Bartoluccio, not only learnt
+to set jewels and to fire enamels on silver, but was also held the best
+master of the tools of that art. Wherefore Lorenzo Ghiberti, who was
+then working on the doors of S. Giovanni, having observed the manner of
+Antonio, called him into that work in company with many other young men,
+and set him to labour on one of the festoons which he then had in hand.
+
+On this Antonio made a quail which is still in existence, so beautiful
+and so perfect that it lacks nothing but the power of flight. Antonio,
+therefore, had not spent many weeks over this work before he was known
+as the best, both in design and in patient execution, of all those who
+were working there, and as more gifted and more diligent than any other.
+Whereupon, growing ever both in ability and in fame, he left Bartoluccio
+and Lorenzo, and opened a fine and magnificent goldsmith's shop for
+himself in the Mercato Nuovo in that city. And for many years he
+followed that art, never ceasing to make new designs, and executing in
+relief wax candles and other things of fancy, which in a short time
+caused him to be held--as he was--the first master of his calling.
+
+There lived at the same time another goldsmith called Maso Finiguerra,
+who had an extraordinary fame, and deservedly, since there had never
+been seen any master of engraving and of niello who could make so great
+a number of figures as he could, whether in a small or in a large space;
+as is still proved by certain paxes in the Church of S. Giovanni in
+Florence, wrought by him with most minutely elaborated stories from the
+Passion of Christ. This man drew very well and in abundance, and in our
+book are many of his drawings of figures, both draped and nude, and
+scenes done in water-colour. In competition with him Antonio executed
+certain scenes, in which he equalled him in diligence and surpassed him
+in design; wherefore the Consuls of the Guild of Merchants, seeing the
+excellence of Antonio, and remembering that there were certain scenes in
+silver to be wrought for the altar of S. Giovanni, such as it had ever
+been the custom for various masters to make at different times,
+determined among themselves that Antonio also should make some. This
+came to pass; and his works turned out so excellent, that they are
+recognized as the best among them all. These were the Feast of Herod and
+the Dance of Herodias; but more beautiful than anything else was the S.
+John that is in the middle of the altar, a work wrought wholly with the
+chasing-tool, and much extolled. For this reason he was commissioned by
+the said Consuls to make the candelabra of silver, each three braccia in
+height, and the Cross in proportion; which work he brought to such
+perfection, with such an abundance of carving, that it has ever been
+esteemed a marvellous thing both by foreigners and by his countrymen.
+
+[Illustration: SS. EUSTACE, JAMES, AND VINCENT
+
+(_After the panel by =Piero Pollaiuolo=. Florence: Uffizi, 1301_)
+
+_Alinari_]
+
+In this calling he took infinite pains, both with the works that he
+executed in gold and with those in enamel and silver. Among these are
+some very beautiful paxes in S. Giovanni, coloured by the action of
+fire, which are such that they could be scarcely improved with the
+brush; and some of his marvellous enamels may be seen in other churches
+in Florence, Rome, and other parts of Italy.
+
+He taught this art to the Florentine Mazzingo and to Giuliano del
+Facchino, both passing good masters, and to Giovanni Turini of Siena,
+who surpassed these his companions considerably in that profession, in
+which, from Antonio di Salvi--who made many good works, such as a large
+silver Cross for the Badia of Florence, and other things--to our own
+day, there has been nothing done than can be held in particular account.
+But of his works and of those of the Pollaiuoli many have been destroyed
+and melted down to meet the necessities of the city in times of war.
+
+For this reason, recognizing that this art gave no long life to the
+labours of its craftsmen, and desiring to gain a more lasting memory,
+Antonio resolved to pursue it no longer. And so, his brother Piero being
+a painter, he associated himself with him in order to learn the methods
+of handling and using colours; but it appeared to him an art so
+different from the goldsmith's, that, if he had not been so hasty in
+resolving to abandon his own art entirely, it might well have been that
+he would never have brought himself to turn to the other. However,
+spurred by fear of shame rather than by hope of profit, in a few months
+he acquired a practical knowledge of colouring and became an excellent
+master. He associated himself entirely with Piero, and they made many
+pictures in company; among others, since they took great delight in
+colour, a panel in oil in S. Miniato al Monte without Florence, for the
+Cardinal of Portugal. On this panel, which was placed on the altar of
+his chapel, they painted S. James the Apostle, S. Eustace, and S.
+Vincent, which have been much extolled. Piero, in particular, painted
+certain prophets on the wall in oil (a method that he had learnt from
+Andrea dal Castagno), in the corners of the angles below the architrave,
+where the lunettes of the arches run; and in one of the lunettes he
+painted the Virgin receiving the Annunciation, with three figures. For
+the Capitani di Parte he painted a Madonna with the Child in her arms in
+a lunette, with a frieze of seraphim all round, also wrought in oil.
+They also painted in oil, on canvas, on a pilaster of S. Michele in
+Orto, an Angel Raphael with Tobias; and they made certain Virtues in the
+Mercatanzia of Florence, in the very place where that Tribunal holds its
+sittings. In the Proconsulate Antonio made portraits from life of Messer
+Poggio, Secretary to the Signoria of Florence, who continued the History
+of Florence after Messer Leonardo d'Arezzo, and of Messer Giannozzo
+Manetti, a man of no small learning and repute, in the same place where
+other masters some time before had made portraits of Zanobi da Strada, a
+poet of Florence, Donato Acciaiuoli, and others. In the Chapel of the
+Pucci, in S. Sebastiano de' Servi, he painted the panel of the altar,
+which is a rare and excellent work, containing marvellous horses, nudes,
+and very beautiful figures in foreshortening, and S. Sebastian himself
+portrayed from life--namely, from Gino di Lodovico Capponi. This work
+received greater praise than any other that Antonio ever made, since,
+seeking to imitate nature to the utmost of his power, he showed in one
+of the archers, who is resting his cross-bow against his chest and
+bending down to the ground in order to load it, all the force that a man
+of strong arm can exert in loading that weapon, for we see his veins and
+muscles swelling, and the man himself holding his breath in order to
+gain more strength. Nor is this the only figure wrought with careful
+consideration, for all the others in their various attitudes also
+demonstrate clearly enough the thought and the intelligence that he put
+into this work, which was certainly appreciated by Antonio Pucci, who
+gave him 300 crowns for it, declaring that he was barely paying him for
+the colours. It was finished in the year 1475.
+
+[Illustration: ANTONIO POLLAIUOLO: DAVID VICTOR
+
+(_Berlin: Kaiser Friedrich Museum, 73A. Panel_)]
+
+Gaining courage from this, therefore, he painted at S. Miniato fra le
+Torri, without the Gate, a S. Cristopher ten braccia in height, a very
+beautiful work executed in a modern manner, the figure being better
+proportioned than any other of that size that had been made up to that
+time. He then made a Crucifix with S. Antonino, on canvas, which was
+placed in the chapel of that Saint in S. Marco. In the Palace of the
+Signoria of Florence, at the Porta della Catena, he made a S. John the
+Baptist; and in the house of the Medici he painted for the elder Lorenzo
+three figures of Hercules in three pictures, each five braccia in
+height. The first of these, which is slaying Antaeus, is a very
+beautiful figure, in which the strength of Hercules as he crushes the
+other is seen most vividly, for the muscles and nerves of that figure
+are all strained in the struggle to destroy Antaeus. The head of
+Hercules shows the gnashing of the teeth so well in harmony with the
+other parts, that even the toes of his feet are raised in the effort.
+Nor did he take less pains with Antaeus, who, crushed in the arms of
+Hercules, is seen sinking and losing all his strength, and giving up his
+breath through his open mouth. The second Hercules, who is slaying the
+Lion, has the left knee pressed against its chest, and, setting his
+teeth and extending his arms, and grasping the Lion's jaws with both his
+hands, he is opening them and rending them asunder by main force,
+although the beast is tearing his arms grievously with its claws in
+self-defence. The third picture, wherein Hercules is slaying the Hydra,
+is something truly marvellous, particularly the serpent, which he made
+so lively and so natural in colouring that nothing could be made more
+life-like. In that beast are seen venom, fire, ferocity, rage, and such
+vivacity, that he deserves to be celebrated and to be closely imitated
+in this by all good craftsmen.
+
+For the Company of S. Angelo in Arezzo he executed an oil-painting on
+cloth, with a Crucifix on one side, and on the other S. Michael in
+combat with the Dragon, as beautiful as any work that there is to be
+seen by his hand; for the figure of S. Michael, who is bravely
+confronting the Dragon, setting his teeth and knitting his brows, truly
+seems to have descended from Heaven in order to effect the vengeance of
+God against the pride of Lucifer, and it is indeed a marvellous work. He
+had a more modern grasp of the nude than the masters before his day, and
+he dissected many bodies in order to study their anatomy. He was the
+first to demonstrate the method of searching out the muscles, in order
+that they might have their due form and place in his figures, and he
+engraved on copper a battle of nude figures all girt round with a chain;
+and after this one he made other engravings, with much better
+workmanship than had been shown by the other masters who had lived
+before him.
+
+For these reasons, then, he became famous among craftsmen, and after the
+death of Pope Sixtus IV he was summoned by his successor, Pope Innocent,
+to Rome, where he made a tomb of metal for the said Innocent, wherein he
+portrayed him from nature, seated in the attitude of giving the
+Benediction; and this was placed in S. Pietro. That of the said Pope
+Sixtus, which was finished at very great cost, was placed in the chapel
+that is called by the name of that Pontiff. It stands quite by itself,
+with very rich adornments, and on it there lies an excellent figure of
+the Pope; and the tomb of Innocent stands in S. Pietro, beside the
+chapel that contains the Lance of Christ. It is said that the same man
+designed the Palace of the Belvedere for the said Pope Innocent,
+although, since he had little experience of building, it was erected by
+others. Finally, after becoming rich, these two brothers died almost at
+the same time in 1498, and were buried by their relatives in S. Pietro
+in Vincula; and in memory of them, beside the middle door, on the left
+as one enters into the church, there were placed two medallions of
+marble with their portraits and with the following epitaph:
+
+   ANTONIUS PULLARIUS PATRIA FLORENTINUS, PICTOR INSIGNIS, QUI
+   DUORUM PONTIF. XISTI ET INNOCENTII ÆREA MONIMENTA MIRO OPIFIC.
+   EXPRESSIT, RE FAMIL. COMPOSITA EX TEST. HIC SE CUM PETRO FRATRE
+   CONDI VOLUIT. VIX. AN. LXXII. OBIIT ANNO SAL. MIID.
+
+The same man made a very beautiful battle of nude figures in low-relief
+and of metal, which went to Spain; of this every craftsman in Florence
+has a plaster cast. And after his death there were found the design and
+model that he had made at the command of Lodovico Sforza for the
+equestrian statue of Francesco Sforza, Duke of Milan, of which design
+there are two forms in our book; in one the Duke has Verona beneath him,
+and in the other he is on a pedestal covered with battle pieces, in full
+armour, and forcing his horse to leap on a man in armour. But the reason
+why he did not put these designs into execution I have not yet been able
+to discover. The same man made some very beautiful medals; among others,
+one representing the conspiracy of the Pazzi, containing on one
+side the heads of Lorenzo and Giuliano de' Medici, and on the reverse
+the choir of S. Maria del Fiore, with the whole event exactly as it
+happened. He also made the medals of certain Pontiffs, and many other
+things that are known to craftsmen.
+
+[Illustration: THE MARTYRDOM OF S. SEBASTIAN
+
+(_After the panel by =Antonio Pollaiuolo=. London: National Gallery,
+292_)
+
+_Mansell_]
+
+[Illustration: TOMB OF POPE SIXTUS IV
+
+(_After =Antonio Pollaiuolo=. Rome: S. Peter's_)
+
+_Anderson_]
+
+Antonio was seventy-two years of age when he died, and Piero sixty-five.
+The former left many disciples, among whom was Andrea Sansovino. Antonio
+had a most fortunate life in his day, finding rich Pontiffs, and his own
+city at the height of its greatness and delighting in talent, wherefore
+he was much esteemed; whereas, if he had chanced to live in an
+unfavourable age, he would not have produced such fruits as he did,
+since troublous times are deadly enemies to the sciences in which men
+labour and take delight.
+
+For S. Giovanni in Florence, after the design of this man, there were
+made two dalmatics, a chasuble, and a cope, of double brocade, all woven
+in one piece without a single seam; and for these, as borders and
+ornaments, there were embroidered the stories of the life of S. John,
+with most delicate workmanship and art, by Paolo da Verona, a divine
+master of that profession and rare in intelligence beyond all others,
+who executed the figures no less well with the needle than Antonio would
+have done them with his brush; wherefore we owe no small obligation to
+the one for his design and to the other for his patience in embroidering
+it. This work took twenty-six years to complete; but of these
+embroideries, which, being made with the close stitch, are not only more
+durable but also seem like a real painting done with the brush, the good
+method is now all but lost, since we now use a more open stitch, which
+is less durable and less lovely to the eye.
+
+
+
+
+SANDRO BOTTICELLI
+
+
+
+
+LIFE OF SANDRO BOTTICELLI
+
+[_ALESSANDRO FILIPEPI OR SANDRO DI BOTTICELLO_]
+
+PAINTER OF FLORENCE
+
+
+At the same time with the elder Lorenzo de' Medici, the Magnificent,
+which was truly a golden age for men of intellect, there also flourished
+one Alessandro, called Sandro after our custom, and surnamed Di
+Botticello for a reason that we shall see below. This man was the son of
+Mariano Filipepi, a citizen of Florence, who brought him up with care,
+and had him instructed in all those things that are usually taught to
+children before they are old enough to be apprenticed to some calling.
+But although he found it easy to learn whatever he wished, nevertheless
+he was ever restless, nor was he contented with any form of learning,
+whether reading, writing, or arithmetic, insomuch that his father, weary
+of the vagaries of his son's brain, in despair apprenticed him as a
+goldsmith with a boon-companion of his own, called Botticello, no mean
+master of that art in his day.
+
+Now in that age there was a very close connection--nay, almost a
+constant intercourse--between the goldsmiths and the painters; wherefore
+Sandro, who was a ready fellow and had devoted himself wholly to design,
+became enamoured of painting, and determined to devote himself to that.
+For this reason he spoke out his mind freely to his father, who,
+recognizing the inclination of his brain, took him to Fra Filippo of the
+Carmine, a most excellent painter of that time, with whom he placed him
+to learn the art, according to Sandro's own desire. Thereupon, devoting
+himself heart and soul to that art, Sandro followed and imitated his
+master so well that Fra Filippo, growing to love him, taught him very
+thoroughly, so that he soon rose to such a rank as none would have
+expected for him.
+
+While still quite young, he painted a figure of Fortitude in the
+Mercatanzia of Florence, among the pictures of Virtues that were wrought
+by Antonio and Piero del Pollaiuolo. For the Chapel of the Bardi in S.
+Spirito at Florence he painted a panel, wrought with diligence and
+brought to a fine completion, which contains certain olive-trees and
+palms executed with consummate lovingness. He painted a panel for the
+Convertite Nuns, and another for those of S. Barnaba. In the
+tramezzo[26] of the Ognissanti, by the door that leads into the choir,
+he painted for the Vespucci a S. Augustine in fresco, with which he took
+very great pains, seeking to surpass all the painters of his time, and
+particularly Domenico Ghirlandajo, who had made a S. Jerome on the other
+side; and this work won very great praise, for in the head of that Saint
+he depicted the profound meditation and acute subtlety that are found in
+men of wisdom who are ever concentrated on the investigation of the
+highest and most difficult matters. This picture, as was said in the
+Life of Ghirlandajo, has this year (1564) been removed safe and sound
+from its original position.
+
+Having thus come into credit and reputation, he was commissioned by the
+Guild of Porta Santa Maria to paint in S. Marco a panel with the
+Coronation of Our Lady and a choir of angels, which he designed and
+executed very well. He made many works in the house of the Medici for
+the elder Lorenzo, particularly a Pallas on a device of great branches,
+which spouted forth fire: this he painted of the size of life, as he did
+a S. Sebastian. In S. Maria Maggiore in Florence, beside the Chapel of
+the Panciatichi, there is a very beautiful Pietà with little figures.
+For various houses throughout the city he painted round pictures, and
+many female nudes, of which there are still two at Castello, a villa of
+Duke Cosimo's; one representing the birth of Venus, with those Winds and
+Zephyrs that bring her to the earth, with the Cupids; and likewise
+another Venus, whom the Graces are covering with flowers, as a symbol of
+spring; and all this he is seen to have expressed very gracefully. Round
+an apartment of the house of Giovanni Vespucci, now belonging to Piero
+Salviati, in the Via de' Servi, he made many pictures which were
+enclosed by frames of walnut-wood, by way of ornament and panelling,
+with many most lively and beautiful figures. In the house of the Pucci,
+likewise, he painted with little figures Boccaccio's tale of Nastagio
+degli Onesti in four square pictures of most charming and beautiful
+workmanship, and the Epiphany in a round picture. For a chapel in the
+Monastery of Cestello he painted an Annunciation on a panel. Near the
+side-door of S. Pietro Maggiore, for Matteo Palmieri, he painted a panel
+with an infinite number of figures--namely, the Assumption of Our Lady,
+with the zones of Heaven as they are represented, and the Patriarchs,
+the Prophets, the Apostles, the Evangelists, the Martyrs, the
+Confessors, the Doctors, the Virgins, and the Hierarchies; all from the
+design given to him by Matteo, who was a learned and able man. This work
+he painted with mastery and consummate diligence; and at the foot is a
+portrait of Matteo on his knees, with that of his wife. But for all that
+the work is most beautiful, and should have silenced envy, nevertheless
+there were certain malignant slanderers who, not being able to do it any
+other damage, said that both Matteo and Sandro had committed therein the
+grievous sin of heresy. As to whether this be true or false, I cannot be
+expected to judge; it is enough that the figures painted therein by
+Sandro are truly worthy of praise, by reason of the pains that he took
+in drawing the zones of Heaven and in the distribution of figures,
+angels, foreshortenings, and views, all varied in diverse ways, the
+whole being executed with good design.
+
+[Illustration: SANDRO BOTTICELLI: PALLAS AND THE CENTAUR
+
+(_Florence: Pitti Palace, Panel_)]
+
+[Illustration: SANDRO BOTTICELLI: GIOVANNA TORNABUONI AND THE GRACES
+
+(_Paris: Louvre, 1297. Fresco_)]
+
+At this time Sandro was commissioned to paint a little panel with
+figures three-quarters of a braccio in length, which was placed between
+two doors in the principal façade of S. Maria Novella, on the left as
+one enters the church by the door in the centre. It contains the
+Adoration of the Magi, and wonderful feeling is seen in the first old
+man, who, kissing the foot of Our Lord, and melting with tenderness,
+shows very clearly that he has achieved the end of his long journey. The
+figure of this King is an actual portrait of the elder Cosimo de'
+Medici, the most lifelike and most natural that is to be found of him in
+our own day. The second, who is Giuliano de' Medici, father of Pope
+Clement VII, is seen devoutly doing reverence to the Child with a most
+intent expression, and presenting Him with his offering. The third,
+also on his knees, appears to be adoring Him and giving Him thanks,
+while confessing that He is the true Messiah; this is Giovanni, son of
+Cosimo.
+
+It is not possible to describe the beauty that Sandro depicted in the
+heads that are therein seen, which are drawn in various attitudes, some
+in full face, some in profile, some in three-quarter face, others
+bending down, and others, again, in various manners; with different
+expressions for the young and the old, and with all the bizarre effects
+that reveal to us the perfection of his skill; and he distinguished the
+Courts of the three Kings one from another, insomuch that one can see
+which are the retainers of each. This is truly a most admirable work,
+and executed so beautifully, whether in colouring, drawing, or
+composition, that every craftsman at the present day stands in a marvel
+thereat. And at that time it brought him such great fame, both in
+Florence and abroad, that Pope Sixtus IV, having accomplished the
+building of the chapel of his palace in Rome, and wishing to have it
+painted, ordained that he should be made head of that work; whereupon he
+painted therein with his own hand the following scenes--namely, the
+Temptation of Christ by the Devil, Moses slaying the Egyptian, Moses
+receiving drink from the daughters of Jethro the Midianite, and likewise
+fire descending from Heaven on the sacrifice of the sons of Aaron, with
+certain Sanctified Popes in the niches above the scenes. Having
+therefore acquired still greater fame and reputation among the great
+number of competitors who worked with him, both Florentines and men of
+other cities, he received from the Pope a good sum of money, the whole
+of which he consumed and squandered in a moment during his residence in
+Rome, where he lived in haphazard fashion, as was his wont.
+
+Having at the same time finished and unveiled the part that had been
+assigned to him, he returned immediately to Florence, where, being a man
+of inquiring mind, he made a commentary on part of Dante, illustrated
+the Inferno, and printed it; on which he wasted much of his time,
+bringing infinite disorder into his life by neglecting his work. He also
+printed many of the drawings that he had made, but in a bad manner, for
+the engraving was poorly done. The best of these that is to be seen
+by his hand is the Triumph of the Faith effected by Fra Girolamo
+Savonarola of Ferrara, of whose sect he was so ardent a partisan that he
+was thereby induced to desert his painting, and, having no income to
+live on, fell into very great distress. For this reason, persisting in
+his attachment to that party, and becoming a Piagnone[27] (as the
+members of the sect were then called), he abandoned his work; wherefore
+he ended in his old age by finding himself so poor, that, if Lorenzo de'
+Medici, for whom, besides many other things, he had done some work at
+the little hospital in the district of Volterra, had not succoured him
+the while that he lived, as did afterwards his friends and many
+excellent men who loved him for his talent, he would have almost died of
+hunger.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Sandro Botticelli=. Florence: Uffizi, 1286_)
+
+_M. S._]
+
+In S. Francesco, without the Porta a San Miniato, there is a Madonna in
+a round picture by the hand of Sandro, with some angels of the size of
+life, which was held a very beautiful work. Sandro was a man of very
+pleasant humour, often playing tricks on his disciples and his friends;
+wherefore it is related that once, when a pupil of his who was called
+Biagio had made a round picture exactly like the one mentioned above, in
+order to sell it, Sandro sold it for six florins of gold to a citizen;
+then, finding Biagio, he said to him, "At last I have sold this thy
+picture; so this evening it must be hung on high, where it will be seen
+better, and in the morning thou must go to the house of the citizen who
+has bought it, and bring him here, that he may see it in a good light in
+its proper place; and then he will pay thee the money." "O, my master,"
+said Biagio, "how well you have done." Then, going into the shop, he
+hung the picture at a good height, and went off. Meanwhile Sandro and
+Jacopo, who was another of his disciples, made eight caps of paper, like
+those worn by citizens, and fixed them with white wax on the heads of
+the eight angels that surrounded the Madonna in the said picture. Now,
+in the morning, up comes Biagio with his citizen, who had bought the
+picture and was in the secret. They entered the shop, and Biagio,
+looking up, saw his Madonna seated, not among his angels, but among the
+Signoria of Florence, with all those caps. Thereupon he was just about
+to begin to make an outcry and to excuse himself to the man who had
+bought it, when, seeing that the other, instead of complaining, was
+actually praising the picture, he kept silent himself. Finally, going
+with the citizen to his house, Biagio received his payment of six
+florins, the price for which his master had sold the picture; and then,
+returning to the shop just as Sandro and Jacopo had removed the paper
+caps, he saw his angels as true angels, and not as citizens in their
+caps. All in a maze, and not knowing what to say, he turned at last to
+Sandro and said: "Master, I know not whether I am dreaming, or whether
+this is true. When I came here before, these angels had red caps on
+their heads, and now they have not; what does it mean?" "Thou art out of
+thy wits, Biagio," said Sandro; "this money has turned thy head. If it
+were so, thinkest thou that the citizen would have bought the picture?"
+"It is true," replied Biagio, "that he said nothing to me about it, but
+for all that it seemed to me strange." Finally, all the other lads
+gathered round him and wrought on him to believe that it had been a fit
+of giddiness.
+
+Another time a cloth-weaver came to live in a house next to Sandro's,
+and erected no less than eight looms, which, when at work, not only
+deafened poor Sandro with the noise of the treadles and the movement of
+the frames, but shook his whole house, the walls of which were no
+stronger than they should be, so that what with the one thing and the
+other he could not work or even stay at home. Time after time he
+besought his neighbour to put an end to this annoyance, but the other
+said that he both would and could do what he pleased in his own house;
+whereupon Sandro, in disdain, balanced on the top of his own wall, which
+was higher than his neighbour's and not very strong, an enormous stone,
+more than enough to fill a wagon, which threatened to fall at the
+slightest shaking of the wall and to shatter the roof, ceilings, webs,
+and looms of his neighbour, who, terrified by this danger, ran to
+Sandro, but was answered in his very own words--namely, that he both
+could and would do whatever he pleased in his own house. Nor could he
+get any other answer out of him, so that he was forced to come to a
+reasonable agreement and to be a good neighbour to Sandro.
+
+[Illustration: SANDRO BOTTICELLI: THE MADONNA OF THE POMEGRANATE
+
+(_Florence: Uffizi, 1289. Panel_)]
+
+It is also related that Sandro, for a jest, accused a friend of his own
+of heresy before his vicar, and the friend, on appearing, asked who
+the accuser was and what the accusation; and having been told that it
+was Sandro, who had charged him with holding the opinion of the
+Epicureans, and believing that the soul dies with the body, he insisted
+on being confronted with the accuser before the judge. Sandro therefore
+appeared, and the other said: "It is true that I hold this opinion with
+regard to this man's soul, for he is an animal. Nay, does it not seem to
+you that he is the heretic, since without a scrap of learning, and
+scarcely knowing how to read, he plays the commentator to Dante and
+takes his name in vain?"
+
+It is also said that he had a surpassing love for all whom he saw to be
+zealous students of art; and that he earned much, but wasted everything
+through negligence and lack of management. Finally, having grown old and
+useless, and being forced to walk with crutches, without which he could
+not stand upright, he died, infirm and decrepit, at the age of
+seventy-eight, and was buried in Ognissanti at Florence in the year
+1515.
+
+In the guardaroba of the Lord Duke Cosimo there are two very beautiful
+heads of women in profile by his hand, one of which is said to be the
+mistress of Giuliano de' Medici, brother of Lorenzo, and the other
+Madonna Lucrezia de' Tornabuoni, wife of the said Lorenzo. In the same
+place, likewise by the hand of Sandro, is a Bacchus who is raising a
+cask with both his hands, and putting it to his mouth--a very graceful
+figure. And in the Duomo of Pisa he began an Assumption, with a choir of
+angels, in the Chapel of the Impagliata; but afterwards, being
+displeased with it, he left it unfinished. In S. Francesco at
+Montevarchi he painted the panel of the high-altar; and in the Pieve of
+Empoli, on the same side as the S. Sebastian of Rossellino, he made two
+angels. He was among the first to discover the method of decorating
+standards and other sorts of hangings with the so-called inlaid work, to
+the end that the colours might not fade and might show the tint of the
+cloth on either side. By his hand, and made thus, is the baldacchino of
+Orsanmichele, covered with beautiful and varied figures of Our Lady;
+which proves how much better such a method preserves the cloth than does
+the use of mordants, which eat it away and make its life but short,
+although, being less costly, mordants are now used more than anything
+else.
+
+Sandro's drawings were extraordinarily good, and so many, that for some
+time after his death all the craftsmen strove to obtain some of them;
+and we have some in our book, made with great mastery and judgment. His
+scenes abounded with figures, as may be seen from the embroidered border
+of the Cross that the Friars of S. Maria Novella carry in processions,
+all made from his design. Great was the praise, then, that Sandro
+deserved for all the pictures that he chose to make with diligence and
+love, as he did the aforesaid panel of the Magi in S. Maria Novella,
+which is marvellous. Very beautiful, too, is a little round picture by
+his hand that is seen in the apartment of the Prior of the Angeli in
+Florence, in which the figures are small but very graceful and wrought
+with beautiful consideration. Of the same size as the aforesaid panel of
+the Magi, and by the same man's hand, is a picture in the possession of
+Messer Fabio Segni, a gentlemen of Florence, in which there is painted
+the Calumny of Apelles, as beautiful as any picture could be. Under this
+panel, which Sandro himself presented to Antonio Segni, who was much his
+friend, there may now be read the following verses, written by the said
+Messer Fabio:
+
+   INDICIO QUEMQUAM NE FALSO LÆDERE TENTENT
+       TERRARUM REGES, PARVA TABELLA MONET.
+   HUIC SIMILEM ÆGYPTI REGI DONAVIT APELLES;
+       REX FUIT ET DIGNUS MUNERE, MUNUS EO.
+
+[Illustration: THE CALUMNY OF APELLES
+
+(_After the panel by =Sandro Botticelli=. Florence: Uffizi, 1182_)
+
+_M. S._]
+
+FOOTNOTES:
+
+[26] See note on p. 57, Vol. 1.
+
+[27] Mourner, or Weeper.
+
+
+
+
+BENEDETTO DA MAIANO
+
+
+
+
+LIFE OF BENEDETTO DA MAIANO
+
+SCULPTOR AND ARCHITECT
+
+
+Benedetto da Maiano, a sculptor of Florence, who was in his earliest
+years a wood-carver, was held the most able master of all who were then
+handling the tools of that profession; and he was particularly excellent
+as a craftsman in that form of work which, as has been said elsewhere,
+was introduced at the time of Filippo Brunelleschi and Paolo
+Uccello--namely, the inlaying of pieces of wood tinted with various
+colours, in order to make views in perspective, foliage, and many other
+diverse things of fancy. In this craft, then, Benedetto da Maiano was in
+his youth the best master that there was to be found, as is clearly
+demonstrated by many works of his that are to be seen in various parts
+of Florence, particularly by all the presses in the Sacristy of S. Maria
+del Fiore, the greater part of which he finished after the death of his
+uncle Giuliano; these are full of figures executed in inlaid work,
+foliage, and other devices, all wrought with great expense and
+craftsmanship. Having gained a very great name through the novelty of
+this art, he made many works, which were sent to diverse places and to
+various Princes; and among others King Alfonso of Naples had the
+furniture for a study, made under the direction of Giuliano, uncle of
+Benedetto, who was serving that King as architect. Benedetto himself
+went to join him there; but, being displeased with the position, he
+returned to Florence, where, no long time after, he made for Matthias
+Corvinus, King of Hungary, who had many Florentines in his Court and
+took delight in all rare works, a pair of coffers inlaid in wood with
+difficult and most beautiful craftsmanship. He then determined, being
+invited with great favour by that King, to consent to go thither at all
+costs; and so, having packed up his coffers and embarked with them on
+board ship, he set off for Hungary. There, after doing obeisance to that
+King, by whom he was received most graciously, he sent for the said
+coffers and had them unpacked in the presence of the monarch, who was
+very eager to see them; whereupon he saw that the damp from the water
+and the exhalations from the sea had so softened the glue, that, on the
+opening of the waxed cloths, almost all the pieces which had been
+attached to the coffers fell to the ground. Whether Benedetto,
+therefore, in the presence of so many nobles, stood in dumb amazement,
+everyone may judge for himself. However, putting the work together as
+well as he was able, he contrived to leave the King well enough
+satisfied; but in spite of this he took an aversion to that craft and
+could no longer endure it, through the shame that it had brought upon
+him.
+
+And so, casting off all timidity, he devoted himself to sculpture, in
+which art he had already worked at Loreto while living with his uncle
+Giuliano, making a lavatory with certain angels of marble for the
+sacristy. Labouring at this art, before he left Hungary he gave that
+King to know that if he had been put to shame at the beginning, the
+fault had lain with that craft, which was a mean one, and not with his
+intellect, which was rare and exalted. Having therefore made in those
+parts certain works both in clay and in marble, which gave great
+pleasure to that King, he returned to Florence; and he had no sooner
+arrived there than he was commissioned by the Signori to make the marble
+ornament for the door of their Audience Chamber. For this he made some
+boys supporting with their arms certain festoons, all very beautiful;
+but the most beautiful part of the work was the figure in the middle,
+two braccia in height, of a young S. John, which is held to be a thing
+of rare excellence. And to the end that the whole work might be by his
+own hand, he made by himself the wood-work that closes the said door,
+and executed a figure with inlaid woods on either part of it, that is,
+Dante on one and Petrarca on the other; which two figures are enough to
+show to any man who may have seen no other work of that kind by the hand
+of Benedetto, how rare and excellent a master he was of that craft. This
+Audience Chamber has been painted in our own day by Francesco Salviati
+at the command of the Lord Duke Cosimo, as will be told in the proper
+place.
+
+[Illustration: PULPIT IN S. CROCE, FLORENCE
+
+(_After =Benedetto da Maiano=. Florence_)
+
+_Alinari_]
+
+In S. Maria Novella at Florence, where Filippino painted the chapel,
+Benedetto afterwards made a tomb of black marble, with a Madonna and
+certain angels in a medallion, with much diligence, for the elder
+Filippo Strozzi, whose portrait, which he made there in marble, is now
+in the Strozzi Palace. The same Benedetto was commissioned by the elder
+Lorenzo de' Medici to make in S. Maria del Fiore a portrait of the
+Florentine painter Giotto, which he placed over the epitaph, of which
+enough has been said above in the Life of Giotto himself. This piece of
+marble sculpture is held to be passing good. Having afterwards gone to
+Naples by reason of the death of his uncle Giuliano, whose heir he was,
+Benedetto, besides certain works that he executed for that King, made a
+marble panel for the Count of Terranuova in the Monastery of the Monks
+of Monte Oliveto, containing an Annunciation with certain saints, and
+surrounded by very beautiful boys, who are supporting some festoons; and
+in the predella of the said work he made many low-reliefs in a good
+manner. In Faenza he made a very beautiful tomb of marble for the body
+of S. Savino, and on this he wrought six scenes in low-relief from the
+life of that Saint, with much invention and design both in the buildings
+and in the figures; insomuch that both from this work and from others by
+his hand he was recognized as a man excellent in sculpture. Wherefore,
+before he left Romagna, he was commissioned to make a portrait of
+Galeotto Malatesta. He also made one, I know not whether before this or
+after, of Henry VII, King of England, after a drawing on paper that he
+had received from some Florentine merchants. The studies for these two
+portraits, together with many other things, were found in his house
+after his death.
+
+Having finally returned to Florence, he made in S. Croce, for Pietro
+Mellini, a citizen of Florence and a very rich merchant at that time,
+the marble pulpit that is seen there, which is held to be a very rare
+thing and more beautiful than any other that has ever been executed in
+that manner, since the marble figures that are to be seen therein, in
+the stories of S. Francis, are wrought with so great excellence and
+diligence that nothing more could be looked for in marble. For with
+great art Benedetto carved there trees, rocks, houses, views in
+perspective, and certain things in marvellously bold relief; not to
+mention a projection on the ground below the said pulpit, which serves
+as a tombstone, wrought with so much design that it is not possible to
+praise it enough. It is said that in making this work he had some
+difficulty with the Wardens of Works of S. Croce, because, while he
+wished to erect the said pulpit against a column that sustains some of
+the arches which support the roof, and to perforate that column in order
+to accommodate the steps and the entrance to the pulpit, they would not
+consent, fearing lest it might be so weakened by the hollow required for
+the steps as to collapse under the weight above, with great damage to a
+part of that church. But Mellini having guaranteed that the work would
+be finished without any injury to the church, they finally consented.
+Having, therefore, bound the outer side of the column with bands of
+bronze (the part, namely, from the pulpit downwards, which is covered
+with hard stone), Benedetto made within it the steps for ascending to
+the pulpit, and in proportion as he hollowed it out within, so did he
+strengthen the outer side with the said hard stone, in the manner that
+is still to be seen. And he brought this work to perfection to the
+amazement of all who see it, showing in each part and in the whole
+together the utmost excellence that could be desired in such a work.
+
+Many declare that the elder Filippo Strozzi, when intending to build his
+palace, sought the advice of Benedetto, who made him a model, according
+to which it was begun, although it was afterwards carried on and
+finished by Cronaca on the death of Benedetto. The latter, having
+acquired enough to live upon, would do no more works in marble after
+those described above, save that he finished in S. Trinita the S. Mary
+Magdalene begun by Desiderio da Settignano, and made the Crucifix that
+is over the altar of S. Maria del Fiore, with certain others like it.
+
+As for architecture, although he put his hand to but few works, yet in
+these he showed no less judgment than in sculpture; particularly in
+three ceilings which were made at very great expense, under his guidance
+and direction, in the Palace of the Signoria at Florence. The first of
+these was the ceiling of the hall that is now called the Sala de'
+Dugento, over which it was proposed to make, not a similar hall, but two
+apartments, that is, a hall and an audience chamber, so that it was
+necessary to make a wall, and no light one either, containing a marble
+door of reasonable thickness; wherefore, for the execution of such a
+work, there was need of intelligence and judgment no less than those
+possessed by Benedetto.
+
+Benedetto, then, in order not to diminish the said hall and yet divide
+the space above into two, went to work in the following manner. On a
+beam one braccio in thickness, and as long as the whole breadth of the
+hall, he laid another consisting of two pieces, in such a manner that it
+projected with its thickness to the height of two-thirds of a braccio.
+At the ends, these two beams, bound and secured together very firmly,
+gave a height of two braccia at the edge of the wall on each side; and
+the said two ends were grooved with a claw-shaped cut, in such a way
+that there could be laid upon them an arch of half a braccio in
+thickness, made of two layers of bricks, with its flanks resting on the
+principal walls. These two beams, then, were dove-tailed together with
+tenon and mortise, and so firmly bound and united with good bands of
+iron, that out of two there was made one single beam. Besides this,
+having made the said arch, and wishing that these timbers of the ceiling
+should have nothing more to sustain than the wall under the arch, and
+that the arch itself should sustain the rest, he also attached to this
+arch two great supports of iron, which, being firmly bolted to the said
+beams below, upheld and still uphold them; while, even if they were not
+to suffice by themselves, the arch would be able--by means of the said
+supports which encircle the beams, one on one side of the marble door
+and one on the other--to support a weight much greater than that of the
+partition wall, which is made of bricks and half a braccio in thickness.
+What is more, he had the bricks in the said wall laid on edge and in the
+manner of an arch, so that the pressure came against the solid part, at
+the corners, and the whole was thus more stable. In this manner, by
+means of the good judgment of Benedetto, the said Sala de' Dugento
+remained as large as before, and over the same space, with a partition
+wall between, were made the hall that is called the Sala dell'
+Orivolo[28] and the Audience Chamber wherein is the Triumph of Camillus,
+painted by the hand of Salviati. The soffit of this ceiling was richly
+wrought and carved by Marco del Tasso and his brothers, Domenico and
+Giuliano, who likewise executed that of the Sala dell' Orivolo and that
+of the Audience Chamber. And since the said marble door had been made
+double by Benedetto, on the arch of the inner door--we have already
+spoken of the outer one--he wrought a seated figure of Justice in
+marble, with the globe of the world in one hand and a sword in the
+other; and round the arch run the following words:
+
+   DILIGITE JUSTITIAM QUI JUDICATIS TERRAM.
+
+The whole of this work was executed with marvellous diligence and art.
+
+For the Church of the Madonna delle Grazie, which is a little distance
+without the city of Arezzo, the same man made a portico with a flight of
+steps in front of the door. In making the portico he placed the arches
+on the columns, and right round alongside the roof he made an
+architrave, frieze, and great cornice; and in the latter, by way of
+drip, he placed a garland of rosettes carved in grey-stone, which jut
+out to the extent of one braccio and a third, insomuch that between the
+projection of the front of the cyma above to the dentils and ovoli below
+the drip there is a space of two braccia and a half, which, with the
+half braccio added by the tiles, makes a projecting roof all round of
+three braccia in width, beautiful, rich, useful, and ingenious. In this
+work there is a contrivance worthy to be well considered by craftsmen,
+for, wishing to give this roof all that projection without modillions or
+corbels to support it, he made the slabs, on which the rosettes are
+carved, so large that only the half of their length projected, and the
+other half was built into the solid wall; wherefore, being thus
+counterpoised, they were able to support the rest and all that was laid
+upon them, as they have done up to the present day, without any danger
+to that building. And since he did not wish this roof to appear to be
+made, as it was, of pieces, he surrounded it all, piece by piece, with a
+moulding made of sections well dove-tailed and let into one another,
+which served as a ground to the garland of rosettes; and this united the
+whole work together in such a manner that all who see it judge it to be
+of one piece. In the same place he had a flat ceiling made of gilded
+rosettes, which is much extolled.
+
+Now Benedetto had bought a farm without Prato, on the road from the
+Porta Fiorentina in the direction of Florence, and no more than half a
+mile from that place. On the main road, beside the gate, he built a most
+beautiful little chapel, with a niche wherein he placed a Madonna with
+the Child in her arms, so well wrought in terra-cotta, that even as it
+is, with no other colour, it is as beautiful as if it were of marble. So
+are two angels that are above by way of ornament, each with a
+candelabrum in his hand. On the predella of the altar there is a Pietà
+with Our Lady and S. John, made of marble and very beautiful. At his
+death he left in his house many things begun both in clay and in marble.
+Benedetto was a very good draughtsman, as may be seen in certain
+drawings in our book. Finally he died in 1498, at the age of fifty-four,
+and was honourably buried in S. Lorenzo; and he left directions that all
+his property, after the death of certain of his relatives, should go to
+the Company of the Bigallo.
+
+While Benedetto in his youth was working as a joiner and at the inlaying
+of wood, he had among his rivals Baccio Cellini, piper to the Signoria
+of Florence, who made many very beautiful inlaid works in ivory, and
+among others an octagon of figures in ivory, outlined in black and
+marvellously beautiful, which is in the guardaroba of the Duke. In like
+manner, Girolamo della Cecca, a pupil of Baccio and likewise piper to
+the Signoria, also executed many inlaid works at that same time. A
+contemporary of these was David Pistoiese, who made a S. John the
+Evangelist of inlaid work at the entrance to the choir of S. Giovanni
+Evangelista in Pistoia--a work more notable for great diligence in
+execution than for any great design. There was also Geri Aretino, who
+wrought the choir and the pulpit of S. Agostino at Arezzo with figures
+and views in perspective, likewise of inlaid wood. This Geri was a very
+fanciful man, and he made with wooden pipes an organ most perfect in
+sweetness and softness, which is still at the present day over the door
+of the Sacristy of the Vescovado at Arezzo, with its original goodness
+as sound as ever--a work worthy of marvel, and first put into execution
+by him. But not one of these men, nor any other, was as excellent by a
+great measure as was Benedetto; wherefore he deserves to be ever
+numbered with praise among the best craftsmen of his professions.
+
+FOOTNOTES:
+
+[28] _I.e._, clock.
+
+
+
+
+ANDREA VERROCCHIO
+
+[Illustration: DAVID
+
+(_After the bronze by =Andrea Verrocchio=. Florence: Bargello_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ANDREA VERROCCHIO
+
+PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE
+
+
+Andrea del Verrocchio, a Florentine, was in his day a goldsmith, a
+master of perspective, a sculptor, a wood-carver, a painter, and a
+musician; but in the arts of sculpture and painting, to tell the truth,
+he had a manner somewhat hard and crude, as one who acquired it rather
+by infinite study than by the facility of a natural gift. Even if he had
+been as poor in this facility as he was rich in the study and diligence
+that exalted him, he would have been most excellent in those arts,
+which, for their highest perfection, require a union of study and
+natural power. If either of these is wanting, a man rarely attains to
+the first rank; but study will do a great deal, and thus Andrea, who had
+it in greater abundance than any other craftsman whatsoever, is counted
+among the rare and excellent masters of our arts.
+
+In his youth he applied himself to the sciences, particularly to
+geometry. Among many other things that he made while working at the
+goldsmith's art were certain buttons for copes, which are in S. Maria
+del Fiore at Florence; and he also made larger works, particularly a
+cup, full of animals, foliage, and other bizarre fancies, which is known
+to all goldsmiths, and casts are taken of it; and likewise another, on
+which there is a very beautiful dance of little children. Having given a
+proof of his powers in these two works, he was commissioned by the Guild
+of Merchants to make two scenes in silver for the ends of the altar of
+S. Giovanni, from which, when put into execution, he acquired very great
+praise and fame.
+
+There were wanting at this time in Rome some of those large figures of
+the Apostles which generally stood on the altar of the Chapel of the
+Pope, as well as certain other works in silver that had been destroyed;
+wherefore Pope Sixtus sent for Andrea and with great favour commissioned
+him to do all that was necessary in this matter, and he brought the
+whole to perfection with much diligence and judgment. Meanwhile,
+perceiving that the many antique statues and other things that were
+being found in Rome were held in very great esteem, insomuch that the
+famous bronze horse was set up by the Pope at S. Giovanni Laterano, and
+that even the fragments--not to speak of complete works--which were
+being discovered every day, were prized, Andrea determined to devote
+himself to sculpture. And so, completely abandoning the goldsmith's art,
+he set himself to cast some little figures in bronze, which were greatly
+extolled. Thereupon, growing in courage, he began to work in marble. Now
+in those days the wife of Francesco Tornabuoni had died in childbirth,
+and her husband, who had loved her much, and wished to honour her in
+death to the utmost of his power, entrusted the making of a tomb for her
+to Andrea, who carved on a slab over a sarcophagus of marble the lady
+herself, her delivery, and her passing to the other life; and beside
+this he made three figures of Virtues, which were held very beautiful,
+for the first work that he had executed in marble; and this tomb was set
+up in the Minerva.
+
+Having then returned to Florence with money, fame, and honour, he was
+commissioned to make a David of bronze, two braccia and a half in
+height, which, when finished, was placed in the Palace, with great
+credit to himself, at the head of the staircase, where the Catena was.
+The while that he was executing the said statue, he also made that
+Madonna of marble which is over the tomb of Messer Lionardo Bruni of
+Arezzo in S. Croce; this he wrought, when still quite young, for
+Bernardo Rossellino, architect and sculptor, who executed the whole of
+that work in marble, as has been said. The same Andrea made a
+half-length Madonna in half-relief, with the Child in her arms, in a
+marble panel, which was formerly in the house of the Medici, and is now
+placed, as a very beautiful thing, over a door in the apartment of the
+Duchess of Florence. He also made two heads of metal, likewise in
+half-relief; one of Alexander the Great, in profile, and the other a
+fanciful portrait of Darius; each being a separate work by itself, with
+variety in the crests, armour, and everything else. Both these heads
+were sent to Hungary by the elder Lorenzo de' Medici, the Magnificent,
+to King Matthias Corvinus, together with many other things, as will be
+told in the proper place.
+
+Having acquired the name of an excellent master by means of these works,
+above all through many works in metal, in which he took much delight, he
+made a tomb of bronze in S. Lorenzo, wholly in the round, for Giovanni
+and Pietro di Cosimo de' Medici, with a sarcophagus of porphyry
+supported by four corner-pieces of bronze, with twisted foliage very
+well wrought and finished with the greatest diligence. This tomb stands
+between the Chapel of the Sacrament and the Sacristy, and no work could
+be better done, whether wrought in bronze or cast; above all since at
+the same time he showed therein his talent in architecture, for he
+placed the said tomb within the embrasure of a window which is about
+five braccia in breadth and ten in height, and set it on a base that
+divides the said Chapel of the Sacrament from the old Sacristy. And over
+the sarcophagus, to fill up the embrasure right up to the vaulting, he
+made a grating of bronze ropes in a pattern of mandorle, most natural,
+and adorned in certain places with festoons and other beautiful things
+of fancy, all remarkable and executed with much mastery, judgment, and
+invention.
+
+Now Donatello had made for the Tribunal of Six of the Mercanzia that
+marble shrine which is now opposite to S. Michael, in the Oratory of
+Orsanmichele, and for this there was to have been made a S. Thomas in
+bronze, feeling for the wound in the side of Christ; but at that time
+nothing more was done, for some of the men who had the charge of this
+wished to have it made by Donatello, and others favoured Lorenzo
+Ghiberti. Matters stood thus as long as Donatello and Ghiberti were
+alive; but finally the said two statues were entrusted to Andrea, who,
+having made the models and moulds, cast them; and they came out so
+solid, complete, and well made, that it was a most beautiful casting.
+Thereupon, setting himself to polish and finish them, he brought them
+to that perfection which is seen at the present day, which could not be
+greater than it is, for in S. Thomas we see incredulity and a too great
+anxiety to assure himself of the truth, and at the same time the love
+that makes him lay his hand in a most beautiful manner on the side of
+Christ; and in Christ Himself, who is raising one arm and opening His
+raiment with a most spontaneous gesture, and dispelling the doubts of
+His incredulous disciple, there are all the grace and divinity, so to
+speak, that art can give to any figure. Andrea clothed both these
+figures in most beautiful and well-arranged draperies, which give us to
+know that he understood that art no less than did Donato, Lorenzo, and
+the others who had lived before him; wherefore this work well deserved
+to be set up in a shrine made by Donatello, and to be ever afterwards
+held in the greatest price and esteem.
+
+Now the fame of Andrea could not go further or grow greater in that
+profession, and he, as a man who was not content with being excellent in
+one thing only, but desired to become the same in others as well by
+means of study, turned his mind to painting, and so made the cartoons
+for a battle of nude figures, very well drawn with the pen, to be
+afterwards painted in colours on a wall. He also made the cartoons for
+some historical pictures, and afterwards began to put them into
+execution in colours; but for some reason, whatever it may have been,
+they remained unfinished. There are some drawings by his hand in our
+book, made with much patience and very great judgment, among which are
+certain heads of women, beautiful in expression and in the adornment of
+the hair, which Leonardo da Vinci was ever imitating for their beauty.
+In our book, also, are two horses with the due measures and protractors
+for reproducing them on a larger scale from a smaller, so that there may
+be no errors in their proportions; and there is in my possession a
+horse's head of terra-cotta in relief, copied from the antique, which is
+a rare work. The Very Reverend Don Vincenzio Borghini has some of his
+drawings in his book, of which we have spoken above; among others, a
+design for a tomb made by him in Venice for a Doge, a scene of the
+Adoration of Christ by the Magi, and the head of a woman painted on
+paper with the utmost delicacy. He also made for Lorenzo de' Medici,
+for the fountain of his Villa at Careggi, a boy of bronze squeezing a
+fish, which the Lord Duke Cosimo has caused to be placed, as may be seen
+at the present day, on the fountain that is in the courtyard of his
+Palace; which boy is truly marvellous.
+
+[Illustration: CORNER AND FOOT OF THE MEDICI SARCOPHAGUS
+
+(_Detail, after =Andrea Verrocchio=. Florence: S. Lorenzo_)
+
+_Alinari_]
+
+Afterwards, the building of the Cupola of S. Maria del Fiore having been
+finished, it was resolved, after much discussion, that there should be
+made the copper ball which, according to the instructions left by
+Filippo Brunelleschi, was to be placed on the summit of that edifice.
+Whereupon the task was given to Andrea, who made the ball four braccia
+high, and, placing it on a knob, secured it in such a manner that
+afterwards the cross could be safely erected upon it; and the whole
+work, when finished, was put into position with very great rejoicing and
+delight among the people. Truly great were the ingenuity and diligence
+that had to be used in making it, to the end that it might be possible,
+as it is, to enter it from below, and also in securing it with good
+fastenings, lest the winds might do it damage.
+
+Andrea was never at rest, but was ever labouring at some work either in
+painting or in sculpture; and sometimes he would change from one to
+another, in order to avoid growing weary of working always at the same
+thing, as many do. Wherefore, although he did not put the aforesaid
+cartoons into execution, yet he did paint certain pictures; among
+others, a panel for the Nuns of S. Domenico in Florence, wherein it
+appeared to him that he had acquitted himself very well; whence, no long
+time after, he painted another in S. Salvi for the Monks of Vallombrosa,
+containing the Baptism of Christ by S. John. In this work he was
+assisted by Leonardo da Vinci, his disciple, then quite young, who
+painted therein an angel with his own hand, which was much better than
+the other parts of the work; and for that reason Andrea resolved never
+again to touch a brush, since Leonardo, young as he was, had acquitted
+himself in that art much better than he had done.
+
+Now Cosimo de' Medici, having received many antiquities from Rome, had
+caused to be set up within the door of his garden, or rather, courtyard,
+which opens on the Via de' Ginori, a very beautiful Marsyas of white
+marble, bound to a tree-trunk and ready to be flayed; and his grandson
+Lorenzo, into whose hands there had come the torso and head of another
+Marsyas, made of red stone, very ancient, and much more beautiful than
+the first, wished to set it beside the other, but could not, because it
+was so imperfect. Thereupon he gave it to Andrea to be restored and
+completed, and he made the legs, thighs, and arms that were lacking in
+this figure out of pieces of red marble, so well that Lorenzo was highly
+satisfied and had it placed opposite to the other, on the other side of
+the door. This ancient torso, made to represent a flayed Marsyas, was
+wrought with such care and judgment that certain delicate white veins,
+which were in the red stone, were carved by the craftsman exactly in the
+right places, so as to appear to be little nerves, such as are seen in
+real bodies when they have been flayed; which must have given to that
+work, when it had its original finish, a most life-like appearance.
+
+The Venetians, meanwhile, wishing to honour the great valour of
+Bartolommeo da Bergamo, thanks to whom they had gained many victories,
+in order to encourage others, and having heard the fame of Andrea,
+summoned him to Venice, where he was commissioned to make an equestrian
+statue of that captain in bronze, to be placed on the Piazza di SS.
+Giovanni e Polo. Andrea, then, having made the model of the horse, had
+already begun to get it ready for casting in bronze, when, thanks to the
+favour of certain gentlemen, it was determined that Vellano da Padova
+should make the figure and Andrea the horse. Having heard this, Andrea
+broke the legs and head of his model and returned in great disdain to
+Florence, without saying a word. The Signoria, receiving news of this,
+gave him to understand that he should never be bold enough to return to
+Venice, for they would cut his head off; to which he wrote in answer
+that he would take good care not to, because, once they had cut a man's
+head off, it was not in their power to put it on again, and certainly
+not one like his own, whereas he could have replaced the head that he
+had knocked off his horse with one even more beautiful. After this
+answer, which did not displease those Signori, his payment was doubled
+and he was persuaded to return to Venice, where he restored his first
+model and cast it in bronze; but even then he did not finish it
+entirely, for he caught a chill by overheating himself during the
+casting, and died in that city within a few days; leaving unfinished
+not only that work (although there was only a little polishing to be
+done), which was set up in the place for which it was destined, but also
+another which he was making in Pistoia, that is, the tomb of Cardinal
+Forteguerra, with the three Theological Virtues, and a God the Father
+above; which work was afterwards finished by Lorenzetto, a sculptor of
+Florence.
+
+[Illustration: STATUE OF BARTOLOMMEO COLLEONI
+
+(_After the bronze by =Andrea Verrocchio=. Venice: Campo SS. Giovanni e
+Paolo_)
+
+_Anderson_]
+
+Andrea was fifty-six years of age when he died. His death caused
+infinite grief to his friends and to his disciples, who were not few;
+above all to the sculptor Nanni Grosso, a most eccentric person both in
+his art and in his life. This man, it is said, would not have worked
+outside his shop, particularly for monks or friars, if he had not had
+free access to the door of the vault, or rather, wine-cellar, so that he
+might go and drink whenever he pleased, without having to ask leave. It
+is also told of him that once, having returned from S. Maria Nuova
+completely cured of some sickness, I know not what, he was visited by
+his friends, who asked him how it went with him. "Ill," he answered.
+"But thou art cured," they replied. "That is why it goes ill with me,"
+said he, "for I would dearly love a little fever, so that I might lie
+there in the hospital, well attended and at my ease." As he lay dying,
+again in the hospital, there was placed before him a wooden Crucifix,
+very rude and clumsily wrought; whereupon he prayed them to take it out
+of his sight and to bring him one by the hand of Donato, declaring that
+if they did not take it away he would die in misery, so greatly did he
+detest badly wrought works in his own art.
+
+Disciples of the same Andrea were Pietro Perugino and Leonardo da Vinci,
+of whom we will speak in the proper place, and Francesco di Simone of
+Florence, who made a tomb of marble in the Church of S. Domenico in
+Bologna, with many little figures, which appear from the manner to be by
+the hand of Andrea, for Messer Alessandro Tartaglia, a doctor of Imola,
+and another in S. Pancrazio at Florence, facing the sacristy and one of
+the chapels of the church, for the Chevalier Messer Pietro Minerbetti.
+Another pupil of Andrea was Agnolo di Polo, who worked with great
+mastery in clay, filling the city with works by his hand; and if he had
+deigned to apply himself properly to his art, he would have made very
+beautiful things. But the one whom he loved more than all the others was
+Lorenzo di Credi, who brought his remains from Venice and laid them in
+the Church of S. Ambrogio, in the tomb of Ser Michele di Cione, on the
+stone of which there are carved the following words:
+
+   SER MICHÆLIS DE CIONIS, ET SUORUM.
+
+And beside them:
+
+   HIC OSSA JACENT ANDREÆ VERROCHII, QUI OBIIT
+   VENETIIS, MCCCCLXXXVIII.
+
+Andrea took much delight in casting in a kind of plaster which would set
+hard--that is, the kind that is made of a soft stone which is quarried
+in the districts of Volterra and of Siena and in many other parts of
+Italy. This stone, when burnt in the fire, and then pounded and mixed
+with tepid water, becomes so soft that men can make whatever they please
+with it; but afterwards it solidifies and becomes so hard, that it can
+be used for moulds for casting whole figures. Andrea, then, was wont to
+cast in moulds of this material such natural objects as hands, feet,
+knees, legs, arms, and torsi, in order to have them before him and
+imitate them with greater convenience. Afterwards, in his time, men
+began to cast the heads of those who died--a cheap method; wherefore
+there are seen in every house in Florence, over the chimney-pieces,
+doors, windows, and cornices, infinite numbers of such portraits, so
+well made and so natural that they appear alive. And from that time up
+to the present the said custom has been continued, and it still
+continues, with great convenience to ourselves, for it has given us
+portraits of many who have been included in the stories in the Palace of
+Duke Cosimo. And for this we should certainly acknowledge a very great
+obligation to the talent of Andrea, who was one of the first to begin to
+bring the custom into use.
+
+From this men came to make more perfect images, not only in Florence,
+but in all the places in which there is devoutness, and to which people
+flock to offer votive images, or, as they are called, "miracoli," in
+return for some favour received. For whereas they were previously made
+small and of silver, or only in the form of little panels, or rather of
+wax, and very clumsy, in the time of Andrea they began to be made in a
+much better manner, since Andrea, having a very strait friendship with
+Orsino, a Florentine worker in wax, who had no little judgment in that
+art, began to show him how he could become excellent therein. Now the
+due occasion arrived in the form of the death of Giuliano de' Medici and
+the danger incurred by his brother Lorenzo, who was wounded in S. Maria
+del Fiore, when it was ordained by the friends and relatives of Lorenzo
+that images of him should be set up in many places, to render thanks to
+God for his deliverance. Wherefore Orsino, among others that he made,
+executed three life-size figures of wax with the aid and direction of
+Andrea, making the skeleton within of wood, after the method described
+elsewhere, interwoven with split reeds, which were then covered with
+waxed cloths folded and arranged so beautifully that nothing better or
+more true to nature could be seen. Then he made the heads, hands, and
+feet with wax of greater thickness, but hollow within, portrayed from
+life, and painted in oils with all the ornaments of hair and everything
+else that was necessary, so lifelike and so well wrought that they
+seemed no mere images of wax, but actual living men, as may be seen in
+each of the said three, one of which is in the Church of the Nuns of
+Chiarito in the Via di S. Gallo, opposite to the Crucifix that works
+miracles. This figure is clothed exactly as Lorenzo was, when, with his
+wounded throat bandaged, he showed himself at the window of his house
+before the eyes of the people, who had flocked thither to see whether he
+were alive, as they hoped, or to avenge him if he were dead. The second
+figure of the same man is in the lucco, the gown peculiar to the
+citizens of Florence; and it stands in the Servite Church of the
+Nunziata, over the lesser door, which is beside the counter where
+candles are sold. The third was sent to S. Maria degli Angeli at Assisi,
+and set up before the Madonna of that place, where the same Lorenzo de'
+Medici, as has been already related, caused the road to be paved with
+bricks all the way from S. Maria to that gate of Assisi which leads to
+S. Francesco, besides restoring the fountains that his grandfather
+Cosimo had caused to be made in that place. But to return to the images
+of wax: all those in the said Servite Church are by the hand of Orsino,
+which have a large O in the base as a mark, with an R within it and a
+cross above; and they are all so beautiful that there are few since his
+day who have equalled him. This art, although it has remained alive up
+to our own time, is nevertheless rather on the decline than otherwise,
+either because men's devoutness has diminished, or for some other
+reason, whatever it may be.
+
+And to return to Verrocchio; besides the aforesaid works, he made
+Crucifixes of wood, with certain things of clay, in which he was
+excellent, as may be seen from the models for the scenes that he
+executed for the altar of S. Giovanni, from certain very beautiful boys,
+and from a head of S. Jerome, which is held to be marvellous. By the
+hand of the same man is the boy on the clock of the Mercato Nuovo, who
+has his arms working free, in such a manner that he can raise them to
+strike the hours with a hammer that he holds in his hands; which was
+held in those times to be something very beautiful and fanciful. And let
+this be the end of the Life of that most excellent sculptor, Andrea
+Verrocchio.
+
+There lived in the time of Andrea one Benedetto Buglioni, who received
+the secret of glazed terra-cotta work from a woman related to the house
+of Andrea della Robbia; wherefore he made many works in that manner both
+in Florence and abroad, particularly a Christ rising from the dead, with
+certain angels, which, for a work in glazed terra-cotta, is beautiful
+enough, in the Church of the Servi, near the Chapel of S. Barbara. He
+made a Dead Christ in a chapel in S. Pancrazio, and the lunette that is
+seen over the principal door of the Church of S. Pietro Maggiore. From
+Benedetto the secret descended to Santi Buglioni, the only man who now
+knows how to work at this sort of sculpture.
+
+
+
+
+ANDREA MANTEGNA
+
+[Illustration: THE MARTYRDOM OF S. JAMES
+
+(_After the fresco by =Andrea Mantegna=. Padua: Eremitani_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ANDREA MANTEGNA
+
+PAINTER OF MANTUA
+
+
+How great is the effect of reward on talent is known to him who labours
+valiantly and receives a certain measure of recompense, for he feels
+neither discomfort, nor hardship, nor fatigue, when he expects honour
+and reward for them; nay, what is more, they render his talent every day
+more renowned and illustrious. It is true, indeed, that there is not
+always found one to recognize, esteem, and remunerate it as that of
+Andrea Mantegna was recognized. This man was born from very humble stock
+in the district of Mantua; and, although as a boy he was occupied in
+grazing herds, he was so greatly exalted by destiny and by his merit
+that he attained to the honourable rank of Chevalier, as will be told in
+the proper place. When almost full grown he was taken to the city, where
+he applied himself to painting under Jacopo Squarcione, a painter of
+Padua, who--as it is written in a Latin letter from Messer Girolamo
+Campagnola to Messer Leonico Timeo, a Greek philosopher, wherein he
+gives him information about certain old painters who served the family
+of Carrara, Lords of Padua--took him into his house, and a little time
+afterwards, having recognized the beauty of his intelligence, adopted
+him as his son. Now this Squarcione knew that he himself was not the
+most able painter in the world; wherefore, to the end that Andrea might
+learn more than he himself knew, he made him practise much on casts
+taken from ancient statues and on pictures painted upon canvas which he
+caused to be brought from diverse places, particularly from Tuscany and
+from Rome. By these and other methods, therefore, Andrea learnt not a
+little in his youth; and the competition of Marco Zoppo of Bologna,
+Darlo da Treviso, and Niccolò Pizzolo of Padua, disciples of his master
+and adoptive father, was of no small assistance to him, and a stimulus
+to his studies.
+
+Now after Andrea, who was then no more than seventeen years of age, had
+painted the panel of the high-altar of S. Sofia in Padua, which appears
+wrought by a mature and well-practised master, and not by a youth,
+Squarcione was commissioned to paint the Chapel of S. Cristofano, which
+is in the Church of the Eremite Friars of S. Agostino in Padua; and he
+gave the work to the said Niccolò Pizzolo and to Andrea. Niccolò made
+therein a God the Father seated in Majesty between the Doctors of the
+Church, and these paintings were afterwards held to be in no way
+inferior to those that Andrea executed there. And in truth, if Niccolò,
+whose works were few, but all good, had taken as much delight in
+painting as he did in arms, he would have become excellent, and might
+perchance have lived much longer than he did; for he was ever under arms
+and had many enemies, and one day, when returning from work, he was
+attacked and slain by treachery. Niccolò left no other works that I know
+of, save another God the Father in the Chapel of Urbano Perfetto.[29]
+
+[Illustration: ANDREA MANTEGNA: THE MADONNA OF THE ROCKS
+
+(_Florence: Uffizi, 1025. Panel_)]
+
+Andrea, thus left alone in the said chapel, painted the four
+Evangelists, which were held very beautiful. By reason of this and other
+works Andrea began to be watched with great expectation, and with hopes
+that he would attain to that success to which he actually did attain;
+wherefore Jacopo Bellini, the Venetian painter, father of Gentile and
+Giovanni, and rival of Squarcione, contrived to get him to marry his
+daughter, the sister of Gentile. Hearing this, Squarcione fell into such
+disdain against Andrea that they were enemies ever afterwards; and in
+proportion as Squarcione had formerly been ever praising the works of
+Andrea, so from that day onward did he ever decry them in public. Above
+all did he censure without reserve the pictures that Andrea had made in
+the said Chapel of S. Cristofano, saying that they were worthless,
+because in making them he had imitated the ancient works in marble, from
+which it is not possible to learn painting perfectly, for the reason
+that stone is ever from its very essence hard, and never has that
+tender softness that is found in flesh and in things of nature, which
+are pliant and move in various ways; adding that Andrea would have made
+those figures much better, and that they would have been more perfect,
+if he had given them the colour of marble and not such a quantity of
+colours, because his pictures resembled not living figures but ancient
+statues of marble or other suchlike things. This censure piqued the mind
+of Andrea; but, on the other hand, it was of great service to him, for,
+recognizing that Squarcione was in great measure speaking the truth, he
+set himself to portray living people, and made so much progress in this
+art, that, in a scene which still remained to be painted in the said
+chapel, he showed that he could wrest the good from living and natural
+objects no less than from those wrought by art. But for all this Andrea
+was ever of the opinion that the good ancient statues were more perfect
+and had greater beauty in their various parts than is shown by nature,
+since, as he judged and seemed to see from those statues, the excellent
+masters of old had wrested from living people all the perfection of
+nature, which rarely assembles and unites all possible beauty into one
+single body, so that it is necessary to take one part from one body and
+another part from another. In addition to this, it appeared to him that
+the statues were more complete and more thorough in the muscles, veins,
+nerves, and other particulars, which nature, covering their sharpness
+somewhat with the tenderness and softness of flesh, sometimes makes less
+evident, save perchance in the body of an old man or in one greatly
+emaciated; but such bodies, for other reasons, are avoided by craftsmen.
+And that he was greatly enamoured of this opinion is recognized from his
+works, in which, in truth, the manner is seen to be somewhat hard and
+sometimes suggesting stone rather than living flesh. Be this as it may,
+in this last scene, which gave infinite satisfaction, Andrea portrayed
+Squarcione in an ugly and corpulent figure, lance and sword in hand. In
+the same work he portrayed the Florentine Noferi, son of Messer Palla
+Strozzi, Messer Girolamo della Valle, a most excellent physician, Messer
+Bonifazio Fuzimeliga, Doctor of Laws, Niccolò, goldsmith to Pope
+Innocent VIII, and Baldassarre da Leccio, all very much his friends,
+whom he represented clad in white armour, burnished and resplendent, as
+real armour is, and truly with a beautiful manner. He also portrayed
+there the Chevalier Messer Bonramino, and a certain Bishop of Hungary, a
+man wholly witless, who would wander about Rome all day, and then at
+night would lie down to sleep like a beast in a stable; and he made a
+portrait of Marsilio Pazzo in the person of the executioner who is
+cutting off the head of S. James, together with one of himself. This
+work, in short, by reason of its excellence, brought him a very great
+name.
+
+The while that he was working on this chapel, he also painted a panel,
+which was placed on the altar of S. Luca in S. Justina, and afterwards
+he wrought in fresco the arch that is over the door of S. Antonino, on
+which he wrote his name. In Verona he painted a panel for the altar of
+S. Cristofano and S. Antonio, and he made some figures at the corner of
+the Piazza della Paglía. In S. Maria in Organo, for the Monks of Monte
+Oliveto, he painted the panel of the high-altar, which is most
+beautiful, and likewise that of S. Zeno. And among other things that he
+wrought while living in Verona and sent to various places, one, which
+came into the hands of an Abbot of the Abbey of Fiesole, his friend and
+relative, was a picture containing a half-length Madonna with the Child
+in her arms, and certain heads of angels singing, wrought with admirable
+grace; which picture, now to be seen in the library of that place, has
+been held from that time to our own to be a rare thing.
+
+Now, the while that he lived in Mantua, he had laboured much in the
+service of the Marquis Lodovico Gonzaga, and that lord, who always
+showed no little esteem and favour towards the talent of Andrea, caused
+him to paint a little panel for the Chapel of the Castle of Mantua; in
+which panel there are scenes with figures not very large but most
+beautiful. In the same place are many figures foreshortened from below
+upwards, which are greatly extolled, for although his treatment of the
+draperies was somewhat hard and precise, and his manner rather dry, yet
+everything there is seen to have been wrought with much art and
+diligence. For the same Marquis, in a hall of the Palace of S.
+Sebastiano in Mantua, he painted the Triumph of Cæsar, which is the best
+thing that he ever executed. In this work we see, grouped with most
+beautiful design in the triumph, the ornate and lovely car, the man
+who is vituperating the triumphant Cæsar, and the relatives, the
+perfumes, the incense, the sacrifices, the priests, the bulls crowned
+for the sacrifice, the prisoners, the booty won by the soldiers, the
+ranks of the squadrons, the elephants, the spoils, the victories, the
+cities and fortresses counterfeited in various cars, with an infinity of
+trophies borne on spears, and a variety of helmets and body-armour,
+head-dresses, and ornaments and vases innumerable; and in the multitude
+of spectators is a woman holding the hand of a boy, who, having pierced
+his foot with a thorn, is showing it, weeping, to his mother, in a
+graceful and very lifelike manner. Andrea, as I may have pointed out
+elsewhere, had a good and beautiful idea in this scene, for, having set
+the plane on which the figures stood higher than the level of the eye,
+he placed the feet of the foremost on the outer edge and outline of that
+plane, making the others recede inwards little by little, so that their
+feet and legs were lost to sight in the proportion required by the point
+of view; and so, too, with the spoils, vases, and other instruments and
+ornaments, of which he showed only the lower part, concealing the upper,
+as was required by the rules of perspective; which same consideration
+was also observed with much diligence by Andrea degli Impiccati[30] in
+the Last Supper, which is in the Refectory of S. Maria Nuova. Wherefore
+it is seen that in that age these able masters set about investigating
+with much subtlety, and imitating with great labour, the true properties
+of natural objects. And this whole work, to put it briefly, is as
+beautiful and as well wrought as it could be; so that if the Marquis
+loved Andrea before, he loved and honoured him much more ever
+afterwards.
+
+[Illustration: MADONNA AND ANGELS
+
+(_After the panel by =Andrea Mantegna=. Milan: Brera, 198_)
+
+_Alinari_]
+
+What is more, he became so famous thereby that Pope Innocent VIII,
+hearing of his excellence in painting and of the other good qualities
+wherewith he was so marvellously endowed, sent for him, even as he was
+sending for many others, to the end that he might adorn with his
+pictures the walls of the Belvedere, the building of which had just been
+finished. Having gone to Rome, then, greatly favoured and recommended by
+the Marquis, who made him a Chevalier in order to honour him the more,
+he was received lovingly by that Pontiff and straightway commissioned to
+paint a little chapel that is in the said place. This he executed with
+diligence and love, and with such minuteness that the vaulting and the
+walls appear rather illuminated than painted; and the largest figures
+that are therein, which he painted in fresco like the others, are over
+the altar, representing the Baptism of Christ by S. John, with many
+people around, who are showing by taking off their clothes that they
+wish to be baptized. Among these is one who, seeking to draw off a
+stocking that has stuck to his leg through sweat, has crossed that leg
+over the other and is drawing the stocking off inside out, with such
+great effort and difficulty, that both are seen clearly in his face;
+which bizarre fancy caused marvel to all who saw it in those times. It
+is said that this Pope, by reason of his many affairs, did not pay
+Mantegna as often as he would have liked, and that therefore, while
+painting certain Virtues in terretta in that work, he made a figure of
+Discretion among the rest, whereupon the Pope, having gone one day to
+see the work, asked Andrea what figure that was; to which Andrea
+answered that it was Discretion; and the Pope added: "If thou wouldst
+have her suitably accompanied, put Patience beside her." The painter
+understood what the meaning of the Holy Father was, and he never said
+another word. The work finished, the Pope sent him back to the Duke with
+much favour and honourable rewards.
+
+The while that Andrea was working in Rome, he painted, besides the said
+chapel, a little picture of the Madonna with the Child sleeping in her
+arms; and within certain caverns in the landscape, which is a mountain,
+he made some stone-cutters quarrying stone for various purposes, all
+wrought with such delicacy and such great patience, that it does not
+seem possible for such good work to be done with the thin point of a
+brush. This picture is now in the possession of the most Illustrious
+Lord, Don Francesco Medici, Prince of Florence, who holds it among his
+dearest treasures.
+
+In our book is a drawing by the hand of Andrea on a half-sheet of royal
+folio, finished in chiaroscuro, wherein is a Judith who is putting the
+head of Holofernes into the wallet of her Moorish slave-girl; which
+chiaroscuro is executed in a manner no longer used, for he left the
+paper white to serve for the light in place of white lead, and that so
+delicately that the separate hairs and other minute details are seen
+therein, no less than if they had been wrought with much diligence by
+the brush; wherefore in a certain sense this may be called rather a work
+in colour than a drawing. The same man, like Pollaiuolo, delighted in
+engraving on copper; and, among other things, he made engravings of his
+own Triumphs, which were then held in great account, since nothing
+better had been seen.
+
+One of the last works that he executed was a panel-picture for S. Maria
+della Vittoria, a church built after the direction and design of Andrea
+by the Marquis Francesco, in memory of the victory that he gained on the
+River Taro, when he was General of the Venetian forces against the
+French. In this panel, which was wrought in distemper and placed on the
+high-altar, there is painted the Madonna with the Child seated on a
+pedestal; and below are S. Michelagnolo, S. Anna, and Joachim, who are
+presenting the Marquis--who is portrayed from life so well that he
+appears alive--to the Madonna, who is offering him her hand. Which
+picture, even as it gave and still continues to give universal pleasure,
+also satisfied the Marquis so well that he rewarded most liberally the
+talent and labour of Andrea, who, having been remunerated by Princes for
+all his works, was able to maintain his rank of Chevalier most
+honourably up to the end of his life.
+
+Andrea had competitors in Lorenzo da Lendinara--who was held in Padua to
+be an excellent painter, and who also wrought some things in terra-cotta
+for the Church of S. Antonio--and in certain others of no great worth.
+He was ever the friend of Dario da Treviso and Marco Zoppo of Bologna,
+since he had been brought up with them under the discipline of
+Squarcione. For the Friars Minor of Padua this Marco painted a loggia
+which serves as their chapter-house; and at Pesaro he painted a panel
+that is now in the new Church of S. Giovanni Evangelista; besides
+portraying in a picture Guidobaldo da Montefeltro, at the time when he
+was Captain of the Florentines. A friend of Mantegna's, likewise, was
+Stefano, a painter of Ferrara, whose works were few but passing good;
+and by his hand is the adornment of the sarcophagus of S. Anthony to be
+seen in Padua, with the Virgin Mary, that is called the Vergine del
+Pilastro.
+
+But to return to Andrea himself; he built a very beautiful house in
+Mantua for his own use, which he adorned with paintings and enjoyed
+while he lived. Finally he died in 1517, at the age of sixty-six, and
+was buried with honourable obsequies in S. Andrea; and on his tomb, over
+which stands his portrait in bronze, there was placed the following
+epitaph:
+
+   ESSE PAREM HUNC NORIS, SI NON PRÆPONIS, APELLI;
+   ÆNEA MANTINEÆ QUI SIMULACRA VIDES.
+
+Andrea was so kindly and praiseworthy in all his actions, that his
+memory will ever live, not only in his own country, but in the whole
+world; wherefore he well deserved, no less for the sweetness of his ways
+than for his excellence in painting, to be celebrated by Ariosto at the
+beginning of his thirty-third canto, where he numbers him among the most
+illustrious painters of his time, saying:
+
+   Leonardo, Andrea Mantegna, Gian Bellino.
+
+This master showed painters a much better method of foreshortening
+figures from below upwards, which was truly a difficult and ingenious
+invention; and he also took delight, as has been said, in engraving
+figures on copper for printing, a method of truly rare value, by means
+of which the world has been able to see not only the Bacchanalia, the
+Battle of Marine Monsters, the Deposition from the Cross, the Burial of
+Christ, and His Resurrection, with Longinus and S. Andrew, works by
+Mantegna himself, but also the manners of all the craftsmen who have
+ever lived.
+
+[Illustration: JUDITH WITH THE HEAD OF HOLOFERNES
+
+(_After the painting by =Andrea Mantegna=. Dublin: National Gallery_)
+
+_Mansell_]
+
+
+FOOTNOTES:
+
+[29] This seems to be a printer's or copyist's error for Prefetto.
+
+[30] Andrea dal Castagno.
+
+
+
+
+INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME III
+
+
+   Abbot of S. Clemente (Don Bartolommeo della Gatta), _Life_, 203-209. 188
+
+   Agnolo, Baccio d', 12
+
+   Agnolo di Donnino, 189, 190
+
+   Agnolo di Lorenzo (Angelo di Lorentino), 209
+
+   Agnolo di Polo, 273, 274
+
+   Alberti, Leon Batista, _Life_, 43-48
+
+   Albrecht Dürer, 214
+
+   Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Alesso Baldovinetti, _Life_, 67-70. 59, 67-70, 101, 225
+
+   Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
+
+   Andrea dal Castagno (Andrea degli' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Andrea della Robbia, 276
+
+   Andrea di Cione Orcagna, 223
+
+   Andrea di Cosimo, 189
+
+   Andrea Mantegna, _Life_, 279-286. 162
+
+   Andrea Riccio, 64
+
+   Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), 243
+
+   Andrea Tafi, 69
+
+   Andrea Verrocchio, _Life_, 267-276. 75, 223
+
+   Angelico, Fra (Fra Giovanni da Fiesole), _Life_, 27-39. 121
+
+   Angelo, Lorentino d'. 22, 23
+
+   Angelo di Lorentino (Agnolo di Lorenzo), 209
+
+   Antonello da Messina, _Life_, 59-64
+
+   Antonio di Salvi, 239
+
+   Antonio Filarete, _Life_, 3-7. 47, 92
+
+   Antonio (or Vittore) Pisanello, _Life_, 109-113. 105
+
+   Antonio Pollaiuolo, _Life_, 237-243. 248, 285
+
+   Antonio Rossellino (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
+
+   Antonio Viniziano, 176
+
+   Apelles, 36, 254, 286
+
+   Aretino, Geri, 263, 264
+
+   Attavante (or Vante), 36-39, 209, 214, 215
+
+   Ausse (Hans Memling), 61
+
+
+   Baccio Cellini, 92, 263
+
+   Baccio d' Agnolo, 12
+
+   Baccio da Montelupo, 148
+
+   Baccio Pintelli, 93-94
+
+   Baldinelli, Baldino, 233
+
+   Baldovinetti, Alesso, _Life_, 67-70. 59, 67-70, 101, 225
+
+   Banco, Nanni d' Antonio di, 28
+
+   Bartolommeo Coda, 184
+
+   Bartolommeo della Gatta, Don (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Bartoluccio Ghiberti, 237, 238
+
+   Bastiano Mainardi (Bastiano da San Gimignano), 225, 230-233
+
+   Batista del Cervelliera, 12
+
+   Bellini, Gentile, _Life_, 173-184. 280
+
+   Bellini, Giovanni, _Life_, 173-184. 280, 286
+
+   Bellini, Jacopo, _Life_, 173-175. 280
+
+   Benedetto Buglioni, 276
+
+   Benedetto Coda, 184
+
+   Benedetto da Maiano, _Life_, 257-264. 13, 14, 149. 257-264
+
+   Benedetto Ghirlandajo, 222, 229, 233
+
+   Benozzo Gozzoli, _Life_, 121-125. 35, 161
+
+   Bernardo Ciuffagni, 7
+
+   Bernardo Rossellino, _Life_, 139-144. 44, 268
+
+   Bernardo Vasari, 55
+
+   Berto Linaiuolo, 92
+
+   Biagio (pupil of Botticelli), 251, 252
+
+   Bicci, Lorenzo di, 20, 213
+
+   Boccardino, the elder, 215
+
+   Bolognese, Guido, 170
+
+   Borghese, Piero (Piero della Francesca, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Botticello, 247
+
+   Bramante da Milano, 18
+
+   Bramante da Urbino, 155
+
+   Bramantino, 18, 19
+
+   Brini, Francesco, 214
+
+   Bruges, Johann of (Jan van Eyck), 60-62, 64
+
+   Bruges, Roger of (Roger van der Weyden), 61
+
+   Brunelleschi, Filippo (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
+
+   Buglioni, Benedetto, 276
+
+   Buglioni, Santi, 276
+
+   Buonarroti, Michelagnolo, 86, 110, 140, 233
+
+
+   Cadore, Tiziano da (Tiziano Vecelli), 179, 183
+
+   Callicrates, 55
+
+   Camicia, Chimenti, _Life_, 92-93
+
+   Campagnola, Girolamo, 279
+
+   Capanna (of Siena), 208
+
+   Castagno, Andrea dal (Andrea degl' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Castel della Pieve, Pietro da (Pietro Perugino, or Pietro Vannucci), 23, 188, 204, 273
+
+   Castelfranco, Giorgione da, 184
+
+   Cecca, _Life_, 193-200. 69
+
+   Cecca, Girolamo della, 263
+
+   Cellini, Baccio, 92, 263
+
+   Cervelliera, Batista del, 12
+
+   Chimenti Camicia, _Life_, 92-93
+
+   Cieco, Niccolò, 233
+
+   Cimabue, Giovanni, 59
+
+   Ciuffagni, Bernardo, 7
+
+   Coda, Bartolommeo, 184
+
+   Coda, Benedetto, 184
+
+   Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
+
+   Corso, Jacopo del, 105
+
+   Cortona, Luca da (Luca Signorelli), 20, 23, 31, 52, 188, 204
+
+   Cosimo, Andrea di, 189
+
+   Cosimo, Piero di, 189
+
+   Cosimo Rosselli, _Life_, 187-190
+
+   Cosmè, 136
+
+   Costa, Lorenzo, _Life_, 161-164. 167
+
+   Cozzerello, Jacopo, 130
+
+   Credi, Lorenzo di, 274
+
+   Cronaca, Il, 260
+
+
+   Dario da Treviso, 280, 285
+
+   David Ghirlandajo, 222, 225, 229-231, 233
+
+   David Pistoiese, 263
+
+   Desiderio da Settignano, _Life_, 147-149. 154, 156, 260
+
+   Diamante, Fra, 83, 85-87
+
+   Domenico del Tasso, 200, 262
+
+   Domenico di Mariotto, 12
+
+   Domenico di Michelino, 35
+
+   Domenico Ghirlandajo, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
+
+   Domenico Pecori, 207-209
+
+   Domenico Viniziano (Domenico da Venezia), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Don Bartolommeo della Gatta (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Don Lorenzo Monaco, 203
+
+   Donato (Donatello), 3, 6, 73, 74, 117, 131, 144, 147, 148, 269, 270, 273
+
+   Donnino, Agnolo di, 189, 190
+
+   Donzello, Piero del, 13
+
+   Donzello, Polito del, 13, 14
+
+   Dosso, the elder (Dosso Dossi), 164
+
+   Duca Tagliapietra, 169
+
+   Duccio, 6
+
+   Dürer, Albrecht, 214
+
+
+   Ercole Ferrarese (Ercole da Ferrara), Life, 167-170. 164
+
+   Eyck, Jan van (Johann of Bruges), 60-62, 64
+
+
+   Fabiano Sassoli, 54
+
+   Fabriano, Gentile da, _Life_, 109-113. 35, 173
+
+   Facchino, Giuliano del, 239
+
+   Fancelli, Luca, 47
+
+   Fancelli, Salvestro, 47
+
+   Fermo Ghisoni, 164
+
+   Ferrara, Ercole da (Ercole Ferrarese), _Life_, 167-170. 164
+
+   Ferrara, Stefano da, 285, 286
+
+   Ferrarese, Ercole (Ercole da Ferrara), _Life_, 167-170. 164
+
+   Ferrarese, Galasso (Galasse Galassi), _Life_ 135-136
+
+   Fiesole, Fra Giovanni da (Fra Angelico), _Life_, 27-39. 121
+
+   Fiesole, Mino da (Mino di Giovanni), _Life_, 153-157
+
+   Filarete, Antonio, _Life_, 3-7. 47, 92
+
+   Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Filippino Lippi (Filippo Lippi), 83, 87, 259
+
+   Filippo Brunelleschi (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
+
+   Filippo Lippi (Filippino Lippi), 83, 87, 259
+
+   Filippo Lippi, Fra, _Life_, 79-88. 117, 118, 161, 247
+
+   Finiguerra, Maso, 238
+
+   Foccora, Giovanni, 7
+
+   Fonte, Jacopo della (Jacopo della Quercia), 131, 188
+
+   Forlì, Melozzo da, 124
+
+   Fra Angelico (Fra Giovanni da Fiesole), _Life_, 27-39. 121
+
+   Fra Diamante, 83, 85-87
+
+   Fra Filippo Lippi, _Life_, 79-88. 117, 118, 161, 247
+
+   Fra Giovanni da Fiesole (Fra Angelico), _Life_, 27-39. 121
+
+   Francesca, Piero della (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Francesco Brini, 214
+
+   Francesco di Giorgio, _Life_, 129-131
+
+   Francesco di Monsignore, 63
+
+   Francesco di Simone, 273
+
+   Francesco Granacci (Il Granaccio), 233
+
+   Francesco Peselli (Francesco di Pesello, or Pesellino), _Life_, 117-118. 86
+
+   Francesco Salviati, 258, 262
+
+
+   Galasso Ferrarese (Galasso Galassi), _Life_, 135-136
+
+   Gatta, Don Bartolommeo della (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Gentile Bellini, _Life_, 173-184. 280
+
+   Gentile da Fabriano, _Life_, 109-113. 35, 173
+
+   Geri Aretino, 263, 264
+
+   Gherardo, _Life_, 213-215. 209, 232
+
+   Ghiberti, Bartoluccio, 237, 238
+
+   Ghiberti, Lorenzo (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
+
+   Ghirlandajo, Benedetto, 222, 229, 233
+
+   Ghirlandajo, David, 222, 225, 229-231, 233
+
+   Ghirlandajo, Domenico, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
+
+   Ghirlandajo, Ridolfo, 233
+
+   Ghirlandajo, Tommaso, 219
+
+   Ghisoni, Fermo, 164
+
+   Giacomo Marzone, 184
+
+   Gian Cristoforo, 92
+
+   Giorgio, Francesco di, _Life_, 129-131
+
+   Giorgio Vasari, see Vasari (Giorgio)
+
+   Giorgio Vasari (son of Lazzaro Vasari, the elder), 52, 54-56
+
+   Giorgione da Castelfranco, 184
+
+   Giotto, 59, 259
+
+   Giovanni, Mino di (Mino da Fiesole), _Life_, 153-157
+
+   Giovanni Bellini, _Life_, 173-184. 280, 286
+
+   Giovanni Cimabue, 59
+
+   Giovanni da Rovezzano, 105
+
+   Giovanni Foccora, 7
+
+   Giovanni Turini, 239
+
+   Girolamo Campagnola, 279
+
+   Girolamo della Cecca, 263
+
+   Girolamo Moretto (or Mocetto), 180
+
+   Girolamo Padovano, 209
+
+   Giuliano da Maiano, _Life_, 11-14. 74, 257-259
+
+   Giuliano del Facchino, 239
+
+   Giuliano del Tasso, 200, 262
+
+   Giulio Romano, 19
+
+   Giusto, 11
+
+   Gozzoli, Benozzo, _Life_, 121-125. 35, 161
+
+   Graffione, 70
+
+   Granacci, Francesco (Il Granaccio), 233
+
+   Grosso, Nanni, 273
+
+   Guardia, Niccolò della, 92
+
+   Guglielmo da Marcilla (Guillaume de Marcillac, or the French Prior), 53
+
+   Guido Bolognese, 170
+
+   Guido del Servellino, 12
+
+
+   Hans Memling (Ausse), 61
+
+
+   Il Cronaca, 260
+
+   Il Granaccio (Francesco Granacci), 233
+
+   Impiccati, Andrea degl' (Andrea dal Castagno), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Indaco, Jacopo dell', 233
+
+
+   Jacopo (pupil of Botticelli), 251, 252
+
+   Jacopo Bellini, _Life_, 173-175. 280
+
+   Jacopo Cozzerello, 130
+
+   Jacopo da Montagna, 183
+
+   Jacopo del Corso, 105
+
+   Jacopo del Sellaio, 86
+
+   Jacopo del Tedesco, 233
+
+   Jacopo della Quercia (Jacopo della Fonte), 131, 188
+
+   Jacopo dell' Indaco, 233
+
+   Jacopo Squarcione, 279-281, 285
+
+   Johann of Bruges (Jan van Eyck), 60-62, 64
+
+
+   Lappoli, Matteo, 206, 207
+
+   Laurati, Pietro (Pietro Lorenzetti), 55
+
+   Lazzaro Vasari (the elder), _Life_, 51-56
+
+   Lazzaro Vasari (the younger), 55
+
+   Lendinara, Lorenzo da, 285
+
+   Leon Batista Alberti, _Life_, 43-48
+
+   Leonardo da Vinci, 270, 271, 273, 286
+
+   Linaiuolo, Berto, 92
+
+   Lippi, Filippo (Filippino Lippi), 83, 87, 259
+
+   Lippi, Fra Filippo, _Life_, 79-88. 117, 118, 161, 247
+
+   Lodovico Malino (Lodovico Mazzolini), 164
+
+   Lorentino, Angelo di (Agnolo di Lorenzo), 209
+
+   Lorentino d'Angelo, 22, 23
+
+   Lorenzetti, Pietro (Pietro Laurati), 55
+
+   Lorenzetto, 273
+
+   Lorenzo, Agnolo di (Angelo di Lorentino), 209
+
+   Lorenzo Costa, _Life_, 161-164. 167
+
+   Lorenzo da Lendinara, 285
+
+   Lorenzo di Bicci, 20, 213
+
+   Lorenzo di Credi, 274
+
+   Lorenzo Ghiberti (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
+
+   Lorenzo Monaco, Don, 203
+
+   Lorenzo Vecchietto, _Life_, 129-131
+
+   Luca Fancelli, 47
+
+   Luca Signorelli (Luca da Cortona), 20, 23, 31, 52, 188, 204
+
+   Luigi Vivarino, 178, 179
+
+
+   Macchiavelli, Zanobi, 125
+
+   Maestro Mino (Mino del Regno, or Mino del Reame). _Life_, 91-92. 155
+
+   Maiano, Benedetto da, _Life_, 257-264. 13, 14, 149, 257-264
+
+   Maiano, Giuliano da, _Life_, 11-14. 74, 257-259
+
+   Mainardi, Bastiano (Bastiano da San Gimignano), 225, 230-233
+
+   Malino, Lodovico (Lodovico Mazzolini), 164
+
+   Mantegna, Andrea, _Life_, 279-286. 162
+
+   Marchino, 105
+
+   Marcilla, Guglielmo da (Guillaume de Marcillac, or the French Prior), 53
+
+   Marco del Tasso, 200, 262
+
+   Marco Zoppo, 279, 280, 285
+
+   Mariotto, Domenico di, 12
+
+   Martin Schongauer, 214
+
+   Martini, Simone (Simone Sanese or Memmi), 183
+
+   Marzone, Giacomo, 184
+
+   Masaccio, 79, 80
+
+   Maso Finiguerra, 238
+
+   Matteo Lappoli, 206, 207
+
+   Mazzingo, 239
+
+   Mazzolini, Lodovico (Lodovico Malino), 164
+
+   Melozzo da Forlì, 124
+
+   Memling, Hans (Ausse), 61
+
+   Memmi, Simone (Simone Sanese or Martini), 183
+
+   Messina, Antonello da, _Life_, 59-64
+
+   Michelagnolo Buonarroti, 86, 110, 140, 233
+
+   Michele San Michele, 111
+
+   Michelino, Domenico di, 35
+
+   Milano, Bramante da, 18
+
+   Mino, Maestro (Mino del Regno, or Mino del Reame), _Life_, 91-92. 155
+
+   Mino da Fiesole (Mino di Giovanni), _Life_, 153-157
+
+   Minore, 11
+
+   Modanino da Modena, 14
+
+   Monaco, Don Lorenzo, 203
+
+   Monsignore, Francesco di, 63
+
+   Montagna, Jacopo da, 183
+
+   Montelupo, Baccio da, 148
+
+   Montepulciano, Pasquino da, 7
+
+   Moretto (or Mocetto), Girolamo, 180
+
+   Myrmecides, 55
+
+
+   Nanni d' Antonio di Banco, 28
+
+   Nanni Grosso, 273
+
+   Niccolò (goldsmith to Pope Innocent VIII), 281
+
+   Niccolò (of Florence), 7
+
+   Niccolò Cieco, 233
+
+   Niccolò della Guardia, 92
+
+   Niccolò Pizzolo, 280
+
+   Nicon, 209
+
+
+   Orcagna, Andrea di Cione, 223
+
+   Orsino, 275, 276
+
+
+   Padova, Vellano da, _Life_, 73-75. 272
+
+   Padovano, Girolamo, 209
+
+   Paolo da Verona, 243
+
+   Paolo Romano, _Life_, 91-92
+
+   Paolo Uccello, 257
+
+   Parri Spinelli, 54
+
+   Pasquino da Montepulciano, 7
+
+   Pecori, Domenico, 207-209
+
+   Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Pesellino (Francesco Peselli, or Francesco di Pesello), _Life_, 117-118. 86
+
+   Pesello, _Life_, 117-118. 59
+
+   Piero del Donzello, 13
+
+   Piero della Francesca (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Piero di Cosimo, 189
+
+   Piero Pollaiuolo, _Life_, 237-243. 105, 248
+
+   Pietro Laurati (Pietro Lorenzetti), 55
+
+   Pietro Paolo da Todi, 92
+
+   Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Pintelli, Baccio, 93-94
+
+   Pisanello, Vittore (or Antonio), _Life_, 109-113. 105
+
+   Pistoiese, David, 263
+
+   Pizzolo, Niccolò, 280
+
+   Polito del Donzello, 13, 14
+
+   Pollaiuolo, Antonio, _Life_, 237-243. 248, 285
+
+   Pollaiuolo, Piero, _Life_, 237-243. 105, 248
+
+   Polo, Agnolo di, 273, 274
+
+   Proconsolo, Rossellino dal (Antonio Rossellino), _Life_, 139-144. 44, 253
+
+
+   Quercia, Jacopo della (Jacopo della Fonte), 131, 188
+
+
+   Raffaello Sanzio (Raffaello da Urbino), 18, 19
+
+   Ravenna, Rondinello da, 183, 184
+
+   Regno, Mino del (Maestro Mino, or Mino del Reame), _Life_, 91-92. 155
+
+   Riccio, Andrea, 64
+
+   Ridolfo Ghirlandajo, 233
+
+   Robbia, Andrea della, 276
+
+   Roger of Bruges (Roger van der Weyden), 61
+
+   Romano, Giulio, 19
+
+   Romano, Paolo, _Life_, 91-92
+
+   Rondinello da Ravenna, 183, 184
+
+   Rosselli, Cosimo, _Life_, 187-190
+
+   Rossellino, Antonio (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
+
+   Rossellino, Bernardo, _Life_, 139-144. 44, 268
+
+   Rovezzano, Giovanni da, 105
+
+
+   Salvestro Fancelli, 47
+
+   Salvi, Antonio di, 239
+
+   Salviati, Francesco, 258, 262
+
+   S. Clemente, Abbot of (Don Bartolommeo della Gatta), _Life_, 203-209. 188
+
+   San Gimignano, Bastiano da (Bastiano Mainardi), 225, 230-233
+
+   Sandro Botticelli (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Sanese, Simone (Simone Martini or Memmi), 183
+
+   Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino), 243
+
+   Santi Buglioni, 276
+
+   Sanzio, Raffaello (Raffaello da Urbino), 18, 19
+
+   Sassoli, Fabiano, 54
+
+   Schongauer, Martin, 214
+
+   Sellaio, Jacopo del, 86
+
+   Servellino, Guido del, 12
+
+   Settignano, Desiderio da, _Life_, 147-149. 154, 156, 260
+
+   Signorelli, Luca (Luca da Cortona), 20, 23, 31, 52, 188, 204
+
+   Simone (brother of Donatello), _Life_, 3-7
+
+   Simone, Francesco di, 273
+
+   Simone Sanese (Simone Martini or Memmi), 183
+
+   Spinelli, Parri, 54
+
+   Squarcione, Jacopo, 279-281, 285
+
+   Stefano (of Florence), 215
+
+   Stefano da Ferrara, 285, 286
+
+   Strozzi, Zanobi, 35
+
+
+   Tafi, Andrea, 69
+
+   Tagliapietra, Duca, 169
+
+   Tasso, Domenico del, 200, 262
+
+   Tasso, Giuliano del, 200, 262
+
+   Tasso, Marco del, 200, 262
+
+   Tedesco, Jacopo del, 233
+
+   Tiziano Vecelli (Tiziano da Cadore), 179, 183
+
+   Todi, Pietro Paolo da, 92
+
+   Tommaso Ghirlandajo, 219
+
+   Treviso, Dario da, 280, 285
+
+   Turini, Giovanni, 239
+
+
+   Uccello, Paolo, 257
+
+   Urbino, Bramante da, 155
+
+   Urbino, Raffaello da (Raffaello Sanzio), 18, 19
+
+
+   Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Vante (or Attavante), 36-39, 209, 214, 215
+
+   Varrone (of Florence), 7
+
+   Vasari, Bernardo, 55
+
+   Vasari, Giorgio--
+     as art-collector, 12, 48, 52, 54, 68, 88, 113, 124, 140, 149, 157, 164, 170, 189, 198, 209, 214, 221, 238, 242, 254, 263, 270, 284
+     as author, 5, 6, 14, 18, 19, 30, 33, 34, 36, 39, 48, 51-56, 59, 64, 74, 75, 91-93, 97, 110, 112, 113, 123, 136, 142-144, 149, 157, 163, 164, 174, 175, 178-180, 198, 199, 209, 215, 221, 225, 242, 249, 259, 262, 273, 280, 283
+     as painter, 56, 209
+     as architect, 55
+
+   Vasari, Giorgio (son of Lazzaro Vasari, the elder), 52, 54-56
+
+   Vasari, Lazzaro (the elder), _Life_, 51-56
+
+   Vasari, Lazzaro (the younger), 55
+
+   Vecchietto, Lorenzo, _Life_, 129-131
+
+   Vecelli, Tiziano (Tiziano da Cadore), 179, 183
+
+   Vellano da Padova, _Life_, 73-75. 272
+
+   Venezia, Domenico da (Domenico Viniziano), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Verona, Paolo da, 243
+
+   Verrocchio, Andrea, _Life_, 267-276. 75, 223
+
+   Vincenzio di Zoppa, 5
+
+   Vinci, Leonardo da, 270, 271, 273, 286
+
+   Viniziano, Antonio, 176
+
+   Viniziano, Domenico (Domenico da Venezia), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Vittore (or Antonio) Pisanello, _Life_, 109-113. 105
+
+   Vivarino, Luigi, 178, 179
+
+
+   Weyden, Roger van der (Roger of Bruges), 61
+
+
+   Zanobi Macchiavelli, 125
+
+   Zanobi Strozzi, 35
+
+   Zeuxis, 209
+
+   Zoppa, Vincenzio di, 5
+
+   Zoppo, Marco, 279, 280, 285
+
+
+END OF VOL. III.
+
+
+   PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI
+   OF THE CHISWICK PRESS, LONDON. THE COLOURED
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+
+
+
+
+
+
+End of the Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Lives Of The Most Eminent Painters Sculptors And Architects, Vol III By Giorgio  Vasari.
+
+    </title>
+    <style type="text/css">
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+<pre>
+
+The Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the Most Eminent Painters Sculptors and Architects
+       Vol. 3 (of 10),  Filarete and Simone to Mantegna
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. de Vere
+
+Release Date: October 9, 2008 [EBook #26860]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PAINTERS SCULPTORS AND ARCHITECTS ***
+
+
+
+
+Produced by Mark C. Orton and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+
+
+
+<h1>LIVES OF THE MOST EMINENT PAINTERS SCULPTORS &amp; ARCHITECTS</h1>
+
+ <h2>BY GIORGIO VASARI:</h2>
+
+<h2>VOLUME III. FILARETE AND SIMONE TO MANTEGNA 1912</h2>
+
+<h4>NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED
+ILLUSTRATIONS: IN TEN VOLUMES</h4>
+
+
+
+<div class="figcenter" style="width: 423px;">
+<img src="images/illus-003.jpg" width="423" height="600" alt="" title="title page" />
+</div>
+
+<p class="center">PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON
+<span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span>ST. LONDON, W. 1912-14</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS_OF_VOLUME_III" id="CONTENTS_OF_VOLUME_III"></a>CONTENTS OF VOLUME III</h2>
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="85%" cellspacing="0" summary="CONTENTS">
+<tr><td align='left'>&nbsp;</td><td align='right'>PAGE</td></tr>
+<tr><td align='left'><span class="smcap">Antonio Filarete and Simone</span></td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Giuliano da Maiano</span></td><td align='right'><a href='#Page_9'><b>9</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Piero della Francesca [Piero Borghese]</span></td><td align='right'><a href='#Page_15'><b>15</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fra Giovanni da Fiesole [Fra Angelico]</span></td><td align='right'><a href='#Page_25'><b>25</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Leon Batista Alberti</span></td><td align='right'><a href='#Page_41'><b>41</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Lazzaro Vasari</span></td><td align='right'><a href='#Page_49'><b>49</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Antonello da Messina</span></td><td align='right'><a href='#Page_57'><b>57</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Alesso Baldovinetti</span></td><td align='right'><a href='#Page_65'><b>65</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Vellano da Padova</span></td><td align='right'><a href='#Page_71'><b>71</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Fra Filippo Lippi</span></td><td align='right'><a href='#Page_77'><b>77</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Paolo Romano, Maestro Mino [Mino del Regno <i>or</i> Mino del Reame], and Chimenti Camicia</span></td><td align='right'><a href='#Page_89'><b>89</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Andrea dal Castagno of Mugello [Andrea degl' Impiccati] and Domenico Viniziano [Domenico da Venezia]</span></td><td align='right'><a href='#Page_95'><b>95</b></a></td></tr>
+
+<tr><td align='left'><span class="smcap">Gentile da Fabriano and Vittore Pisanello of Verona</span></td><td align='right'><a href='#Page_107'><b>107</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Pesello and Francesco Peselli [Pesellino <i>or</i> Francesco di Pesello]</span></td><td align='right'><a href='#Page_115'><b>115</b></a></td></tr>
+
+<tr><td align='left'><span class="smcap">Benozzo Gozzoli</span></td><td align='right'><a href='#Page_119'><b>119</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Francesco di Giorgio and Lorenzo Vecchietto</span></td><td align='right'><a href='#Page_127'><b>127</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Galasso Ferrarese [Galasso Galassi]</span><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span></td><td align='right'><a href='#Page_133'><b>133</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Antonio Rossellino [Rossellino dal Proconsolo] and Bernardo his Brother</span></td><td align='right'><a href='#Page_137'><b>137</b></a></td></tr>
+
+<tr><td align='left'><span class="smcap">Desiderio da Settignano</span></td><td align='right'><a href='#Page_145'><b>145</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Mino da Fiesole [Mino di Giovanni]</span></td><td align='right'><a href='#Page_151'><b>151</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Lorenzo Costa</span></td><td align='right'><a href='#Page_159'><b>159</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Ercole Ferrarese [Ercole da Ferrara]</span></td><td align='right'><a href='#Page_165'><b>165</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Jacopo, Giovanni, and Gentile Bellini</span></td><td align='right'><a href='#Page_171'><b>171</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Cosimo Rosselli</span></td><td align='right'><a href='#Page_185'><b>185</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Cecca</span></td><td align='right'><a href='#Page_191'><b>191</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Don Bartolommeo della Gatta, Abbot of S. Clemente</span></td><td align='right'><a href='#Page_201'><b>201</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Gherardo</span></td><td align='right'><a href='#Page_211'><b>211</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Domenico Ghirlandajo</span></td><td align='right'><a href='#Page_217'><b>217</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Antonio and Piero Pollaiuolo</span></td><td align='right'><a href='#Page_235'><b>235</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Sandro Botticelli [Alessandro Filipepi <i>or</i> Sandro di Botticello]</span></td><td align='right'><a href='#Page_245'><b>245</b></a></td></tr>
+
+<tr><td align='left'><span class="smcap">Benedetto da Maiano</span></td><td align='right'><a href='#Page_255'><b>255</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Andrea Verrocchio</span></td><td align='right'><a href='#Page_265'><b>265</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Andrea Mantegna</span></td><td align='right'><a href='#Page_277'><b>277</b></a></td></tr>
+<tr><td align='left'><span class="smcap">Index of Names</span></td><td align='right'><a href='#Page_287'><b>287</b></a></td></tr>
+</table></div>
+
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ILLUSTRATIONS_TO_VOLUME_III" id="ILLUSTRATIONS_TO_VOLUME_III"></a>ILLUSTRATIONS TO VOLUME III</h2>
+
+<h3>PLATES IN COLOUR</h3>
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME I">
+<tr>
+<td><span class="smcap">Vincenzio Di Zoppa</span> (<span class="smcap">Foppa</span>)</td>
+<td>Madonna and Child</td>
+<td>Settignano: Berenson Collection</td>
+<td align="right"><a href='#illus-019'><b>6</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero della Francesca</span></td>
+<td>Federigo da Montefeltro, Duke of Urbino,</td>
+<td>Florence: Uffizi, 1300</td>
+<td align="right"><a href='#illus-039'><b>18</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero della Francesca</span></td>
+<td>... and Battista Sforza, his Wife</td>
+<td>Florence: Uffizi, 1300</td>
+<td align="right"><a href='#illus-038'><b>18</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero della Francesca</span></td>
+<td>The Baptism in Jordan</td>
+<td>London: N. G., 665</td>
+<td align="right"><a href='#illus-047'><b>22</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Giovanni da Fiesole</span></td>
+<td>The Annunciation</td>
+<td>Cortona: Ges&ugrave; Gallery</td>
+<td align="right"><a href='#illus-067'><b>34</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonello Da Messina</span></td>
+<td>Portrait of a Young Man</td>
+<td>Berlin: Kaiser Friedrich Museum, 18</td>
+<td align="right"><a href='#illus-099'><b>62</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonello Da Messina</span></td>
+<td>The Crucifixion</td>
+<td>London: N. G., 1166</td>
+<td align="right"><a href='#illus-103'><b>64</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Alesso Baldovinetti</span></td>
+<td>Madonna and Child in a Landscape</td>
+<td>Paris: Louvre, 1300B</td>
+<td align="right"><a href='#illus-111'><b>68</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Filippo Lippi</span></td>
+<td>The Annunciation</td>
+<td>London: N. G., 666</td>
+<td align="right"><a href='#illus-129'><b>80</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Dal Castagno</span></td>
+<td>Dante</td>
+<td>Florence: S. Apollonia</td>
+<td align="right"><a href='#illus-159'><b>102</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Gentile Da Fabriano</span></td>
+<td>Detail from The Adoration of the Magi: Madonna and Child, with Three Kings</td>
+<td>Florence: Accademia, 165</td>
+<td align="right"><a href='#illus-171'><b>110</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vittore Pisanello</span></td>
+<td>The Vision of S. Eustace</td>
+<td>London: N. G., 1436</td>
+<td align="right"><a href='#illus-175'><b>112</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Peselli</span> (<span class="smcap">Pesellino</span>)</td>
+<td>Madonna Enthroned, with Saints and Angels</td>
+<td>Empoli: Gallery</td>
+<td align="right"><a href='#illus-185'><b>118</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benozzo Gozzoli</span></td>
+<td>Madonna and Child</td>
+<td>Berlin: Kaiser Friedrich Museum, 60B</td>
+<td align="right"><a href='#illus-193'><b>122</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Francesco Di Giorgio</span></td>
+<td>S. Dorothy</td>
+<td>London: N. G., 1682</td>
+<td align="right"><a href='#illus-203'><b>128</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Jacopo Bellini</span></td>
+<td>Madonna and Child</td>
+<td>Florence: Uffizi, 1562</td>
+<td align="right"><a href='#illus-267'><b>174</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Bellini</span></td>
+<td>The Doge Leonardo Loredano</td>
+<td>London: N. G., 189</td>
+<td align="right"><a href='#illus-269'><b>174</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Bellini</span></td>
+<td>Fortuna</td>
+<td>Venice: Accademia, 595<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span></td>
+<td align="right"><a href='#illus-277'><b>178</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Bellini</span></td>
+<td>The Dead Christ</td>
+<td>Milan: Poldi Pezzoli, 624</td>
+<td align="right"><a href='#illus-279'><b>178</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Gentile Bellini</span></td>
+<td>S. Dominic</td>
+<td>London: N. G., 1440</td>
+<td align="right"><a href='#illus-287'><b>182</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Ghirlandajo</span></td>
+<td>The Vision of S. Fina</td>
+<td>San Gimignano</td>
+<td align="right"><a href='#illus-335'><b>224</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio Pollaiuolo</span></td>
+<td>David Victor</td>
+<td>Berlin: Kaiser Friedrich Museum, 73</td>
+<td align="right"><a href='#illus-359'><b>240</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Sandro Botticelli</span></td>
+<td>Pallas and the Centaur</td>
+<td>Florence: Pitti Palace</td>
+<td align="right"><a href='#illus-373'><b>248</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Sandro Botticelli</span></td>
+<td>Giovanna Tornabuoni and the Graces</td>
+<td>Paris: Louvre, 1297</td>
+<td align="right"><a href='#illus-375'><b>248</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Sandro Botticelli</span></td>
+<td>Madonna of the Pomegranate</td>
+<td>Florence: Uffizi, 1289</td>
+<td align="right"><a href='#illus-383'><b>252</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Mantegn</span></td>
+<td>Madonna of the Rocks</td>
+<td>Florence: Uffizi, 1025</td>
+<td align="right"><a href='#illus-425'><b>280</b></a></td>
+</tr>
+</table></div>
+
+
+
+
+
+<h3>PLATES IN MONOCHROME</h3>
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="100%" cellspacing="0" summary="ILLUSTRATIONS TO VOLUME III">
+
+<tr>
+<td><span class="smcap">Antonio Filarete</span></td>
+<td>Bronze Doors</td>
+<td>Rome: S. Peter's</td>
+<td align="right"><a href='#illus-015'><b>4</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Simone</span></td>
+<td>Tomb of Pope Martin V</td>
+<td>Rome: S. Giovanni in Laterano</td>
+<td align="right"><a href='#illus-023'><b>8</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benedetto da Maiano</span></td>
+<td>S. Sebastian</td>
+<td>Florence: Oratorio della Misericordia</td>
+<td align="right"><a href='#illus-031'><b>14</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero della Francesca</span></td>
+<td>The Resurrection</td>
+<td>Borgo S. Sepolcro</td>
+<td align="right"><a href='#illus-043'><b>20</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero della Francesca</span></td>
+<td>The Vision of Constantine</td>
+<td>Arezzo: S. Francescoo</td>
+<td align="right"><a href='#illus-051'><b>24</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Giovanni da Fiesole</span></td>
+<td>The Transfiguration</td>
+<td>Florence: S. Marc</td>
+<td align="right"><a href='#illus-059'><b>30</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Giovanni da Fiesole</span></td>
+<td>S. Stephen Preaching</td>
+<td>Rome: The Vatican, Chapel of Nicholas V</td>
+<td align="right"><a href='#illus-063'><b>32</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Leon Batista Alberti</span></td>
+<td>Façade of S. Andrea</td>
+<td>Mantua</td>
+<td align="right"><a href='#illus-081'><b>46</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Alesso Baldovinetti</span></td>
+<td>The Annunciation</td>
+<td>Florence: Uffizi, 56</td>
+<td align="right"><a href='#illus-107'><b>66</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Graffione</span></td>
+<td>The Trinity</td>
+<td>Florence: S. Spirito</td>
+<td align="right"><a href='#illus-115'><b>70</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vellano da Padova</span></td>
+<td>Jonah Cast into the Sea</td>
+<td>Padua: S. Antonio</td>
+<td align="right"><a href='#illus-121'><b>74</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Filippo Lippi</span></td>
+<td>The Virgin Adoring</td>
+<td>Florence: Accademia, 79</td>
+<td align="right"><a href='#illus-133'><b>82</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Fra Filippo Lippi</span></td>
+<td>Madonna and Child</td>
+<td>Florence: Pitti, 343</td>
+<td align="right"><a href='#illus-139'><b>86</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea dal Castagno</span></td>
+<td>The Last Supper</td>
+<td>Florence: S. Apollonia</td>
+<td align="right"><a href='#illus-153'><b>98</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Viniziano</span></td>
+<td>Madonna and Child</td>
+<td>London: N. G., 1215</td>
+<td align="right"><a href='#illus-163'><b>104</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Vittore Pisanello</span></td>
+<td>Medals: N. Piccinino and Sigismondo Malatesta</td>
+<td>London: British Museum</td>
+<td align="right"><a href='#illus-179'><b>114</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benozzo Gozzoli</span></td>
+<td>Detail: Procession of the Magi</td>
+<td>Florence: Palazzo Riccardi</td>
+<td align="right"><a href='#illus-189'><b>120</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benozzo Gozzoli</span></td>
+<td>The Death of S. Augustine<a name="Page-ix" id="Page-ix">[Pg ix]</a></td>
+<td>San Gimignano: S. Agostino</td>
+<td align="right"><a href='#illus-197'><b>124</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo Vecchietto</span></td>
+<td>The Risen Christ</td>
+<td>Siena: S. Maria della Scala</td>
+<td align="right"><a href='#illus-207'><b>130</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Cosm&egrave;</span> (<span class="smcap">Cosimo Tura</span>)</td>
+<td>The Madonna Enthroned</td>
+<td>Berlin: Kaiser Friedrich Museum, 86</td>
+<td align="right"><a href='#illus-215'><b>136</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio Rossellino</span></td>
+<td>Tomb of Cardinal Jacopo of Portugal</td>
+<td>Florence: S. Miniato</td>
+<td align="right"><a href='#illus-223'><b>142</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bernardo Rossellino</span></td>
+<td>Tomb of Leonardo Bruni</td>
+<td>Florence: S. Croce</td>
+<td align="right"><a href='#illus-227'><b>144</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Desiderio da Settignano</span></td>
+<td>Tomb of Carlo Marsuppini</td>
+<td>Florence: S. Croce</td>
+<td align="right"><a href='#illus-233'><b>148</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Mino da Fiesole</span></td>
+<td>Tomb of Margrave Hugo</td>
+<td>Florence: La Badia</td>
+<td align="right"><a href='#illus-241'><b>154</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Lorenzo Costa</span></td>
+<td>The Coronation of the Virgin</td>
+<td>Bologna: S. Giovanni in Monte</td>
+<td align="right"><a href='#illus-251'><b>162</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Ercole Ferrarese</span></td>
+<td>The Israelites Gathering Manna</td>
+<td>London: N. G., 1217</td>
+<td align="right"><a href='#illus-259'><b>168</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Gentile Bellini</span></td>
+<td>The Miracle of the True Cross</td>
+<td>Venice: Accademia, 568</td>
+<td align="right"><a href='#illus-273'><b>176</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Giovanni Bellini</span></td>
+<td>Madonna and Saints</td>
+<td>Venice: S. Francesco della Vigna</td>
+<td align="right"><a href='#illus-283'><b>180</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Cosimo Rossell</span></td>
+<td>Detail: Christ Healing the Leper</td>
+<td>Rome: Sistine Chapel</td>
+<td align="right"><a href='#illus-297'><b>190</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Ghirlandajo</span></td>
+<td>The Death of S. Francis</td>
+<td>Florence: S. Trinita</td>
+<td align="right"><a href='#illus-331'><b>222</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Domenico Ghirlandajo</span></td>
+<td>The Birth of S. John the Baptist</td>
+<td>Florence: S. Maria Novella</td>
+<td align="right"><a href='#illus-339'><b>226</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Bastiano Mainardi</span></td>
+<td>The Madonna giving the Girdle to S. Thomas</td>
+<td>Florence: S. Croce</td>
+<td align="right"><a href='#illus-347'><b>232</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Piero Pollaiuolo</span></td>
+<td>SS. Eustace, James, and Vincent</td>
+<td>Florence: Uffizi, 1301</td>
+<td align="right"><a href='#illus-355'><b>238</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio Pollaiuolo</span></td>
+<td>The Martyrdom of S. Sebastian</td>
+<td>London: N. G., 292</td>
+<td align="right"><a href='#illus-363'><b>242</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Antonio Pollaiuolo</span></td>
+<td>Tomb of Pope Sixtus IV</td>
+<td>Rome: S. Peter's</td>
+<td align="right"><a href='#illus-365'><b>242</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Sandro Botticelli</span></td>
+<td>The Adoration of the Magi</td>
+<td>Florence: Uffizi, 1286</td>
+<td align="right"><a href='#illus-379'><b>250</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Sandro Botticelli</span></td>
+<td>The Calumny of Apelles</td>
+<td>Florence: Uffizi, 1182</td>
+<td align="right"><a href='#illus-387'><b>254</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Benedetto da Maiano</span></td>
+<td>Pulpit</td>
+<td>Florence: S. Croce</td>
+<td align="right"><a href='#illus-393'><b>258</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Verrocchio</span></td>
+<td>David</td>
+<td>Florence: Bargello</td>
+<td align="right"><a href='#illus-403'><b>266</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Verrocchio</span></td>
+<td>Detail: Corner and Foot of the Medici Sarcophagus</td>
+<td>Florence: S. Lorenzo</td>
+<td align="right"><a href='#illus-409'><b>270</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Verrocchio</span></td>
+<td>Statue of Bartolommeo Colleoni</td>
+<td>Venice: Campo SS. Giovanni e Paolo</td>
+<td align="right"><a href='#illus-413'><b>272</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Mantegna</span></td>
+<td>Madonna and Angels</td>
+<td>Padua: Eremitani</td>
+<td align="right"><a href='#illus-429'><b>278</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Mantegna</span></td>
+<td>The Martyrdom of S. James</td>
+<td>Milan: Brera, 198</td>
+<td align="right"><a href='#illus-421'><b>282</b></a></td>
+</tr>
+
+<tr>
+<td><span class="smcap">Andrea Mantegna</span></td>
+<td>Judith with the Head of Holofernes</td>
+<td>Dublin: N. G.</td>
+<td align="right"><a href='#illus-435'><b>286</b></a></td>
+</tr>
+
+</table></div>
+
+
+<p><span class='pagenum'><a name="Page-1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
+<h2><br /><br />ANTONIO FILARETE AND SIMONE<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_ANTONIO_FILARETE_AND_SIMONE" id="LIVES_OF_ANTONIO_FILARETE_AND_SIMONE"></a>LIVES OF ANTONIO FILARETE AND SIMONE</h2>
+
+<h3>SCULPTORS OF FLORENCE</h3>
+
+
+<p>If Pope Eugenius IV, when he resolved to make the bronze door for S.
+Pietro in Rome, had used diligence in seeking for men of excellence to
+execute that work (and he would easily have been able to find them at
+that time, when Filippo di Ser Brunellesco, Donatello, and other rare
+craftsmen were alive), it would not have been carried out in the
+deplorable manner which it reveals to us in our own day. But perchance
+the same thing happened to him that is very often wont to happen to the
+greater number of Princes, who either have no understanding of such
+works or take very little delight in them. Now, if they were to consider
+how important it is to show preference to men of excellence in public
+works, by reason of the fame that comes from these, it is certain that
+neither they nor their ministers would be so negligent; for the reason
+that he who encumbers himself with poor and inept craftsmen ensures but
+a short life to his works or his fame, not to mention that injury is
+done to the public interest and to the age in which he was born, for it
+is firmly believed by all who come after, that, if there had been better
+masters to be found in that age, the Prince would have availed himself
+rather of them than of the inept and vulgar.</p>
+
+<p>Now, after being created Pontiff in the year 1431, Pope Eugenius IV,
+hearing that the Florentines were having the doors of S. Giovanni made
+by Lorenzo Ghiberti, conceived a wish to try to make one of the doors of
+S. Pietro in like manner in bronze. But since he had no knowledge of
+such works, he entrusted the matter to his ministers, with whom Antonio
+Filarete, then a youth, and Simone, the brother of Donatello, both
+sculptors of Florence, had so much interest, that the work was allotted
+to<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> them. Putting their hands to this, therefore, they toiled for twelve
+years to complete it; and although Pope Eugenius fled from Rome and was
+much harassed by reason of the Councils, yet those who had charge of S.
+Pietro contrived to prevent that work from being abandoned. Filarete,
+then, wrought that door in low-relief, making a simple division, with
+two upright figures in each part&mdash;namely, the Saviour and the Madonna
+above, and S. Peter and S. Paul below; and at the foot of S. Peter is
+that Pope on his knees, portrayed from life. Beneath each figure,
+likewise, there is a little scene from the life of the Saint that is
+above; below S. Peter, his crucifixion, and below S. Paul, his
+beheading; and beneath the Saviour and the Madonna, also, some events
+from their lives. At the foot of the inner side of the said door, to
+amuse himself, Antonio made a little scene in bronze, wherein he
+portrayed himself and Simone and their disciples going with an ass laden
+with good cheer to take their pleasure in a vineyard. But since they
+were not always at work on the said door during the whole of those
+twelve years, they also made in S. Pietro some marble tombs for Popes
+and Cardinals, which were thrown to the ground in the building of the
+new church.</p>
+
+
+<div class="figcenter" style="width: 454px;">
+<a name="illus-015" id="illus-015"></a>
+<img src="images/illus-015-tb.jpg" width="454" height="600" alt="BRONZE DOORS" title="" />
+<span class="caption">BRONZE DOORS (<i>After</i> Antonio Filarete. <i>Rome: S. Peter's</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-015.jpg">View larger image</a></span>
+</div>
+
+
+<p>After these works, Antonio was summoned to Milan by Duke Francesco
+Sforza, then Gonfalonier of Holy Church (who had seen his works in
+Rome), to the end that there might be made with his design, as it
+afterwards was, the Albergo de' poveri di Dio,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> which is a hospital
+that serves for sick men and women, and for the innocent children born
+out of wedlock. The division for the men in this place is in the form of
+a cross, and extends 160 braccia in all directions; and that of the
+women is the same. The width is 16 braccia, and within the four square
+sides that enclose the crosses of each of these two divisions there are
+four courtyards surrounded by porticoes, loggie, and rooms for the use
+of the director, the officials, the servants, and the nurses of the
+hospital, all very commodious and useful. On one side there is a channel
+with water continually running for the service of the hospital and for
+grinding corn, with no small benefit and convenience for that place, as
+all may imagine. Between the two divisions of the hospital there is a
+cloister, 80 braccia<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> in extent in one direction and 160 in the other,
+in the middle of which is the church, so contrived as to serve for both
+divisions. In a word, this place is so well built and designed, that I
+do not believe that there is its like in Europe. According to the
+account of Filarete himself, the first stone of this building was laid
+with a solemn procession of the whole of the clergy of Milan, in the
+presence of Duke Francesco Sforza, the Lady Bianca Maria, and all their
+children, with the Marquis of Mantua, the Ambassador of King Alfonso of
+Arragon, and many other lords. On the first stone which was laid in the
+foundations, as well as on the medals, were these words:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">FRANCISCUS SFORTIA DUX IV, QUI AMISSUM PER PR&AElig;CESSORUM OBITUM</span><br />
+<span style="margin-left: 1.5em;">URBIS IMPERIUM RECUPERAVIT, HOC MUNUS CHRISTI PAUPERIBUS DEDIT</span><br />
+<span style="margin-left: 7.5em;">FUNDAVITQUE MCCCCLVII, DIE XII APRIL.</span><br />
+</p>
+
+<p>These scenes were afterwards depicted on the portico by Maestro
+Vincenzio di Zoppa, a Lombard, since no better master could be found in
+those parts.</p>
+
+<p>A work by the same Antonio, likewise, was the principal church of
+Bergamo, which he built with no less diligence and judgment than he had
+shown in the above-named hospital. And because he also took delight in
+writing, the while that these works of his were in progress he wrote a
+book divided into three parts. In the first he treats of the
+measurements of all edifices, and of all that is necessary for the
+purpose of building. In the second he speaks of the methods of building,
+and of the manner wherein a most beautiful and most convenient city
+might be laid out. In the third he invents new forms of buildings,
+mingling the ancient with the modern. The whole work is divided into
+twenty-four books, illustrated throughout by drawings from his own hand;
+but, although there is something of the good to be found in it, it is
+nevertheless mostly ridiculous, and perhaps the most stupid book that
+was ever written. It was dedicated by him in the year 1464 to the
+Magnificent Piero di Cosimo de' Medici, and it is now in the collection
+of the most Illustrious Lord Duke Cosimo. And in truth, since he put
+himself to so great pains, the book might be commended in some sort, if
+he had at least<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> made some records of the masters of his day and of
+their works; but as there are few to be found therein, and those few are
+scattered throughout the book without method and in the least suitable
+places, he has toiled only to beggar himself, as the saying goes, and to
+be thought a man of little judgment for meddling with something that he
+did not understand.</p>
+
+<div class="figcenter" style="width: 437px;">
+<a name="illus-019" id="illus-019"></a>
+<img src="images/illus-019-tb.jpg" width="437" height="600" alt="VINCENZIO DI ZOPPA (FOPPA): MADONNA AND CHILD" title="" />
+<span class="caption">VINCENZIO DI ZOPPA (FOPPA): MADONNA AND CHILD<br />(<i>Settignano: Berenson Collection. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-019.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>But I have said quite enough about Filarete, and it is now time to turn
+to Simone, the brother of Donato. This man, after the work of the door,
+made the bronze tomb of Pope Martin. He likewise made some castings that
+were sent to France, of many of which the fate is not known. For the
+Church of the Ermini, in the Canto alla Macine in Florence, he wrought a
+life-size Crucifix for carrying in processions, and to render it the
+lighter he made it of cork. In S. Felicita he made a terra-cotta figure
+of S. Mary Magdalene in Penitence, three braccia and a half in height
+and beautifully proportioned, and revealing the muscles in such a manner
+as to show that he had a very good knowledge of anatomy. He also wrought
+a marble tombstone for the Company of the Nunziata in the Church of the
+Servi, inlaying it with a figure in grey and white marble in the manner
+of a painting (which was much extolled), like the work already mentioned
+as having been done by the Sienese Duccio in the Duomo of Siena. At
+Prato he made the bronze grille for the Chapel of the Girdle. At Forl&igrave;,
+over the door of the Canon's house, he wrought a Madonna with two angels
+in low-relief; and he adorned the Chapel of the Trinit&agrave; in S. Francesco
+with work in half-relief for Messer Giovanni da Riolo. In the Church of
+S. Francesco at Rimini, for Sigismondo Malatesti, he built the Chapel of
+S. Sigismondo, wherein there are many elephants, the device of that
+lord, carved in marble. To Messer Bartolommeo Scamisci, Canon of the
+Pieve of Arezzo, he sent a Madonna with the Child in her arms, made of
+terra-cotta, with certain angels in half-relief, very well executed;
+which Madonna is now in the said Pieve, set up against a column. For the
+baptismal font of the Vescovado of Arezzo, likewise, he wrought, in some
+scenes in low-relief, a Christ being baptized by S. John. In the Church
+of the Nunziata in Florence he made a marble tomb for Messer Orlando de'
+Medici. Finally,<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> at the age of fifty-five, he rendered up his spirit
+to God who had given it to him. Nor was it long before Filarete, having
+returned to Rome, died at the age of sixty-nine, and was buried in the
+Minerva, where he had caused Giovanni Foccora, a painter of no small
+repute, to make a portrait of Pope Eugenius, while he was staying in
+Rome in the service of that Pontiff. The portrait of Antonio, by his own
+hand, is at the beginning of his book, where he gives instructions for
+building. His disciples were Varrone and Niccol&ograve;, both Florentines, who
+made the marble statue for Pope Pius II near Pontemolle, at the time
+when he brought the head of S. Andrew to Rome. By order of the same Pope
+they restored Tigoli almost from the foundations; and in S. Pietro they
+made the ornament of marble that is above the columns of the chapel
+wherein the said head of S. Andrew is preserved. Near that chapel is the
+tomb of the said Pope Pius, made by Pasquino da Montepulciano, a
+disciple of Filarete, and Bernardo Ciuffagni. This Bernardo wrought a
+tomb of marble for Gismondo Malatesti in S. Francesco at Rimini, making
+his portrait there from nature; and he also executed some works, so it
+is said, in Lucca and in Mantua.</p>
+
+
+<div class="figcenter" style="width: 253px;">
+<a name="illus-023" id="illus-023"></a>
+<img src="images/illus-023-tb.jpg" width="253" height="600" alt="TOMB OF POPE MARTIN " title="" />
+<span class="caption">TOMB OF POPE MARTIN (<i>After the bronze relief by</i> Simone.<i> Rome: S. Giovanni in Laterano</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-023.jpg">View larger image</a></span>
+</div>
+
+
+
+
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span><br /><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
+<h2><br /><br />GIULIANO DA MAIANO<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_GIULIANO_DA_MAIANO" id="LIFE_OF_GIULIANO_DA_MAIANO"></a>LIFE OF GIULIANO DA MAIANO</h2>
+
+<h3>SCULPTOR AND ARCHITECT</h3>
+
+
+<p>No small error do those fathers of families make who do not allow the
+minds of their children to run the natural course in their childhood,
+and do not suffer them to follow the calling that is most in accordance
+with their taste; for to try to turn them to something for which they
+have no inclination is manifestly to prevent them from ever being
+excellent in anything, because we almost always find that those who
+labour at something that they do not like make little progress in any
+occupation whatsoever. On the other hand, those who follow the instinct
+of nature generally become excellent and famous in the arts that they
+pursue; as was seen clearly in Giuliano da Maiano. The father of this
+man, after living a long time on the hill of Fiesole, in the part called
+Maiano, working at the trade of stone-cutter, finally betook himself to
+Florence, where he opened a shop for the sale of dressed stone, keeping
+it furnished with the sort of work that is apt very often to be called
+for without warning by those who are erecting some building. Living in
+Florence, then, there was born to him a son, Giuliano, whom his father,
+growing convinced in the course of time that he had a good intelligence,
+proposed to make into a notary, for it appeared to him that his own
+occupation of stone-cutting was too laborious and too unprofitable an
+exercise. But this did not come to pass, because, although Giuliano went
+to a grammar-school for a little, his thoughts were never there, and in
+consequence he made no progress; nay, he played truant very often, and
+showed that he had his mind wholly set on sculpture, although at first
+he applied himself to the calling of joiner and also gave attention to
+drawing.</p>
+
+<p>It is said that in company with Giusto and Minore, masters of<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+tarsia,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> he wrought the seats of the Sacristy of the Nunziata, and
+likewise those of the choir that is beside the chapel, and many things
+in the Badia of Florence and in S. Marco; and that, having acquired a
+name through these works, he was summoned to Pisa, in the Duomo of which
+he wrought the seat that is beside the high-altar, in which the priest,
+the deacon, and the sub-deacon sit when Mass is being sung; making in
+tarsia on the back of this seat, with tinted and shaded woods, the three
+prophets that are seen therein. In this work he availed himself of Guido
+del Servellino and Maestro Domenico di Mariotto, joiners of Pisa, to
+whom he taught the art so well that they afterwards wrought the greater
+part of that choir both with carvings and with tarsia-work; which choir
+has been finished in our own day, with a manner no little better, by
+Batista del Cervelliera of Pisa, a man truly ingenious and fanciful.</p>
+
+<p>But to return to Giuliano; he made the presses of the Sacristy of S.
+Maria del Fiore, which were held at that time to be admirable examples
+of tarsia and inlaid-work. Now, while Giuliano thus continued to devote
+himself to tarsia, to sculpture, and to architecture, Filippo di Ser
+Brunellesco died; whereupon, being chosen by the Wardens of Works to
+succeed him, he made the borders, incrusted with black and white marble,
+which are round the circular windows below the vault of the cupola; and
+at the corners he placed the marble pilasters on which Baccio d'Agnolo
+afterwards laid the architrave, frieze, and cornice, as will be told
+below. It is true that, as it appears from some designs by his hand that
+are in our book, he wished to make another arrangement of frieze,
+cornice, and gallery, with pediments on each of the eight sides of the
+cupola; but he had not time to put this into execution, for, being
+carried away by an excess of work from one day to another, he died.</p>
+
+<p>Before this happened, however, he went to Naples and designed the
+architecture of the magnificent Palace at Poggio Reale for King Alfonso,
+with the beautiful fountains and conduits that are in the courtyard. In
+the city, likewise, he made designs for many fountains, some for the
+houses of noblemen and some for public squares, with beautiful and<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+fanciful inventions; and he had the said Palace of Poggio Reale all
+wrought with paintings by Piero del Donzello and his brother Polito.
+Working in sculpture, likewise, for the said King Alfonso, then Duke of
+Calabria, he wrought scenes in low-relief over a door (both within and
+without) in the great hall of the Castle of Naples; and he made a marble
+gate for the castle after the Corinthian Order, with an infinite number
+of figures, giving to that work the form of a triumphal arch, on which
+stories from the life of that King and some of his victories are carved
+in marble. Giuliano also wrought the decorations of the Porta Capovana,
+making therein many varied and beautiful trophies; wherefore he well
+deserved that great love should be felt for him by that King, who,
+rewarding him liberally for his labours, enriched his descendants.</p>
+
+<p>Giuliano had taught to his nephew Benedetto the arts of tarsia and
+architecture, and something about working in marble; and Benedetto was
+living in Florence, devoting himself to working at tarsia, because this
+brought him greater gains than the other arts did. Now Giuliano was
+summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope
+Paul II, to enter the service of that Pontiff. Having gone thither, he
+designed the loggie of travertine in the first court of the Palace of S.
+Pietro, with three ranges of columns, of which the first is on the
+lowest floor, where there are now the Signet Office and other offices;
+the second is above this, where the Datary and other prelates live; and
+the third and last is where those rooms are that look out on the court
+of S. Pietro, which he adorned with gilded ceilings and other ornaments.
+From his design, likewise, were made the marble loggie from which the
+Pope gives his benediction&mdash;a very great work, as may still be seen
+to-day. But the most stupendous and marvellous work that he made was the
+palace that he built for that Pope, together with the Church of S. Marco
+in Rome, for which there was used an infinite quantity of travertine
+blocks, said to have been excavated from certain vineyards near the Arch
+of Constantine, where they served as buttresses for the foundations of
+that part of the Colosseum which is now in ruins, perchance because of
+the weakening of that edifice.</p>
+
+<p>Giuliano was sent by the same Pontiff to the Madonna of Loreto,<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> where
+he rebuilt the foundations and greatly enlarged the body of the church,
+which had formerly been small and built over piers in rustic-work. He
+did not go higher than the string-course that was there already; but he
+summoned his nephew Benedetto to that place, and he, as will be told,
+afterwards raised the cupola. Being then forced to return to Naples in
+order to finish the works that he had begun, Giuliano received a
+commission from King Alfonso for a gate near the castle, which was to
+include more than eighty figures, which Benedetto had to execute in
+Florence; but the whole remained unfinished by reason of the death of
+that King. There are still some relics of these figures in the
+Misericordia in Florence, and there were others in our own day in the
+Canto alla Macine; but I do not know where these are now to be found.
+Before the death of the King, however, Giuliano died in Naples at the
+age of seventy, and was greatly honoured with rich obsequies; for the
+King had fifty men clothed in mourning, who accompanied Giuliano to the
+grave, and then he gave orders that a marble tomb should be made for
+him.</p>
+
+<p>The continuation of his work was left to Polito, who completed the
+conduits for the waters of Poggio Reale. Benedetto, devoting himself
+afterwards to sculpture, surpassed his uncle Giuliano in excellence, as
+will be told; and in his youth he was the rival of a sculptor named
+Modanino da Modena, who worked in terra-cotta, and who wrought for the
+said Alfonso a Piet&agrave; with an infinite number of figures in the round,
+made of terra-cotta and coloured, which were executed with very great
+vivacity, and were placed by the King in the Church of Monte Oliveto, a
+very highly honoured monastery in the city of Naples. In this work the
+said King is portrayed on his knees, and he appears truly more than
+alive; wherefore Modanino was remunerated by him with very great
+rewards. But when the King died, as it has been said, Polito and
+Benedetto returned to Florence; where, no long time after, Polito
+followed Giuliano into eternity. The sculptures and pictures of these
+men date about the year of our salvation 1447.</p>
+
+
+<div class="figcenter" style="width: 403px;">
+<a name="illus-031" id="illus-031"></a>
+<img src="images/illus-031-tb.jpg" width="403" height="600" alt="S. SEBASTIAN" title="" />
+<span class="caption">S. SEBASTIAN (<i>After the marble by</i> Benedetto da Maiano<i>. Florence: Oratorio della
+Misericordia</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-031.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<h2><br /><br />PIERO DELLA FRANCESCA<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_PIERO_DELLA_FRANCESCA" id="LIFE_OF_PIERO_DELLA_FRANCESCA"></a>LIFE OF PIERO DELLA FRANCESCA</h2>
+
+<h3>[<i>PIERO BORGHESE</i>]</h3>
+
+<h3>PAINTER OF BORGO A SAN SEPOLCRO</h3>
+
+
+<p>Truly unhappy are those who, labouring at their studies in order to
+benefit others and to make their own name famous, are hindered by
+infirmity and sometimes by death from carrying to perfection the works
+that they have begun. And it happens very often that, leaving them all
+but finished or in a fair way to completion, they are falsely claimed by
+the presumption of those who seek to conceal their asses' skin under the
+honourable spoils of the lion. And although time, who is called the
+father of truth, sooner or later makes manifest the real state of
+things, it is none the less true that for a certain space of time the
+true craftsman is robbed of the honour that is due to his labours; as
+happened to Piero della Francesca of Borgo a San Sepolcro. He, having
+been held a rare master of the difficulties of drawing regular bodies,
+as well as of arithmetic and geometry, was yet not able&mdash;being overtaken
+in his old age by the infirmity of blindness, and finally by the close
+of his life&mdash;to bring to light his noble labours and the many books
+written by him, which are still preserved in the Borgo, his native
+place. The very man who should have striven with all his might to
+increase the glory and fame of Piero, from whom he had learnt all that
+he knew, was impious and malignant enough to seek to blot out the name
+of his teacher, and to usurp for himself the honour that was due to the
+other, publishing under his own name, Fra Luca dal Borgo, all the
+labours of that good old man, who, besides the sciences named above, was
+excellent in painting.</p>
+
+<p>Piero was born in Borgo a San Sepolcro, which is now a city, although it
+was not one then; and he was called Della Francesca after the name<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> of
+his mother, because she had been left pregnant with him at the death of
+her husband, his father, and because it was she who had brought him up
+and assisted him to attain to the rank that his good-fortune held out to
+him. Piero applied himself in his youth to mathematics, and although it
+was settled when he was fifteen years of age that he was to be a
+painter, he never abandoned this study; nay, he made marvellous progress
+therein, as well as in painting. He was employed by Guidobaldo Feltro
+the elder, Duke of Urbino, for whom he made many very beautiful pictures
+with little figures, which have been for the most part ruined on the
+many occasions when that state has been harassed by wars. Nevertheless,
+there were preserved there some of his writings on geometry and
+perspective, in which sciences he was not inferior to any man of his own
+time, or perchance even to any man of any other time; as is demonstrated
+by all his works, which are full of perspectives, and particularly by a
+vase drawn in squares and sides, in such a manner that the base and the
+mouth can be seen from the front, from behind, and from the sides; which
+is certainly a marvellous thing, for he drew the smallest details
+therein with great subtlety, and foreshortened the curves of all the
+circles with much grace. Having thus acquired credit and fame at that
+Court, he resolved to make himself known in other places; wherefore he
+went to Pesaro and Ancona, whence, in the very thick of his work, he was
+summoned by Duke Borso to Ferrara, where he painted many apartments in
+his palace, which were afterwards destroyed by Duke Ercole the elder in
+the renovation of the palace, insomuch that there is nothing by the hand
+of Piero left in that city, save a chapel wrought in fresco in S.
+Agostino; and even that has been injured by damp. Afterwards, being
+summoned to Rome, he painted two scenes for Pope Nicholas V in the upper
+rooms of his palace, in competition with Bramante da Milano; but these
+also were thrown to the ground by Pope Julius II&mdash;to the end that
+Raffaello da Urbino might paint there the Imprisonment of S. Peter and
+the Miracle of the Corporale of Bolsena&mdash;together with certain others
+that had been painted by Bramantino, an excellent painter in his day.</p>
+
+<div class="figcenter" style="width: 415px;">
+<a name="illus-038" id="illus-038"></a>
+<img src="images/illus-038-tb.jpg" width="415" height="600" alt="PIERO DELLA FRANCESCA: BATTISTA SFORZA, WIFE OF FEDERIGO
+DA MONTEFELTRO" title="" />
+<span class="caption">PIERO DELLA FRANCESCA: BATTISTA SFORZA, WIFE OF FEDERIGO
+DA MONTEFELTRO</span><br />(<i>Florence: Uffizi, 1300. Panel</i>)
+<br /><span class="link"><a href="images/illus-038.jpg">View larger image</a></span>
+</div>
+
+
+<p>Now, seeing that I cannot write the life of this man, nor particularize
+his works, because they have been ruined, I will not grudge the<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+labour of making some record of him, for it seems an apt occasion. In
+the said works that were thrown to the ground, so I have heard tell, he
+had made some heads from nature, so beautiful and so well executed that
+speech alone was wanting to give them life. Of these heads not a few
+have come to light, because Raffaello da Urbino had them copied in order
+that he might have the likenesses of the subjects, who were all people
+of importance; for among them were Niccol&ograve; Fortebraccio, Charles VII,
+King of France, Antonio Colonna, Prince of Salerno, Francesco
+Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco
+Spinola, and Battista da Canneto. All these portraits were given to
+Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and
+they were placed by Giovio in his museum at Como. Over the door of S.
+Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by
+the hand of the same man, in which, although the whole picture is not
+more than one braccio in height, there is an effect of infinite length,
+executed with facility and with judgment. By his hand, also, are some
+apartments and loggie in the house of the Marchesino Ostanesia in the
+same city, wherein there are many pictures wrought by him that show
+mastery and very great power in the foreshortening of the figures. And
+without the Porta Vercellina, near the Castle, in certain stables now
+ruined and destroyed, he painted some grooms currying horses, among
+which there was one so lifelike and so well wrought, that another horse,
+thinking it a real one, lashed out at it repeatedly with its hooves.</p>
+
+<div class="figcenter" style="width: 413px;">
+<a name="illus-039" id="illus-039"></a>
+<img src="images/illus-039-tb.jpg" width="413" height="600" alt="PIERO DELLA FRANCESCA: FEDERIGO DA MONTEFELTRO" title="" />
+<span class="caption">PIERO DELLA FRANCESCA: FEDERIGO DA MONTEFELTRO DUKE OF
+URBINO<br />(<i>Florence: Uffizi, 1300. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-039.jpg">View larger image</a></span>
+</div>
+
+
+<p>But to return to Piero della Francesca; his work in Rome finished, he
+returned to the Borgo, where his mother had just died; and on the inner
+side of the central door of the Pieve he painted two saints in fresco,
+which are held to be very beautiful. In the Convent of the Friars of S.
+Augustine he painted the panel of the high-altar, which was a thing much
+extolled; and he wrought in fresco a Madonna della Misericordia for a
+company, or rather, as they call it, a confraternity; with a
+Resurrection of Christ in the Palazzo de' Conservadori, which is held
+the best of all the works that are in the said city, and the best that
+he ever made. In company with Domenico da Vinezia, he painted the
+beginning of a work on the vaulting of the Sacristy of S. Maria at
+Loreto;<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> but they left it unfinished from fear of plague, and it was
+afterwards completed by Luca da Cortona,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> a disciple of Piero, as will
+be told in the proper place.</p>
+
+<p>Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of
+Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that
+family, the vaulting of which had been already begun by Lorenzo di
+Bicci. In this work there are Stories of the Cross, from that wherein
+the sons of Adam are burying him and placing under his tongue the seed
+of the tree from which there came the wood for the said Cross, down to
+the Exaltation of the Cross itself performed by the Emperor Heraclius,
+who, walking barefoot and carrying it on his shoulder, is entering with
+it into Jerusalem. Here there are many beautiful conceptions and
+attitudes worthy to be extolled; such as, for example, the garments of
+the women of the Queen of Sheba, executed in a sweet and novel manner;
+many most lifelike portraits from nature of ancient persons; a row of
+Corinthian columns, divinely well proportioned; and a peasant who,
+leaning with his hands on his spade, stands listening to the words of S.
+Helena&mdash;while the three Crosses are being disinterred&mdash;with so great
+attention, that it would not be possible to improve it. Very well
+wrought, also, is the dead body that is restored to life at the touch of
+the Cross, together with the joy of S. Helena and the marvelling of the
+bystanders, who are kneeling in adoration. But above every other
+consideration, whether of imagination or of art, is his painting of
+Night, with an angel in foreshortening who is flying with his head
+downwards, bringing the sign of victory to Constantine, who is sleeping
+in a pavilion, guarded by a chamberlain and some men-at-arms who are
+seen dimly through the darkness of the night; and with his own light the
+angel illuminates the pavilion, the men-at-arms, and all the
+surroundings. This is done with very great thought, for Piero gives us
+to know in this darkness how important it is to copy things as they are
+and to ever take them from the true model; which he did so well that he
+enabled the moderns to attain, by following him, to that supreme
+perfection wherein art is seen in our own time. In this same story he
+represented most success<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>fully in a battle fear, animosity, dexterity,
+vehemence, and all the other emotions that can be imagined in men who
+are fighting, and likewise all the incidents of battle, together with an
+almost incredible carnage, what with the wounded, the fallen, and the
+dead. In these Piero counterfeited in fresco the glittering of their
+arms, for which he deserves no less praise than he does for the flight
+and submersion of Maxentius painted on the other wall, wherein he made a
+group of horses in foreshortening, so marvellously executed that they
+can be truly called too beautiful and too excellent for those times. In
+the same story he made a man, half nude and half clothed in the dress of
+a Saracen, riding a lean horse, which reveals a very great mastery of
+anatomy, a science little known in his age. For this work, therefore, he
+well deserved to be richly rewarded by Luigi Bacci, whom he portrayed
+there in the scene of the beheading of a King, together with Carlo and
+others of his brothers and many Aretines who were then distinguished in
+letters; and to be loved and revered ever afterwards, as he was, in that
+city, which he had made so illustrious with his works.</p>
+
+<div class="figcenter" style="width: 504px;">
+<a name="illus-043" id="illus-043"></a>
+<img src="images/illus-043-tb.jpg" width="504" height="600" alt="THE RESURRECTION" title="" />
+<span class="caption">THE RESURRECTION<br />(<i>After the fresco by</i> Piero della Francesca<i>. Borgo San Sepolchro</i>)</span>
+<br /><i>Alinari</i><br /><span class="link"><a href="images/illus-043.jpg">View larger image</a></span>
+</div>
+
+
+<p>In the Vescovado of the same city, also, he made a S. Mary Magdalene in
+fresco beside the door of the sacristy; and for the Company of the
+Nunziata he painted the banner that is carried in processions. At the
+head of a cloister at S. Maria delle Grazie, without that district, he
+painted S. Donatus in his robes, seated in a chair drawn in perspective,
+together with certain boys; and in a niche high up on a wall of S.
+Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is
+much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati
+Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful
+Christ praying by night in the Garden.</p>
+
+<p>In Perugia, also, he wrought many works that are still to be seen in
+that city; as, for example, a panel in distemper in the Church of the
+Nuns of S. Anthony of Padua, containing a Madonna with the Child in her
+lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of
+Padua. Above these is a most beautiful Annunciation, with an Angel that
+seems truly to have come out of Heaven; and, what is more, a row of
+columns diminishing in perspective, which is indeed beautiful. In the<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+predella there are scenes with little figures, representing S. Anthony
+restoring a boy to life; S. Elizabeth saving a child that has fallen
+into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at
+Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene
+of the Marriage of Our Lady.</p>
+
+<p>Piero, as it has been said, was a very zealous student of art, and gave
+no little attention to perspective; and he had a very good knowledge of
+Euclid, insomuch that he understood all the best curves drawn in regular
+bodies better than any other geometrician, and the clearest elucidations
+of these matters that we have are from his hand. Now Maestro Luca dal
+Borgo, a friar of S. Francis, who wrote about the regular geometrical
+bodies, was his pupil; and when Piero, after having written many books,
+grew old and finally died, the said Maestro Luca, claiming the
+authorship of these books, had them printed as his own, for they had
+fallen into his hands after the death of Piero.</p>
+
+<p>Piero was much given to making models in clay, on which he spread wet
+draperies with an infinity of folds, in order to make use of them for
+drawing.</p>
+
+<p>A disciple of Piero was Lorentino d'Angelo of Arezzo, who made many
+pictures in Arezzo, imitating his manner, and completed those that
+Piero, overtaken by death, left unfinished. Near the S. Donatus that
+Piero wrought in the Madonna delle Grazie, Lorentino painted in fresco
+some stories of S. Donatus, with very many works in many other places
+both in that city and in the district, partly because he would never
+stay idle, and partly to assist his family, which was then very poor. In
+the said Church of the Grazie the same man painted a scene wherein Pope
+Sixtus IV, between the Cardinal of Mantua and Cardinal Piccolomini (who
+was afterwards Pope Pius III), is granting an indulgence to that place;
+in which scene Lorentino portrayed from the life, on their knees,
+Tommaso Marzi, Piero Traditi, Donato Rosselli, and Giuliano Nardi, all
+citizens of Arezzo and Wardens of Works for that building. In the hall
+of the Palazzo de' Priori, moreover, he portrayed from the life Cardinal
+Galeotto da Pietramala, Bishop Guglielmino degli Ubertini, and Messer
+Angelo Albergotti, Doctor of Laws; and he made many other works, which
+are scattered throughout that city.</p>
+
+<div class="figcenter" style="width: 423px;">
+<a name="illus-047" id="illus-047"></a>
+<img src="images/illus-047-tb.jpg" width="423" height="600" alt="PIERO DELLA FRANCESCA" title="" />
+<span class="caption">PIERO DELLA FRANCESCA: THE BAPTISM IN JORDAN<br />
+(<i>London: National Gallery, 665. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-047.jpg">View larger image</a></span>
+
+</div>
+
+
+<p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
+
+<p>It is said that once, when the Carnival was close at hand, the children
+of Lorentino kept beseeching him to kill a pig, as it is the custom to
+do in that district; and that, since he had not the means to buy one,
+they would say, "What will you do about buying a pig, father, if you
+have no money?" To which Lorentino would answer, "Some Saint will help
+us." But when he had said this many times and the season was passing by
+without any pig appearing, they had lost hope, when at length there
+arrived a peasant from the Pieve a Quarto, who wished to have a S.
+Martin painted in fulfilment of a vow, but had no means of paying for
+the picture save a pig, which was worth five lire. This man, coming to
+Lorentino, told him that he wished to have the S. Martin painted, but
+that he had no means of payment save the pig. Whereupon they came to an
+agreement, and Lorentino painted him the Saint, while the peasant
+brought him the pig; and so the Saint provided the pig for the poor
+children of this painter.</p>
+
+<p>Another disciple of Piero was Pietro da Castel della Pieve,<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> who
+painted an arch above S. Agostino, and a S. Urban for the Nuns of S.
+Caterina in Arezzo, which has been thrown to the ground in rebuilding
+the church. His pupil, likewise, was Luca Signorelli of Cortona, who did
+him more honour than all the others.</p>
+
+<p>Piero Borghese, whose pictures date about the year 1458, became blind
+through an attack of catarrh at the age of sixty, and lived thus up to
+the eighty-sixth year of his life. He left very great possessions in the
+Borgo, with some houses that he had built himself, which were burnt and
+destroyed in the strife of factions in the year 1536. He was honourably
+buried by his fellow-citizens in the principal church, which formerly
+belonged to the Order of Camaldoli, and is now the Vescovado. Piero's
+books are for the most part in the library of Frederick II, Duke of
+Urbino, and they are such that they have deservedly acquired for him the
+name of the best geometrician of his time.<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
+
+
+<div class="figcenter" style="width: 355px;">
+<a name="illus-051" id="illus-051"></a>
+<img src="images/illus-051-tb.jpg" width="355" height="600" alt="THE VISION OF CONSTANTINE" title="" />
+<span class="caption">THE VISION OF CONSTANTINE<br />
+(<i>After the fresco by </i>Piero della Francesca<i>. Arezzo: S. Francesco</i>)</span>
+<br /><i>Alinari</i>
+<br /><span class="link"><a href="images/illus-051.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
+
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+<h2><br /><br />FRA GIOVANNI DA FIESOLE<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="FRA_GIOVANNI_DA_FIESOLE" id="FRA_GIOVANNI_DA_FIESOLE"></a>FRA GIOVANNI DA FIESOLE</h2>
+
+<h3>[<i>FRA ANGELICO</i>]</h3>
+<h3>PAINTER OF THE ORDER OF PREACHING FRIARS</h3>
+
+
+<p>Fra Giovanni Angelico da Fiesole, who was known in the world as Guido,
+was no less excellent as painter and illuminator than he was upright as
+churchman, and for both one and the other of these reasons he deserves
+that most honourable record should be made of him. This man, although he
+could have lived in the world with the greatest comfort, and could have
+gained whatever he wished, besides what he possessed, by means of those
+arts, of which he had a very good knowledge even in his youth, yet
+resolved, for his own peace and satisfaction, being by nature serious
+and upright, and above all in order to save his soul, to take the vows
+of the Order of Preaching Friars; for the reason that, although it is
+possible to serve God in all walks of life, nevertheless it appears to
+some men that they can gain salvation in monasteries better than in the
+world. Now in proportion as this plan succeeds happily for good men, so,
+on the contrary, it has a truly miserable and unhappy issue for a man
+who takes the vows with some other end in view.</p>
+
+<p>There are some choral books illuminated by the hand of Fra Giovanni in
+his Convent of S. Marco in Florence, so beautiful that words are not
+able to describe them; and similar to these are some others that he left
+in S. Domenico da Fiesole, wrought with incredible diligence. It is
+true, indeed, that in making these he was assisted by an elder brother,
+who was likewise an illuminator and well practised in painting.</p>
+
+<p>One of the first works in painting wrought by this good father was a
+panel in the Certosa of Florence, which was placed in the principal<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna
+with the Child in her arms, and with certain very beautiful angels at
+her feet, sounding instruments and singing; at the sides are S.
+Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the
+predella are little stories of these Saints, wrought in little figures
+with infinite diligence. In the cross of the said chapel are two other
+panels by the hand of the same man; one containing the Coronation of Our
+Lady, and the other a Madonna with two saints, wrought with most
+beautiful ultramarine blues. Afterwards, in the tramezzo<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> of S. Maria
+Novella, beside the door opposite to the choir, he painted in fresco S.
+Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little
+scenes in the Chapel of the Coronation of Our Lady in the said tramezzo.
+On canvas, fixed to the doors that closed the old organ, he painted an
+Annunciation, which is now in the convent, opposite to the door of the
+lower dormitory, between one cloister and the other.</p>
+
+<p>This father was so greatly beloved for his merits by Cosimo de' Medici,
+that, after completing the construction of the Church and Convent of S.
+Marco, he caused him to paint the whole Passion of Jesus Christ on a
+wall in the chapter-house; and on one side all the Saints who have been
+heads and founders of religious bodies, mourning and weeping at the foot
+of the Cross, and on the other side S. Mark the Evangelist beside the
+Mother of the Son of God, who has swooned at the sight of the Saviour of
+the world Crucified, while round her are the Maries, all grieving and
+supporting her, with S. Cosimo and S. Damiano. It is said that in the
+figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d'
+Antonio di Banco, a sculptor and his friend. Below this work, in a
+frieze above the panelling, he made a tree with S. Dominic at the foot
+of it, and, in certain medallions encircled by the branches, all the
+Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his
+Order of Preaching Friars had produced up to that time. In this work he
+made many portraits from nature, being assisted by the friars, who sent
+for them to various places; and they were the following: S. Dominic in
+the middle, grasping the branches of the tree; Pope Innocent V, a
+Frenchman; the<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> Blessed Ugone, first Cardinal of that Order; the Blessed
+Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence;
+the Blessed Giordano, a German, and the second General of that Order;
+the Blessed Niccol&ograve;; the Blessed Remigio, a Florentine; and the martyr
+Boninsegno, a Florentine; all these are on the right hand. On the left
+are Benedict II<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> of Treviso; Giandomenico, a Florentine Cardinal;
+Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the
+Blessed Raimondo di Catalonia, third General of the Order; the Blessed
+Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza;
+and the Blessed Bernardo, a Florentine. All these heads are truly
+gracious and very beautiful. Then, over certain lunettes in the first
+cloister, he made many very beautiful figures in fresco, and a Crucifix
+with S. Dominic at the foot, which is much extolled; and in the
+dormitory, besides many other things throughout the cells and on the
+surface of the walls, he painted a story from the New Testament, of a
+beauty beyond the power of words to describe. Particularly beautiful and
+marvellous is the panel of the high-altar of that church; for, besides
+the fact that the Madonna rouses all who see her to devotion by her
+simplicity, and that the Saints that surround her are like her in this,
+the predella, in which there are stories of the martyrdom of S. Cosimo,
+S. Damiano, and others, is so well painted, that one cannot imagine it
+possible ever to see a work executed with greater diligence, or little
+figures more delicate or better conceived than these are.</p>
+
+<p>In S. Domenico da Fiesole, likewise, he painted the panel of the
+high-altar, which has been retouched by other masters and injured,
+perchance because it appeared to be spoiling. But the predella and the
+Ciborium of the Sacrament have remained in better preservation; and the
+innumerable little figures that are to be seen there, in a Celestial
+Glory, are so beautiful, that they appear truly to belong to Paradise,
+nor can any man who approaches them ever have his fill of gazing on
+them. In a chapel of the same church is a panel by his hand, containing
+the Annunciation of Our Lady by the Angel Gabriel, with features in
+profile, so devout, so delicate, and so well executed, that they appear
+truly<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> to have been made rather in Paradise than by the hand of man; and
+in the landscape at the back are Adam and Eve, because of whom the
+Redeemer was born from the Virgin. In the predella, also, there are some
+very beautiful little scenes.</p>
+
+<p>But superior to all the other works that Fra Giovanni made, and the one
+wherein he surpassed himself and gave supreme proof of his talent and of
+his knowledge of art, was a panel that is beside the door of the same
+church, on the left hand as one enters, wherein Jesus Christ is crowning
+Our Lady in the midst of a choir of angels and among an infinite
+multitude of saints, both male and female, so many in number, so well
+wrought, and with such variety in the attitudes and in the expressions
+of the heads, that incredible pleasure and sweetness are felt in gazing
+at them; nay, one is persuaded that those blessed spirits cannot look
+otherwise in Heaven, or, to speak more exactly, could not if they had
+bodies; for not only are all these saints, both male and female, full of
+life and sweet and delicate in expression, but the whole colouring of
+that work appears to be by the hand of a saint or an angel like
+themselves; wherefore it was with very good reason that this excellent
+monk was ever called Fra Giovanni Angelico. Moreover, the stories of the
+Madonna and of S. Dominic in the predella are divine in their own kind;
+and I, for one, can declare with truth that I never see this work
+without thinking it something new, and that I never leave it sated.</p>
+
+<p>In the Chapel of the Nunziata in Florence which Piero di Cosimo de'
+Medici caused to be built, he painted the doors of the press (in which
+the silver is kept) with little figures executed with much diligence.
+This father painted so many pictures, now to be found in the houses of
+Florentine citizens, "that I sometimes stand marvelling how one single
+man could execute so much work to such perfection, even in the space of
+many years. The Very Reverend Don Vincenzio Borghini, Director of the
+Hospital of the Innocenti, has a very beautiful little Madonna by the
+hand of this father; and Bartolommeo Gondi, as devoted a lover of these
+arts as any gentleman that one could think of, has a large picture, a
+small one, and a Crucifix, all by the same hand. The pictures that
+are<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> in the arch over the door of S. Domenico are also by the same
+man; and in the Sacristy of S. Trinita there is a panel containing a
+Deposition from the Cross, into which he put so great diligence, that it
+can be numbered among the best works that he ever made. In S. Francesco,
+without the Porta a S. Miniato, there is an Annunciation; and in S.
+Maria Novella, besides the works already named, he painted with little
+scenes the Paschal candle and some Reliquaries which are placed on the
+altar in the most solemn ceremonies.</p>
+
+
+<div class="figcenter" style="width: 511px;">
+<a name="illus-059" id="illus-059"></a>
+<img src="images/illus-059-tb.jpg" width="511" height="600" alt="THE TRANSFIGURATION" title="" />
+<span class="caption">THE TRANSFIGURATION<br />(<i>After the fresco by </i>Fra Giovanni da Fiesole [Fra Angelico]<i>. Florence:
+S. Marco</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-059.jpg">View larger image</a></span>
+</div>
+
+
+<p>Over a door of the cloister of the Badia in the same city he painted a
+S. Benedict, who is making a sign enjoining silence. For the
+Linen-manufacturers he painted a panel that is in the Office of their
+Guild; and in Cortona he painted a little arch over the door of the
+church of his Order, and likewise the panel of the high-altar. At
+Orvieto, on a part of the vaulting of the Chapel of the Madonna in the
+Duomo, he began certain prophets, which were finished afterwards by Luca
+da Cortona. For the Company of the Temple in Florence he painted a Dead
+Christ on a panel; and in the Church of the Monks of the Angeli he made
+a Paradise and a Hell with little figures, wherein he showed fine
+judgment by making the blessed very beautiful and full of jubilation and
+celestial gladness, and the damned all ready for the pains of Hell, in
+various most woeful attitudes, and bearing the stamp of their sins and
+unworthiness on their faces. The blessed are seen entering the gate of
+Paradise in celestial dance, and the damned are being dragged by demons
+to the eternal pains of Hell. This work is in the aforesaid church, on
+the right hand as one goes towards the high-altar, where the priest sits
+when Mass is sung. For the Nuns of S. Piero Martire&mdash;who now live in the
+Monastery of S. Felice in Piazza, which used to belong to the Order of
+Camaldoli&mdash;he painted a panel with Our Lady, S. John the Baptist, S.
+Dominic, S. Thomas, and S. Peter Martyr, and a number of little figures.
+And in the tramezzo<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> of S. Maria Nuova there may also be seen a panel
+by his hand.</p>
+
+<p>These many labours having made the name of Fra Giovanni illustrious<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+throughout all Italy, Pope Nicholas V sent for him and caused him to
+adorn that chapel of his Palace in Rome wherein the Pope hears Mass with
+a Deposition from the Cross and some very beautiful stories of S.
+Laurence, and also to illuminate some books, which are most beautiful.
+In the Minerva he painted the panel of the high-altar, and an
+Annunciation that is now set up against a wall beside the principal
+chapel. He also painted for the said Pope in the Palace the Chapel of
+the Sacrament, which was afterwards destroyed by Paul III in the making
+of a staircase through it. In that work, which was an excellent example
+of his manner, he had wrought in fresco some scenes from the life of
+Jesus Christ, and he had made therein many portraits from life of
+distinguished persons of those times, which would probably now be lost
+if Giovio had not caused the following among them to be preserved for
+his museum&mdash;namely, Pope Nicholas V; the Emperor Frederick, who came to
+Italy at that time; Frate Antonino, who was afterwards Archbishop of
+Florence; Biondo da Forl&igrave;; and Ferrante of Arragon. Now Fra Giovanni
+appeared to the Pope to be, as indeed he was, a person of most holy
+life, peaceful and modest; and, since the Archbishopric of Florence was
+at that time vacant, the Pope had judged him worthy of that rank; but
+the said friar, hearing this, implored His Holiness to find another man,
+for the reason that he did not feel himself fitted for ruling others,
+whereas his Order contained a brother most learned and well able to
+govern, a Godfearing man and a friend of the poor, on whom that dignity
+would be conferred much more fittingly than on himself. The Pope,
+hearing this and remembering that what he said was true, granted him the
+favour willingly; and thus the Archbishopric of Florence was given to
+Frate Antonino of the Order of Preaching Friars, a man truly very famous
+both for sanctity and for learning, and of such a character, in short,
+that he was deservedly canonized in our own day by Adrian VI.</p>
+
+<div class="figcenter" style="width: 467px;">
+<a name="illus-063" id="illus-063"></a>
+<img src="images/illus-063-tb.jpg" width="467" height="600" alt="S. STEPHEN PREACHING" title="" />
+<span class="caption">S. STEPHEN PREACHING<br />(<i>After the fresco by </i>Fra Giovanni da Fiesole [Fra Angelico]<i> Rome: The
+Vatican, Chapel of Nicholas V</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-063.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Great excellence was that of Fra Giovanni, and a thing truly very rare,
+to resign a dignity and honour and charge so important, offered to
+himself by a Supreme Pontiff, in favour of the man whom he, with his
+singleness of eye and sincerity of heart, judged to be much more
+worthy<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> of it than himself. Let the churchmen of our own times learn
+from this holy man not to take upon themselves charges that they cannot
+worthily carry out, and to yield them to those who are most worthy of
+them. Would to God, to return to Fra Giovanni (and may this be said
+without offence to the upright among them), that all churchmen would
+spend their time as did this truly angelic father, seeing that he spent
+every minute of his life in the service of God and in benefiting both
+the world and his neighbour. And what can or ought to be desired more
+than to gain the kingdom of Heaven by living a life of holiness, and to
+win eternal fame in the world by labouring virtuously? And in truth a
+talent so extraordinary and so supreme as that of Fra Giovanni could not
+and should not descend on any save a man of most holy life, for the
+reason that those who work at religious and holy subjects should be
+religious and holy men; for it is seen, when such works are executed by
+persons of little faith who have little esteem for religion, that they
+often arouse in men's minds evil appetites and licentious desires;
+whence there comes blame for the evil in their works, with praise for
+the art and ability that they show. Now I would not have any man deceive
+himself by considering the rude and inept as holy, and the beautiful and
+excellent as licentious; as some do, who, seeing figures of women or of
+youths adorned with loveliness and beauty beyond the ordinary,
+straightway censure them and judge them licentious, not perceiving that
+they are very wrong to condemn the good judgment of the painter, who
+holds the Saints, both male and female, who are celestial, to be as much
+more beautiful than mortal man as Heaven is superior to earthly beauty
+and to the works of human hands; and, what is worse, they reveal the
+unsoundness and corruption of their own minds by drawing evil and impure
+desires out of works from which, if they were lovers of purity, as they
+seek by their misguided zeal to prove themselves to be, they would gain
+a desire to attain to Heaven and to make themselves acceptable to the
+Creator of all things, in whom, as most perfect and most beautiful, all
+perfection and beauty have their source. What would such men do if they
+found themselves, or rather, what are we to believe that they do when
+they actually find themselves, in places containing living beauty,<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+accompanied by licentious ways, honey-sweet words, movements full of
+grace, and eyes that ravish all but the stoutest of hearts, if the very
+image of beauty, nay, its mere shadow, moves them so profoundly?
+However, I would not have any believe that I approve of those figures
+that are painted in churches in a state of almost complete nudity, for
+in these cases it is seen that the painter has not shown the
+consideration that was due to the place; because, even although a man
+has to show how much he knows, he should proceed with due regard for
+circumstances and pay respect to persons, times, and places.</p>
+
+<p>Fra Giovanni was a man of great simplicity, and most holy in his ways;
+and his goodness may be perceived from this, that, Pope Nicholas V
+wishing one morning to entertain him at table, he had scruples of
+conscience about eating meat without leave from his Prior, forgetting
+about the authority of the Pontiff. He shunned the affairs of the world;
+and, living a pure and holy life, he was as much the friend of the poor
+as I believe his soul to be now the friend of Heaven. He was continually
+labouring at his painting, and he would never paint anything save
+Saints. He might have been rich, but to this he gave no thought; nay, he
+used to say that true riches consist only in being content with little.
+He might have ruled many, but he would not, saying that it was less
+fatiguing and less misleading to obey others. He had the option of
+obtaining dignities both among the friars and in the world, but he
+despised them, declaring that he sought no other dignity save that of
+seeking to avoid Hell and draw near to Paradise. And what dignity, in
+truth, can be compared to that which all churchmen, nay, all men, should
+seek, and which is to be found only in God and in a life of virtue? He
+was most kindly and temperate; and he lived chastely and withdrew
+himself from the snares of the world, being wont very often to say that
+he who pursued such an art had need of quiet and of a life free from
+cares, and that he whose work is connected with Christ must ever live
+with Christ. He was never seen in anger among his fellow-friars, which
+is a very notable thing, and almost impossible, it seems to me, to
+believe; and it was his custom to admonish his friends with a simple
+smile. With incredible sweetness, if any sought for works from him, he
+would say<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> that they had only to gain the consent of the Prior, and
+that then he would not fail them. In short, this never to be
+sufficiently extolled father was most humble and modest in all his works
+and his discourse, and facile and devout in his pictures; and the Saints
+that he painted have more the air and likeness of Saints than those of
+any other man. It was his custom never to retouch or improve any of his
+pictures, but to leave them ever in the state to which he had first
+brought them; believing, so he used to say, that this was the will of
+God. Some say that Fra Giovanni would never have taken his brushes in
+his hand without first offering a prayer. He never painted a Crucifix
+without the tears streaming down his cheeks; wherefore in the
+countenances and attitudes of his figures one can recognize the
+goodness, nobility, and sincerity of his mind towards the Christian
+religion.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-067" id="illus-067"></a>
+<img src="images/illus-067-tb.jpg" width="600" height="502" alt="FRA GIOVANNI DA FIESOLE" title="" />
+<span class="caption">FRA GIOVANNI DA FIESOLE (FRA ANGELICO): THE ANNUNCIATION<br /></span>
+(<i>Cortona: Ges&ugrave; Gallery. Panel</i>)
+<br /><span class="link"><a href="images/illus-067.jpg">View larger image</a></span>
+</div>
+
+
+<p>He died in 1455 at the age of sixty-eight, and left disciples in
+Benozzo, a Florentine, who ever imitated his manner, and Zanobi Strozzi,
+who painted pictures and panels throughout all Florence for the houses
+of citizens, and particularly a panel that is now in the tramezzo<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> of
+S. Maria Novella, beside that by Fra Giovanni, and one in S. Benedetto,
+a monastery of the Monks of Camaldoli without the Porta a Pinti, now in
+ruins. The latter panel is at present in the little Church of S. Michele
+in the Monastery of the Angeli, before one enters the principal church,
+set up against the wall on the right as one approaches the altar. There
+is also a panel in the Chapel of the Nasi in S. Lucia, and another in S.
+Romeo; and in the guardaroba of the Duke there is the portrait of
+Giovanni di Bicci de' Medici, with that of Bartolommeo Valori, in one
+and the same picture by the hand of the same man. Another disciple of
+Fra Giovanni was Gentile da Fabriano, as was also Domenico di Michelino,
+who painted the panel for the altar of S. Zanobi in S. Apollinare at
+Florence, and many other pictures.</p>
+
+<p>Fra Giovanni was buried by his fellow-friars in the Minerva in Rome,
+near the lateral door beside the sacristy, in a round tomb of marble,<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+with himself, portrayed from nature, lying thereon. The following
+epitaph may be read, carved in the marble:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">NON MIHI SIT LAUDI, QUOD ERAM VELUT ALTER APELLES,</span><br />
+<span style="margin-left: 2.5em;">SED QUOD LUCRA TUIS OMNIA, CHRISTE, DABAM;</span><br />
+<span style="margin-left: 1.5em;">ALTERA NAM TERRIS OPERA EXTANT, ALTERA C&OElig;LO.</span><br />
+<span style="margin-left: 2.5em;">URBS ME JOANNEM FLOS TULIT ETRURI&AElig;.</span><br />
+</p>
+
+<p>In S. Maria del Fiore are two very large books illuminated divinely well
+by the hand of Fra Giovanni, which are held in great veneration and
+richly adorned, nor are they ever seen save on days of the highest
+solemnity.</p>
+
+<p>A celebrated and famous illuminator at the same time as Fra Giovanni was
+one Attavante, a Florentine, of whom I know no other name. This man,
+among many other works, illuminated a Silius Italicus, which is now in
+S. Giovanni e Polo in Venice; of which work I will not withhold certain
+particulars, both because they are worthy of the attention of craftsmen,
+and because, to my knowledge, no other work by this master is to be
+found; nor should I know even of this one, had it not been for the
+affection borne to these noble arts by the Very Reverend Maestro Cosimo
+Bartoli, a gentleman of Florence, who gave me information about it, to
+the end that the talent of Attavante might not remain, as it were,
+buried out of sight.</p>
+
+<p>In the said book, then, the figure of Silius has on the head a helmet
+with a crest of gold and a chaplet of laurel; he is wearing a blue
+cuirass picked out with gold in the ancient manner, while he is holding
+a book in his right hand, and the left he has on a short sword. Over the
+cuirass he has a red chlamys, fastened in front with a knot, and fringed
+with gold, which hangs down from his shoulders. The inside of this
+chlamys is seen to be of changing colours and embroidered with gold. His
+buskins are yellow, and he is standing on his right foot in a niche. The
+next figure in this work represents Scipio Africanus. He is wearing a
+yellow cuirass, and his sword-belt and sleeves, which are blue in
+colour, are all embroidered with gold. On his head he has a helmet with
+two little wings and a fish by way of crest. The young man's countenance
+is fair and very beautiful; and he is raising his right arm proudly,
+holding in that<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> hand a naked sword, while in the left hand he has the
+scabbard, which is red and embroidered with gold. The hose are green in
+colour and plain; and the chlamys, which is blue, has a red lining with
+a fringe of gold all round, and it is fastened at the throat, leaving
+the front quite open, and falling behind with beautiful grace. This
+young man, who stands in a niche of mixed green and grey marble, with
+blue buskins embroidered with gold, is looking with indescribable
+fierceness at Hannibal, who faces him on the opposite page of the book.
+This figure of Hannibal is that of a man about thirty-six years of age;
+he is frowning, with two furrows in his brow expressive of impatience
+and anger, and he, too, is looking fixedly at Scipio. On his head he has
+a yellow helmet, with a green and yellow dragon for crest and a serpent
+for chaplet. He is standing on his left foot and raising his right arm,
+with which he holds the shaft of an ancient javelin, or rather, of a
+little partisan. His cuirass is blue, his sword-belt partly blue and
+partly yellow, his sleeves of changing blue and red, and his buskins
+yellow. His chlamys, of changing red and yellow, is fastened on the
+right shoulder and lined with green; and, holding his left hand on his
+sword, he is standing in a niche of varicoloured marbles, yellow, white,
+and changing. On another page is Pope Nicholas V, portrayed from the
+life, with a mantle of changing purple and red and all embroidered with
+gold. He is without a beard and in full profile, and he is looking
+towards the beginning of the book, which is opposite to him; and he is
+pointing to it with his right hand, as though in a marvel. The niche is
+green, white, and red. Then in the border there are certain little
+half-length figures in an ornament composed of ovals and circles, and
+other things of that kind, together with an infinite number of little
+birds and children, so well wrought that nothing more could be desired.
+Close to this, in like manner, are Hanno the Carthaginian, Hasdrubal,
+Laelius, Massinissa, C. Salinator, Nero, Sempronius, M. Marcellus, Q.
+Fabius, the other Scipio, and Vibius. At the end of the book there is
+seen a Mars in an antique chariot drawn by two reddish horses. On his
+head he has a helmet of red and gold, with two little wings; on his left
+arm he has an antique shield, which he holds before him, and in his
+right hand a naked sword. He is standing on his left foot only, holding
+the other<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> in the air. He has a cuirass in the antique manner, all red
+and gold, as are his hose and his buskins. His chlamys is blue without,
+and within all green and embroidered with gold. The chariot is covered
+with red cloth embroidered with gold, with a border of ermine all round;
+and it stands in a verdant and flowery champaign country, surrounded by
+cliffs and rocks; while landscapes and cities are seen in the distance,
+with a sky of a most marvellous blue. On the opposite page is a young
+Neptune, whose clothing is in the shape of a long shirt, embroidered all
+round with the colour formed from terretta verde. The flesh-colour is
+very pale. In his right hand he is holding a little trident, and with
+his left he is raising his dress. He is standing with both feet on the
+chariot, which has a covering of red, embroidered with gold and fringed
+all round with sable. This chariot has four wheels, like that of Mars,
+but it is drawn by four dolphins, and accompanied by three sea-nymphs,
+two boys, and a great number of fishes, all wrought with a water-colour
+similar to the terretta, and very beautiful in expression. After these
+is seen Carthage in despair, in the form of a woman standing upright
+with dishevelled hair. Her upper garment is green, and it is open from
+the waist downwards, being lined with red cloth embroidered in gold; and
+through this opening there may be seen another garment, delicate and of
+changing purple and white colour. The sleeves are red and gold, with
+certain puffs and floating folds made by the upper garment, and she is
+stretching out her left hand towards Rome, who is opposite to her, as
+though saying, "What is thy wish? I have my answer ready;" and in her
+right hand she holds a naked sword, with an air of frenzy. Her buskins
+are blue, and she is standing on a rock in the middle of the sea,
+surrounded by a very beautiful sky. Rome is a maiden as beautiful as it
+is possible for man to imagine, with dishevelled hair and certain
+tresses wrought with infinite grace. Her clothing is pure red, with only
+an embroidered border at the foot; the lining of her robe is yellow, and
+the garment beneath, which is seen through the opening, is of changing
+purple and white. Her buskins are green; in her right hand she has a
+sceptre, in her left a globe; and she, too, is standing on a rock, in
+the midst of a sky that could not<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> be more beautiful than it is. Now,
+although I have striven to the best of my power to show with what great
+art these figures were wrought by Attavante, let no one believe that I
+have said more than a very small part of what might be said about their
+beauty, seeing that, considering the time, there are no better examples
+of illumination to be seen, nor any work wrought with more invention,
+judgment, and design; and the colours, above all, could not be more
+beautiful or laid in their places more delicately, so perfect is their
+grace.<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<p><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span><br /><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
+<h2><br /><br />LEON BATISTA ALBERTI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_LEON_BATISTA_ALBERTI" id="LIFE_OF_LEON_BATISTA_ALBERTI"></a>LIFE OF LEON BATISTA ALBERTI</h2>
+
+<h3>ARCHITECT OF FLORENCE</h3>
+
+
+<p>Very great is the advantage bestowed by learning, without exception, on
+all those craftsmen who take delight in it, but particularly on
+sculptors, painters, and architects, for it opens up the way to
+invention in all the works that are made; not to mention that a man
+cannot have a perfect judgment, be his natural gifts what they may, if
+he is deprived of the complemental advantage of being assisted by
+learning. For who does not know that it is necessary, in choosing sites
+for buildings, to show enlightenment in the avoidance of danger from
+pestiferous winds, insalubrious air, and the smells and vapours of
+impure and unwholesome waters? Who is ignorant that a man must be able,
+in whatever work he is seeking to carry out, to reject or adopt
+everything for himself after mature consideration, without having to
+depend on help from another man's theory? For theory, when separated
+from practice, is generally of very little use; but when the two chance
+to come together, there is nothing that is more helpful to our life,
+both because art becomes much richer and more perfect by the aid of
+science, and because the counsels and the writings of learned craftsmen
+have in themselves greater efficacy and greater credit than the words or
+works of those who know nothing but mere practice, whether they do it
+well or ill. And that all this is true is seen manifestly in Leon
+Batista Alberti, who, having studied the Latin tongue, and having given
+attention to architecture, to perspective, and to painting, left behind
+him books written in such a manner, that, since not one of our modern
+craftsmen has been able to expound these matters in writing, although
+very many of them in his own country have excelled him in working, it is
+generally believed&mdash;such is the influence of his writings<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> over the pens
+and speech of the learned&mdash;that he was superior to all those who were
+actually superior to him in work. Wherefore, with regard to name and
+fame, it is seen from experience that writings have greater power and
+longer life than anything else; for books go everywhere with ease, and
+everywhere they command belief, if only they be truthful and not full of
+lies. It is no marvel, then, if the famous Leon Batista is known more
+for his writings than for the work of his hands.</p>
+
+<p>This man, born in Florence of the most noble family of the Alberti, of
+which we have spoken in another place, devoted himself not only to
+studying geography and the proportions of antiquities, but also to
+writing, to which he was much inclined, much more than to working. He
+was excellent in arithmetic and geometry, and he wrote ten books on
+architecture in the Latin tongue, which were published by him in 1481,
+and may now be read in a translation in the Florentine tongue made by
+the Reverend Maestro Cosimo Bartoli, Provost of S. Giovanni in Florence.
+He wrote three books on painting, now translated into the Tuscan tongue
+by Messer Lodovico Domenichi; he composed a treatise on traction and on
+the rules for measuring heights, as well as the books on the "Vita
+Civile," and some erotic works in prose and verse; and he was the first
+who tried to reduce Italian verse to the measure of the Latin, as is
+seen in the following epistle by his pen:</p>
+
+<p>
+<span style="margin-left: 1.5em;">Questa per estrema miserabile pistola mando</span><br />
+<span style="margin-left: 2.5em;">A te, che spregi miseramente noi.</span><br />
+</p>
+
+<p>Arriving at Rome in the time of Nicholas V, who had turned the whole of
+Rome upside down with his manner of building, Leon Batista, through the
+agency of Biondo da Forl&igrave;, who was much his friend, became intimate with
+that Pope, who had previously carried out all his building after the
+advice of Bernardo Rossellino, a sculptor and architect of Florence, as
+will be told in the Life of his brother Antonio. This man, having put
+his hand to restoring the Pope's Palace and to certain works in S. Maria
+Maggiore, thenceforward, according to the will of the Pope, ever sought
+the advice of Leon Batista. Wherefore, using one of them as adviser and
+the other as executor, the Pope carried out many useful and<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+praiseworthy works, such as the restoring of the conduit of the Acqua
+Vergine, which was in ruins; and there was made the fountain on the
+Piazza de' Trevi, with those marble ornaments that are seen there, on
+which are the arms of that Pontiff and of the Roman people.</p>
+
+<p>Afterwards, having gone to Signor Sigismondo Malatesti of Rimini, he
+made for him the model of the Church of S. Francesco, and in particular
+that of the fa&ccedil;ade, which was made of marble; and likewise the side
+facing towards the south, which was built with very great arches and
+with tombs for the illustrious men of that city. In short, he brought
+that building to such a form that in point of solidity it is one of the
+most famous temples in Italy. Within it are six most beautiful chapels,
+one of which, dedicated to S. Jerome, is very ornate; and in it are
+preserved many relics brought from Jerusalem. In the same chapel are the
+tombs of the said Signor Sigismondo and of his wife, constructed very
+richly of marble in the year 1450; on one there is the portrait of
+Sigismondo himself, and in another part of the work there is that of
+Leon Batista.</p>
+
+<p>After this, in the year 1457, when the very useful method of printing
+books was discovered by Johann Gutenberg the German, Leon Batista,
+working on similar lines, discovered a way of tracing natural
+perspectives and of effecting the diminution of figures by means of an
+instrument, and likewise the method of enlarging small things and
+reproducing them on a greater scale; all ingenious inventions, useful to
+art and very beautiful.</p>
+
+<p>In Leon Batista's time Giovanni di Paolo Rucellai wished to build the
+principal fa&ccedil;ade of S. Maria Novella entirely of marble at his own
+expense, and he spoke of this to Leon Batista, who was very much his
+friend; and having received from him not only counsel, but the actual
+model, Giovanni resolved to have the work executed at all costs, in
+order to leave it behind him as a memorial of himself. A beginning
+having been made, therefore, it was finished in the year 1477, to the
+great satisfaction of all the city, which was pleased with the whole
+work, but particularly with the door, from which it is seen that Leon
+Batista took more than ordinary pains. For Cosimo Rucellai, likewise, he
+made the design for the palace which that man built in the street which
+is called La Vigna, and that for the loggia which is opposite to it. In
+the latter, having<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> turned his arches over columns close together, both
+in the front and at the ends, since he wished to adhere to this plan and
+not to make one single arch, he had a certain space left over on each
+side; wherefore he was forced to make certain projections at the inner
+corners. And then, when he wished to turn the arch of the inner
+vaulting, having seen that he could not give it the shape of a
+half-circle, which would have been flat and awkward, he resolved to turn
+certain small arches at the corners from one projection to another; and
+this lack of judgment in design gives us to know clearly that practice
+is necessary as well as science, for the judgment can never become
+perfect unless science attains to experience by actual work.</p>
+
+<p>It is said that the same man made the design for the house and garden of
+these Rucellai in the Via della Scala. This house is built with much
+judgment and very commodious, for, besides many other conveniences, it
+has two loggie, one facing south and the other west, both very
+beautiful, and made without arches on the columns, which is the true and
+proper method that the ancients used, for the reason that the
+architraves which are placed on the capitals of the columns lie level,
+whereas a four-sided thing like a curving arch cannot rest on a round
+column without the corners jutting out over space. The good method,
+therefore, demands that architraves should rest on columns, and that,
+when arches are to be turned, pilasters and not columns should be made.</p>
+
+<p>For the same Rucellai Leon Batista made a chapel in the same manner in
+S. Pancrazio, which rests on great architraves placed on two columns and
+two pilasters, piercing the wall of the church below; which is a
+difficult thing, but safe; wherefore this work is one of the best that
+this architect ever made. In the middle of this chapel is a tomb of
+marble, wrought very well in the form of a rather long oval, and
+similar, as may be read on it, to the Sepulchre of Jesus Christ in
+Jerusalem.</p>
+
+<div class="figcenter" style="width: 398px;">
+<a name="illus-081" id="illus-081"></a>
+<img src="images/illus-081-tb.jpg" width="398" height="600" alt="FA&Ccedil;ADE OF S. ANDREA" title="" />
+<span class="caption">FA&Ccedil;ADE OF S. ANDREA<br />(<i>After </i>Leon Batista Alberti<i>. Mantua</i>)
+<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-081.jpg">View larger image</a></span>
+</div>
+
+
+<p>About the same time Lodovico Gonzaga, Marquis of Mantua, wished to build
+the tribune and the principal chapel in the Nunziata, the Church of the
+Servi in Florence, after the design and model of Leon Batista; and
+pulling down a square chapel, old, not very large, and painted in the
+ancient manner, which stood at the head of the church, he built<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> the
+said tribune in the bizarre and difficult form of a round temple
+surrounded by nine chapels, all curving in a round arch, and each within
+in the shape of a niche. Now, since the arches of the said chapels rest
+on the pilasters in front, the result is that the stone dressings of the
+arches, inclining towards the wall, tend to draw ever backwards in order
+to meet the said wall, which turns in the opposite direction according
+to the shape of the tribune; wherefore, when the said arches of the
+chapels are looked at from the side, it appears that they are falling
+backwards, and that they are clumsy, as indeed they are, although the
+proportions are correct, and the difficulties of the method must be
+remembered. Truly it would have been better if Leon Batista had avoided
+this method, for, although there is some credit for the difficulty of
+its execution, it is clumsy both in great things and in small, and it
+cannot have a good result. And that this is true of great things is
+proved by the great arch in front, which forms the entrance to the said
+tribune; for, although it is very beautiful on the outer side, on the
+inner side, where it has to follow the curve of the chapel, which is
+round, it appears to be falling backwards and to be extremely clumsy.
+This Leon Batista would perhaps not have done, if, in addition to
+science and theory, he had possessed practical experience in working;
+for another man would have avoided this difficulty, and would have
+rather aimed at grace and greater beauty for the edifice. The whole work
+is otherwise in itself very beautiful, bizarre, and difficult; and
+nothing save great courage could have enabled Leon Batista to vault that
+tribune in those times in the manner that he did. Being then summoned by
+the same Marquis Lodovico to Mantua, Leon Batista made for him the
+models of the Church of S. Andrea and of some other works; and on the
+road leading from Mantua to Padua there may be seen certain temples
+built after his manner. Many of the designs and models of Leon Batista
+were carried into execution by Salvestro Fancelli, a passing good
+architect and sculptor of Florence, who, according to the desire of the
+said Leon Batista, executed with judgment and extraordinary diligence
+all the works that he undertook in Florence. For those in Mantua he
+employed one Luca, a Florentine, who, living ever afterwards in that
+city and dying there, left his name&mdash;so Filarete tells<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> us&mdash;to the
+family of the Luchi, which is still there to-day. It was no small
+good-fortune for him to have friends who understood him and were able
+and willing to serve him, because architects cannot be always standing
+over their work, and it is of the greatest use to them to have a
+faithful and loving assistant; and if any man ever knew it, I know it
+very well by long experience.</p>
+
+<p>In painting Leon Batista did not do great or very beautiful works, for
+the few by his hand that are to be seen do not show much perfection; nor
+is this to be wondered at, seeing that he devoted himself more to his
+studies than to draughtsmanship. Yet he could express his conceptions
+well enough in drawing, as may be seen from some sketches by his hand
+that are in our book, in which there are drawn the Bridge of S. Angelo
+and the covering that was made for it with his design in the form of a
+loggia, for protection from the sun in summer and from the rain and wind
+in winter. This work he was commissioned to execute by Pope Nicholas V,
+who had intended to carry out many similar works throughout the whole of
+Rome; but death intervened to hinder him. There is a work of Leon
+Batista's in a little Chapel of Our Lady on the abutment of the Ponte
+alla Carraja in Florence&mdash;namely, an altar-predella, containing three
+little scenes with some perspectives, which he was much more able to
+describe with the pen than to paint with the brush. In the house of the
+Palla Rucellai family, also in Florence, there is a portrait of himself
+made with a mirror; and a panel with rather large figures in
+chiaroscuro. He also made a picture of Venice in perspective, with S.
+Marco, but the figures therein were executed by other masters; and this
+is one of the best examples of his painting that there are to be seen.</p>
+
+<p>Leon Batista was a person of most honest and laudable ways, the friend
+of men of talent, and very open and courteous to all; and he lived
+honourably and like a gentleman&mdash;which he was&mdash;through the whole course
+of his life. Finally, having reached a mature enough age, he passed
+content and tranquil to a better life, leaving a most honourable name
+behind him.<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span></p>
+<h2><br /><br />LAZZARO VASARI<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_LAZZARO_VASARI" id="LIFE_OF_LAZZARO_VASARI"></a>LIFE OF LAZZARO VASARI</h2>
+
+<h3>PAINTER OF AREZZO</h3>
+
+
+<p>Truly great is the pleasure of those who find one of their ancestors and
+of their own family to have been distinguished and famous in some
+profession, whether that of arms, or of letters, or of painting, or any
+other noble calling whatsoever; and those men who find some honourable
+mention of one of their forefathers in history, if they gain nothing
+else thereby, have an incitement to virtue and a bridle to restrain them
+from doing anything unworthy of a family which has produced illustrious
+and very famous men. How great is this pleasure, as I said at the
+beginning, I have experienced for myself in finding that one among my
+ancestors, Lazzaro Vasari, was famous as a painter in his day not only
+in his native place, but throughout all Tuscany; and that certainly not
+without reason, as I could clearly prove, if it were permissible for me
+to speak as freely of him as I have spoken of others. But, since I was
+born of his blood, it might be readily believed that I had exceeded all
+due bounds in praising him; wherefore, leaving on one side the merits of
+the man himself and of the family, I will simply tell what I cannot and
+should not under any circumstances withhold, if I would not fall short
+of the truth, on which all history hangs.</p>
+
+<p>Lazzaro Vasari, then, a painter of Arezzo, was very much the friend of
+Piero della Francesca of Borgo a San Sepolcro, and ever held intercourse
+with him while Piero was working, as it has been said, in Arezzo. And,
+as it often comes to pass, this friendship brought him nothing but
+advantage, for the reason that, whereas Lazzaro had formerly devoted
+himself only to making little figures for certain works according to the
+custom of those times, he was persuaded by Piero della Francesca to<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> set
+himself to do bigger things. His first work in fresco was a S. Vincent
+in S. Domenico at Arezzo, in the second chapel on the left as one enters
+the church; and at his feet he painted himself and his young son Giorgio
+kneeling, clothed in honourable costumes of those times, and
+recommending themselves to the Saint, because the boy had inadvertently
+cut his face with a knife. Although there is no inscription on this
+work, yet certain memories of old men belonging to our house and the
+fact that it contains the Vasari arms, enable us to attribute it to him
+without a doubt. Of this there must certainly have been some record in
+that convent, but their papers and everything else have been destroyed
+many times by soldiers, and I do not marvel at the lack of records. The
+manner of Lazzaro was so similar to that of Piero Borghese, that very
+little difference could be seen between one and the other. Now it was
+very much the custom at that time to paint various things, such as the
+quarterings of arms, on the caparisons of horses, according to the rank
+of those who bore them; and in this work Lazzaro was an excellent
+master, and the rather as it was his province to make very graceful
+little figures, which were very well suited to such caparisons. Lazzaro
+wrought for Niccol&ograve; Piccino and for his soldiers and captains many
+things full of stories and arms, which were held in great price, with so
+much profit for himself, that the gains that he drew from this work
+enabled him to recall to Arezzo many of his brothers, who were living at
+Cortona and working at the manufacture of earthenware vases. He also
+brought into his house his nephew, Luca Signorelli of Cortona, his
+sister's son, whom he placed, by reason of his good intelligence, with
+Piero Borghese, to the end that he might learn the art of painting;
+which he contrived to do very well, as will be told in the proper place.</p>
+
+<p>Lazzaro, then, devoting himself continually to the study of art, became
+every day more excellent, as is shown by some very good drawings by his
+hand that are in our book. And because he took much pleasure in
+depicting certain natural effects full of emotions, in which he
+expressed very well weeping, laughing, crying, fear, trembling, and the
+like, his pictures are mostly full of such inventions; as may be seen<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+in a little chapel painted in fresco by his hand in S. Gimignano at
+Arezzo, wherein there is a Crucifix, with the Madonna, S. John, and the
+Magdalene at the foot of the Cross, in various attitudes, and weeping so
+naturally, that they acquired credit and fame for him among his
+fellow-citizens. For the Company of S. Antonio, in the same city, he
+painted a cloth banner that is borne in processions, on which he wrought
+Jesus Christ at the Column, naked and bound and so lifelike, that He
+appears to be trembling, and, with His shoulders all drawn together, to
+be enduring with incredible humility and patience the blows that two
+Jews are giving Him. One of these, firmly planted on his feet, is plying
+his scourge with both his hands, turning his back towards Christ in an
+attitude full of cruelty. The other is seen in profile, raising himself
+on tip-toe; and grasping the scourge with his hands, and gnashing his
+teeth, he is wielding it with so great rage that words are powerless to
+express it. Both these men Lazzaro painted with their garments torn, the
+better to reveal the nude, contenting himself with covering after a
+fashion their private and less honourable parts. This work painted on
+cloth has lasted all these years&mdash;which truly makes me marvel&mdash;right up
+to our own day; and by reason of its beauty and excellence the men of
+that Company caused a copy to be made of it by the French Prior,<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> as
+we will relate in the proper place. At Perugia, also, Lazzaro wrought
+some stories of the Madonna, with a Crucifix, in a chapel beside the
+Sacristy of the Church of the Servi. In the Pieve of Montepulciano he
+executed a predella with little figures, and at Castiglione Aretino he
+painted a panel in distemper in S. Francesco; together with many other
+works, which, for the sake of brevity, I refrain from describing, more
+particularly many chests that are in the houses of citizens, which he
+painted with little figures. In the Palace of the Guelphs in Florence,
+among the ancient arms, there may be seen some caparisons wrought very
+well by him. He also painted a banner for the Company of S. Sebastiano,
+containing the said Saint at the column, with certain angels crowning
+him; but it is now spoilt and all eaten away by time.</p>
+
+<p>In Lazzaro's time there was one who made glass windows in Arezzo,<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+Fabiano Sassoli, a young Aretine of great excellence in that profession,
+as is proved by those of his works that are in the Vescovado, the Abbey,
+the Pieve, and other places in that city; but he knew little of design,
+and he was very far from reaching the excellence of those that Parri
+Spinelli made. Wherefore he determined that, even as he knew well how to
+fire, to put together, and to mount the glass, so he would make some
+work that should also be passing good with regard to the painting; and
+he caused Lazzaro to execute for him two cartoons of his own invention,
+in order to make two windows for the Madonna delle Grazie. Having
+obtained these from Lazzaro, who was his friend and a courteous
+craftsman, he made the said windows, which turned out so beautiful and
+so well wrought that there are not many to which they have to give
+precedence. In one there is a very beautiful Madonna; and in the other,
+which is by far the better of the two, there is the Resurrection of
+Christ, with an armed man in foreshortening in front of the Sepulchre;
+and it is a marvel, considering the small size of the window and
+consequently of the picture, how those figures can appear so large in so
+small a space. Many other things could I tell of Lazzaro, who was a very
+good draughtsman, as may be seen from certain drawings in our book; but
+I think it best for me to pass them by.</p>
+
+<p>Lazzaro was a pleasant person and very witty in his speech; and although
+he was much given to pleasure, nevertheless he never strayed from the
+path of right living. His life lasted seventy-two years, and he left a
+son called Giorgio, who occupied himself continually with the ancient
+Aretine vases of terra-cotta; and at the time when Messer Gentile of
+Urbino, Bishop of Arezzo, was dwelling in that city, Giorgio
+rediscovered the method of giving red and black colours to terra-cotta
+vases, such as those that the ancient Aretines made up to the time of
+King Porsena. Being a most industrious person, he made large vases with
+the potter's wheel, one braccio and a half in height, which are still to
+be seen in his house. Men say that while searching for vases in a place
+where he thought that the ancients had worked, he found three arches of
+their ancient furnaces three braccia below the surface in a field of
+clay near the<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> bridge at Calciarella, a place called by that name; and
+round these he found some of the mixture for making the vases, and many
+broken ones, with four that were whole. These last were given by
+Giorgio, through the mediation of the Bishop, to the Magnificent Lorenzo
+de' Medici on his visiting Arezzo; wherefore they were the source and
+origin of his entering into the service of that most exalted family, in
+which he remained ever afterwards. Giorgio worked very well in relief,
+as may be seen from some heads by his hand that are in his house. He had
+five sons, who all followed the same calling; two of them, Lazzaro and
+Bernardo, were good craftsmen, of whom the latter died very young in
+Rome; and in truth, by reason of his intelligence, which is known to
+have been dexterous and ready, if death had not snatched him so
+prematurely from his house, he would have brought honour to his native
+place.</p>
+
+<p>The elder Lazzaro died in 1452, and his son, Giorgio, died in 1484 at
+the age of sixty-eight; and both were buried in the Pieve of Arezzo at
+the foot of their own Chapel of S. Giorgio, where the following verses
+were set up after a time in praise of Lazzaro:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">ARETII EXULTET TELLUS CLARISSIMA; NAMQUE EST</span><br />
+<span style="margin-left: 2.5em;">REBUS IN ANGUSTIS, IN TENUIQUE LABOR.</span><br />
+<span style="margin-left: 1.5em;">VIX OPERUM ISTIUS PARTES COGNOSCERE POSSIS:</span><br />
+<span style="margin-left: 2.5em;">MYRMECIDES TACEAT; CALLICRATES SILEAT.</span><br />
+</p>
+
+<p>Finally, the last Giorgio Vasari, writer of this history, in gratitude
+for the benefits for which he has to thank in great measure the
+excellence of his ancestors, having received the principal chapel of the
+said Pieve as a gift from his fellow-citizens and from the Wardens of
+Works and Canons, as was told in the Life of Pietro Laurati, and having
+brought it to the condition that has been described, has made a new tomb
+in the middle of the choir, which is behind the altar; and in this he
+has laid the bones of the said Lazzaro the elder and Giorgio the elder,
+having removed them from their former resting-place, and likewise those
+of all the other members of the said family, both male and female; and
+thus he has made a new burial-place for all the descendants of the house
+of Vasari. In like manner, the body of his mother (who died in Florence
+in the year 1557), after having remained for some years in S. Croce,
+has<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> been deposited by him in the said tomb, according to her own
+desire, together with Antonio, her husband and his father, who died of
+plague at the end of the year 1527. In the predella that is below the
+panel of the said altar there are portraits from nature, made by the
+said Giorgio, of Lazzaro, of the elder Giorgio, his grandfather, of his
+father Antonio, and of his mother Monna Maddalena de' Tacci. And let
+this be the end of the Life of Lazzaro Vasari, painter of Arezzo.<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span></p>
+<h2><br /><br />ANTONELLO DA MESSINA<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_ANTONELLO_DA_MESSINA" id="LIFE_OF_ANTONELLO_DA_MESSINA"></a>LIFE OF ANTONELLO DA MESSINA</h2>
+
+<h3>PAINTER</h3>
+
+
+<p>When I consider within my own mind the various qualities of the benefits
+and advantages that have been conferred on the art of painting by many
+masters who have followed the second manner, I cannot do otherwise than
+call them, by reason of their efforts, truly industrious and excellent,
+because they sought above all to bring painting to a better condition,
+without thinking of discomfort, expense, or any particular interest of
+their own. They continued, then, to employ no other method of colouring
+save that of distemper for panels and for canvases, which method had
+been introduced by Cimabue in the year 1250, when he was working with
+those Greeks, and had been afterwards followed by Giotto and by the
+others of whom we have spoken up to the present; and they were still
+adhering to the same manner of working, although the craftsmen
+recognized clearly that pictures in distemper were wanting in a certain
+softness and liveliness, which, if they could be obtained, would be
+likely to give more grace to their designs, loveliness to their
+colouring, and greater facility in blending the colours together; for
+they had ever been wont to hatch their works merely with the point of
+the brush. But although many had made investigations and sought for
+something of the sort, yet no one had found any good method, either by
+the use of liquid varnish or by the mixture of other kinds of colours
+with the distemper. Among many who made trial of these and other similar
+expedients, but all in vain, were Alesso Baldovinetti, Pesello, and many
+others, not one of whom succeeded in giving to his works the beauty and
+excellence that he had imagined. And even if they had found what they
+were seeking, they still lacked the method of making their figures<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> on
+panel adhere as well as those painted on walls, and also that of making
+them so that they could be washed without destroying the colours, and
+would endure any shock in handling. These matters a great number of
+craftsmen had discussed many times in common, but without result.</p>
+
+<p>This same desire was felt by many lofty minds that were devoted to
+painting beyond the bounds of Italy&mdash;namely, by all the painters of
+France, Spain, Germany, and other countries. Now, while matters stood
+thus, it came to pass that, while working in Flanders, Johann<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> of
+Bruges, a painter much esteemed in those parts by reason of the great
+mastery that he had acquired in his profession, set himself to make
+trial of various sorts of colours, and, as one who took delight in
+alchemy, to prepare many kinds of oil for making varnishes and other
+things dear to men of inventive brain, such as he was. Now, on one
+occasion, having taken very great pains with the painting of a panel,
+and having brought it to completion with much diligence, he gave it the
+varnish and put it to dry in the sun, as is the custom. But, either
+because the heat was too violent, or perchance because the wood was
+badly joined together or not seasoned well enough, the said panel opened
+out at the joinings in a ruinous fashion. Whereupon Johann, seeing the
+harm that the heat of the sun had done to it, determined to bring it
+about that the sun should never again do such great damage to his works.
+And so, being disgusted no less with his varnish than with working in
+distemper, he began to look for a method of making a varnish that should
+dry in the shade, without putting his pictures in the sun. Wherefore,
+after he had made many experiments with substances both pure and mixed
+together, he found at length that linseed oil and oil of nuts dried more
+readily than all the others that he had tried. These, then, boiled
+together with other mixtures of his, gave him the varnish that he&mdash;nay,
+all the painters in the world&mdash;had long desired. Afterwards, having made
+experiments with many other substances, he saw that mixing the colours
+with those oils gave them a very solid consistency, not only securing
+the work, when dried, from all danger from water, but also making the
+colour so brilliant as to give it lustre by itself without varnish; and
+what appeared most marvellous to him was this, that<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> it could be blended
+infinitely better than distemper. Rejoicing greatly over such a
+discovery, as was only reasonable, Johann made a beginning with many
+works and filled all those parts with them, with incredible pleasure for
+others and very great profit for himself; and, assisted by experience
+from day to day, he kept on ever making greater and better works.</p>
+
+<p>No long time passed before the fame of his invention, spreading not only
+throughout Flanders but through Italy and many other parts of the world,
+awakened in all craftsmen a very great desire to know by what method he
+gave so great a perfection to his works. These craftsmen, seeing his
+works and not knowing what means he employed, were forced to extol him
+and to give him immortal praise, and at the same time to envy him with a
+blameless envy, the rather as he refused for some time to allow himself
+to be seen at work by anyone, or to reveal his secret to any man. At
+length, however, having grown old, he imparted it to Roger of Bruges,
+his pupil, who passed it on to his disciple Ausse<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> and to the others
+whom we have mentioned in speaking of colouring in oil with regard to
+painting. But with all this, although merchants did a great business in
+his pictures and sent them all over the world to Princes and other great
+persons, to their own great profit, yet the knowledge did not spread
+beyond Flanders; and although these pictures had a very pungent odour,
+given to them by the mixture of colours and oils, particularly when they
+were new, so that it seemed possible for the secret to be found out, yet
+for many years it was not discovered. But certain Florentines, who
+traded between Flanders and Naples, sent to King Alfonso I of Naples a
+panel with many figures painted in oil by Johann, which became very dear
+to that King both for the beauty of the figures and for the novel
+invention shown in the colouring; and all the painters in that kingdom
+flocked together to see it, and it was consummately extolled by all.</p>
+
+<p>Now there was one Antonello da Messina, a person of good and lively
+intelligence, of great sagacity, and skilled in his profession, who,
+having studied design for many years in Rome, had first retired to<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>
+Palermo, where he had worked for many years, and finally to his native
+place, Messina, where he had confirmed by his works the good opinion
+that his countrymen had of his excellent ability in painting. This man,
+then, going once on some business of his own from Sicily to Naples,
+heard that the said King Alfonso had received from Flanders the
+aforesaid panel by the hand of Johann of Bruges, painted in oil in such
+a manner that it could be washed, would endure any shock, and was in
+every way perfect. Thereupon, having contrived to obtain a view of it,
+he was so strongly impressed by the liveliness of the colours and by the
+beauty and harmony of that painting, that he put on one side all other
+business and every thought and went off to Flanders. Having arrived in
+Bruges, he became very intimate with the said Johann, making him
+presents of many drawings in the Italian manner and other things,
+insomuch that the latter, moved by this and by the respect shown by
+Antonello, and being now old, was content that he should see his method
+of colouring in oil; wherefore Antonello did not depart from that place
+until he had gained a thorough knowledge of that way of colouring, which
+he desired so greatly to know. And no long time after, Johann having
+died, Antonello returned from Flanders in order to revisit his native
+country and to communicate to all Italy a secret so useful, beautiful,
+and advantageous. Then, having stayed a few months in Messina, he went
+to Venice, where, being a man much given to pleasure and very
+licentious, he resolved to take up his abode and finish his life, having
+found there a mode of living exactly suited to his taste. And so,
+putting himself to work, he made there many pictures in oil according to
+the rules that he had learned in Flanders; these are scattered
+throughout the houses of noblemen in that city, where they were held in
+great esteem by reason of the novelty of the work. He made many others,
+also, which were sent to various places. Finally, having acquired fame
+and great repute there, he was commissioned to paint a panel that was
+destined for S. Cassiano, a parish church in that city. This panel was
+wrought by Antonio with all his knowledge and with no sparing of time;
+and when finished, by reason of the novelty of the colouring and the
+beauty of the figures, which he had made with good design, it was much
+commended and held<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> in very great price. And afterwards, when men
+heard of the new secret that he had brought from Flanders to that city,
+he was ever loved and cherished by the magnificent noblemen of Venice
+throughout the whole course of his life.</p>
+
+<div class="figcenter" style="width: 425px;">
+<a name="illus-099" id="illus-099"></a>
+<img src="images/illus-099-tb.jpg" width="425" height="600" alt="ANTONELLO DA MESSINA: PORTRAIT OF A YOUNG MAN" title="" />
+<span class="caption">ANTONELLO DA MESSINA: PORTRAIT OF A YOUNG MAN<br />(<i>Berlin: Kaiser Friedrich Museum, 18. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-099.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Among the painters who were then in repute in Venice, a certain Maestro
+Domenico was held very excellent. This man, on the arrival of Antonello
+in Venice, received him with such great lovingness and courtesy, that he
+could not have shown more to a very dear and cherished friend. For this
+reason Antonello, who would not be beaten in courtesy by Maestro
+Domenico, after a few months taught him the secret and method of
+colouring in oil. Nothing could have been dearer to Domenico than this
+extraordinary courtesy and friendliness; and well might he hold it dear,
+since it caused him, as he had foreseen, to be greatly honoured ever
+afterwards in his native city. Grossly deceived, in truth, are those who
+think that, while they grudge to others even those things that cost them
+nothing, they should be served by all for the sake of their sweet smile,
+as the saying goes. The courtesies of Maestro Domenico Viniziano wrested
+from the hands of Antonello that which he had won for himself with so
+much fatigue and labour, and which he would probably have refused to
+hand over to any other even for a large sum of money. But since, with
+regard to Maestro Domenico, we will mention in due time all that he
+wrought in Florence, and who were the men with whom he generously shared
+the secret that he had received as a courteous gift from another, let us
+pass to Antonello.</p>
+
+<p>After the panel for S. Cassiano, he made many pictures and portraits for
+various Venetian noblemen. Messer Bernardo Vecchietti, the Florentine,
+has a painting by his hand of S. Francis and S. Dominic, both in the one
+picture, and very beautiful. Then, after receiving a commission from the
+Signoria to paint certain scenes in their Palace (which they had refused
+to give to Francesco di Monsignore of Verona, although he had been
+greatly favoured by the Duke of Mantua), he fell sick of a pleurisy and
+died at the age of forty-nine, without having set a hand to the work. He
+was greatly honoured in his obsequies by the craftsmen, by reason of the
+gift bestowed by him on art in<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> the form of the new manner of colouring,
+as the following epitaph testifies:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">D. O. M.</span><br />
+<br />
+<span style="margin-left: 1.5em;">ANTONIUS PICTOR, PR&AElig;CIPUUM MESSAN&AElig; SU&AElig; ET SICILI&AElig; TOTIUS</span><br />
+<span style="margin-left: 1.5em;">ORNAMENTUM, HAC HUMO CONTEGITUR. NON SOLUM SUIS PICTURIS, IN</span><br />
+<span style="margin-left: 1.5em;">QUIBUS SINGULARE ARTIFICIUM ET VENUSTAS FUIT, SED ET QUOD</span><br />
+<span style="margin-left: 1.5em;">COLORIBUS OLEO MISCENDIS SPLENDOREM ET PERPETUITATEM</span><br />
+<span style="margin-left: 1.5em;">PRIMUS ITALIC&AElig; PICTUR&AElig; CONTULIT, SUMMO SEMPER ARTIFICIUM</span><br />
+<span style="margin-left: 1.5em;">STUDIO CELEBRATUS.</span><br />
+</p>
+
+<p>The death of Antonello was a great grief to his many friends, and
+particularly to the sculptor Andrea Riccio, who wrought the nude marble
+statues of Adam and Eve, held to be very beautiful, which are seen in
+the courtyard of the Palace of the Signoria in Venice. Such was the end
+of Antonello, to whom our craftsmen should certainly feel no less
+indebted for having brought the method of colouring in oil into Italy
+than they should to Johann of Bruges for having discovered it in
+Flanders. Both of them benefited and enriched the art; for it is by
+means of this invention that craftsmen have since become so excellent,
+that they have been able to make their figures all but alive. Their
+services should be all the more valued, inasmuch as there is no writer
+to be found who attributes this manner of colouring to the ancients; and
+if it could be known for certain that it did not exist among them, this
+age would surpass all the excellence of the ancients by virtue of this
+perfection. Since, however, even as nothing is said that has not been
+said before, so perchance nothing is done that has not been done before,
+I will let this pass without saying more; and praising consummately
+those who, in addition to draughtsmanship, are ever adding something to
+art, I will proceed to write of others.</p>
+
+
+<div class="figcenter" style="width: 353px;">
+<a name="illus-103" id="illus-103"></a>
+<img src="images/illus-103-tb.jpg" width="353" height="600" alt="ANTONELLO DA MESSINA: THE CRUCIFIXION" title="" />
+<span class="caption">ANTONELLO DA MESSINA: THE CRUCIFIXION<br />(<i>London: National Gallery, 1166. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-103.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span>]</p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+<h2><br /><br />ALESSO BALDOVINETTI</h2>
+
+<div class="figcenter" style="width: 487px;">
+<a name="illus-107" id="illus-107"></a>
+<img src="images/illus-107-tb.jpg" width="487" height="600" alt="THE ANNUNCIATION" title="" />
+<span class="caption">THE ANNUNCIATION<br />(<i>After the panel by </i>Alesso Baldovinetti<i>. Florence: Uffizi, 56</i>)</span><br /><i>Anderson</i>
+<br /><span class="link"><a href="images/illus-107.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_ALESSO_BALDOVINETTI" id="LIFE_OF_ALESSO_BALDOVINETTI"></a>LIFE OF ALESSO BALDOVINETTI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>So great an attraction has the noble art of painting, that many eminent
+men have deserted the callings in which they might have become very
+rich, and, drawn by their inclination against the wishes of their
+parents, have followed the promptings of their nature and devoted
+themselves to painting, to sculpture, or to some similar pursuit. And,
+to tell the truth, if a man estimates riches at their true worth and no
+higher, and regards excellence as the end of all his actions, he
+acquires treasures very different from silver and gold; not to mention
+that he is never afraid of those things that rob us in a moment of those
+earthly riches, which are foolishly esteemed by men at more than their
+true value. Recognizing this, Alesso Baldovinetti, drawn by a natural
+inclination, abandoned commerce&mdash;in which his relatives had ever
+occupied themselves, insomuch that by practising it honourably they had
+acquired riches and lived like noble citizens&mdash;and devoted himself to
+painting, in which he showed a peculiar ability to counterfeit very well
+the objects of nature, as may be seen in the pictures by his hand.</p>
+
+<p>This man, while still very young, and almost against the wish of his
+father, who would have liked him to give his attention to commerce,
+devoted himself to drawing; and in a short time he made so much progress
+therein, that his father was content to allow him to follow the
+inclination of his nature. The first work that Alesso executed in fresco
+was in S. Maria Nuova, on the front wall of the Chapel of S. Gilio,
+which was much extolled at that time, because, among other things, it
+contained a S. Egidio that was held to be a very beautiful figure. In
+like manner, he painted in S. Trinita the chapel in fresco and the chief
+panel in dis<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>temper, for Messer Gherardo and Messer Bongianni
+Gianfigliazzi, most honourable and wealthy gentlemen of Florence. In
+this chapel Alesso painted some scenes from the Old Testament, which he
+first sketched in fresco and then finished on the dry, tempering his
+colours with yolk of egg mingled with a liquid varnish prepared over a
+fire. This vehicle, he thought, would preserve the paintings from damp;
+but it was so strong that where it was laid on too thickly the work has
+peeled off in many places; and thus, whereas he thought he had found a
+rare and very beautiful secret, he was deceived in his hopes.</p>
+
+<p>He drew many portraits from nature, and in the scene of the Queen of
+Sheba going to hear the wisdom of Solomon, which he painted in the
+aforesaid chapel, he portrayed the Magnificent Lorenzo de' Medici,
+father of Pope Leo X, and Lorenzo della Volpaia, a most excellent maker
+of clocks and a very fine astrologer, who was the man who made for the
+said Lorenzo de' Medici the very beautiful clock that the Lord Duke
+Cosimo now has in his Palace; in which clock all the wheels of the
+planets are perpetually moving, which is a rare thing, and the first
+that was ever made in this manner. In the scene opposite to that one
+Alesso portrayed Luigi Guicciardini the elder, Luca Pitti, Diotisalvi
+Neroni, and Giuliano de' Medici, father of Pope Clement VII; and beside
+the stone pilaster he painted Gherardo Gianfigliazzi the elder, the
+Chevalier Messer Bongianni, who is wearing a blue robe, with a chain
+round his neck, and Jacopo and Giovanni, both of the same family. Near
+these are Filippo Strozzi the elder and the astrologer Messer Paolo dal
+Pozzo Toscanelli. On the vaulting are four patriarchs, and on the panel
+is the Trinity, with S. Giovanni Gualberto kneeling, and another Saint.
+All these portraits are very easily recognized from their similarity to
+those that are seen in other works, particularly in the houses of their
+descendants, whether in gesso or in painting. Alesso gave much time to
+this work, because he was very patient and liked to execute his works at
+his ease and convenience.</p>
+
+
+<div class="figcenter" style="width: 416px;">
+<a name="illus-111" id="illus-111"></a>
+<img src="images/illus-111-tb.jpg" width="416" height="600" alt="ALESSO BALDOVINETTI: MADONNA AND CHILD IN A LANDSCAPE" title="" />
+<span class="caption">ALESSO BALDOVINETTI: MADONNA AND CHILD IN A LANDSCAPE<br />(<i>Paris: Louvre, 1300<span class="smcap">B</span>. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-111.jpg">View larger image</a></span>
+</div>
+
+
+<p>He drew very well, as may be seen from a mule drawn from nature in our
+book, wherein the curves of the hair over the whole body are done with
+much patience and with beautiful grace. Alesso was very diligent<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> in
+his works, and he strove to be an imitator of all the minute details
+that Mother Nature creates. He had a manner somewhat dry and harsh,
+particularly in draperies. He took much delight in making landscapes,
+copying them from the life of nature exactly as they are; wherefore
+there are seen in his pictures streams, bridges, rocks, herbs, fruits,
+roads, fields, cities, castles, sand, and an infinity of other things of
+the kind. In the Nunziata at Florence, in the court, exactly behind the
+wall where the Annunciation itself is painted, he painted a scene in
+fresco, retouched on the dry, in which there is a Nativity of Christ,
+wrought with so great labour and diligence that one could count the
+stalks and knots of the straw in a hut that is there; and he also
+counterfeited there the ruin of a house with the stones mouldering, all
+eaten away and consumed by rain and frost, and a thick ivy root that
+covers a part of the wall, wherein it is to be observed that with great
+patience he made the outer side of the leaves of one shade of green, and
+the under side of another, as Nature does, neither more nor less; and,
+in addition to the shepherds, he made a serpent, or rather, a
+grass-snake, crawling up a wall, which is most life-like.</p>
+
+<p>It is said that Alesso took great pains to discover the true method of
+making mosaic, but that he never succeeded in anything that he wanted to
+do, until at length he came across a German who was going to Rome to
+obtain some indulgences. This man he took into his house, and he gained
+from him a complete knowledge of the method and the rules for executing
+mosaic, insomuch that afterwards, having set himself boldly to work, he
+made some angels holding the head of Christ over the bronze doors of S.
+Giovanni, in the arches on the inner side. His good method of working
+becoming known by reason of this work, he was commissioned by the
+Consuls of the Guild of Merchants to clean and renovate all the vaulting
+of that church, which had been wrought, as has been said, by Andrea
+Tafi; for it had been spoilt in many places, and was in need of being
+renewed and restored. This he did with love and diligence, availing
+himself for that purpose of a wooden staging made for him by Cecca, who
+was the best architect of that age. Alesso taught the craft of mosaic to
+Domenico Ghirlandajo, who portrayed him<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> afterwards near himself in the
+Chapel of the Tornabuoni in S. Maria Novella, in the scene where Joachim
+is driven from the Temple, in the form of a clean-shaven old man with a
+red cap on his head.</p>
+
+<p>Alesso lived eighty years, and when he began to draw near to old age, as
+one who wished to be able to attend with a quiet mind to the studies of
+his profession, he retired into the Hospital of S. Paolo, as many men
+are wont to do. And perhaps to the end that he might be received more
+willingly and better treated (or it may have been by chance), he had a
+great chest carried into his rooms in the said hospital, giving out that
+it contained a good sum of money. Wherefore the Director and the other
+officials of the hospital, believing this to be true, and knowing that
+he had bequeathed to the hospital all that might be found after his
+death, showed him all the attention in the world. But on the death of
+Alesso, there was nothing found in it save drawings, portraits on paper,
+and a little book that explained the preparation of the stones and
+stucco for mosaic and the method of using them. Nor was it any marvel,
+so men said, that no money was found there, because he was so
+open-handed that he had nothing that did not belong as much to his
+friends as to himself.</p>
+
+<p>A disciple of Alesso was the Florentine Graffione, who wrought in
+fresco, over the door of the Innocenti, that figure of God the Father
+and those angels that are still there. It is said that the Magnificent
+Lorenzo de' Medici, conversing one day with Graffione, who was an
+original, said to him, "I wish to have all the ribs of the inner cupola
+adorned with mosaic and stucco-work;" and that Graffione replied, "You
+have not the masters." To which Lorenzo answered, "We have enough money
+to make some." Graffione instantly retorted, "Ah, Lorenzo, 'tis not the
+money that makes the masters, but the masters that make the money." This
+man was a bizarre and fantastic person. In his house he would never eat
+off any table-cloth save his own cartoons, and he slept in no other bed
+than a chest filled with straw, without sheets.</p>
+
+<p>But to return to Alesso; he took leave of his art and of his life in
+1448, and he was honourably buried by his relatives and
+fellow-citizens.</p>
+
+<div class="figcenter" style="width: 567px;">
+<a name="illus-115" id="illus-115"></a>
+<img src="images/illus-115-tb.jpg" width="567" height="600" alt="THE TRINITY" title="" />
+<span class="caption">THE TRINITY<br />(<i>After the panel by </i>Graffione<i>. Florence: S. Spirito</i>)</span>
+<br /><i>Alinari</i><br /><span class="link"><a href="images/illus-115.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span></p><p><br /><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+<h2><br /><br />VELLANO DA PADOVA<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2>LIFE OF VELLANO DA PADOVA</h2>
+
+<h3>SCULPTOR</h3>
+
+
+<p>So great is the effect of counterfeiting anything with love and
+diligence, that very often, when the manner of any master of these our
+arts has been well imitated by those who take delight in his works, the
+imitation resembles the thing imitated so closely, that no difference is
+discerned save by those who have a sharpness of eye beyond the ordinary;
+and it rarely comes to pass that a loving disciple fails to learn, at
+least in great measure, the manner of his master.</p>
+
+<p>Vellano da Padova strove with so great diligence to counterfeit the
+manner and the method of Donato in sculpture, particularly in bronze,
+that in his native city of Padua he was left the heir to the excellence
+of the Florentine Donatello; and to this witness is borne by his works
+in the Santo, which nearly every man that has not a complete knowledge
+of the matter attributes to Donato, so that every day many are deceived,
+if they are not informed of the truth. This man, then, fired by the
+great praise that he heard given to Donato, the sculptor of Florence,
+who was then working in Padua, and by a desire for those profits that
+come into the hands of good craftsmen through the excellence of their
+works, placed himself under Donato in order to learn sculpture, and
+devoted himself to it in such a manner, that, with the aid of so great a
+master, he finally achieved his purpose; wherefore, before Donatello had
+finished his works and departed from Padua, Vellano had made such great
+progress in the art that great expectations were already entertained
+about him, and he inspired such confidence in his master as to induce
+him (and that rightly) to leave to his pupil all the equipment, designs,
+and models for the scenes in bronze that were to be made round the choir
+of the Santo in that city.<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> This was the reason why, when Donato
+departed, as has been said, the commission for the whole of that work
+was publicly given to Vellano in his native city, to his very great
+honour. Whereupon he made all the scenes in bronze that are on the outer
+side of the choir of the Santo, wherein, among others, there is the
+scene of Samson embracing the column and destroying the temple of the
+Philistines, in which one sees the fragments of the ruined building duly
+falling, and the death of so many people, not to mention a great
+diversity of attitudes among them as they die, some through the ruins,
+and some through fear; and all this Vellano represented marvellously. In
+the same place are certain works in wax and the models for these scenes,
+and likewise some bronze candelabra wrought by the same man with much
+judgment and invention. From what we see, this craftsman appears to have
+had a very great desire to attain to the standard of Donatello; but he
+did not succeed, for he aimed too high in a most difficult art.</p>
+
+<p>Vellano also took delight in architecture, and was more than passing
+good in that profession; wherefore, having gone to Rome in the year
+1464, at the time of Pope Paul the Venetian, for which Pontiff Giuliano
+da Maiano was architect in the building of the Vatican, he too was
+employed in many things; and by his hand, among other works that he
+made, are the arms of that Pontiff which are seen there with his name
+beside them. He also wrought many of the ornaments of the Palace of S.
+Marco for the same Pope, whose head, by the hand of Vellano, is at the
+top of the staircase. For that building the same man designed a
+stupendous courtyard, with a commodious and elegant flight of steps, but
+the death of the Pontiff intervened to hinder the completion of the
+whole. The while that he stayed in Rome, Vellano made many small things
+in marble and in bronze for the said Pope and for others, but I have not
+been able to find them. In Perugia the same master made a bronze statue
+larger than life, in which he portrayed the said Pope from nature,
+seated in his pontifical robes; and at the foot of this he placed his
+name and the year when it was made. This figure is in a niche of several
+kinds of stone, wrought with much diligence, without the door of S.
+Lorenzo, which is the Duomo of that city. The same man made many medals,
+some of<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> which are still to be seen, particularly that of the
+aforesaid Pope, and those of Antonio Rosello of Arezzo and Batista
+Platina, both Secretaries to that Pontiff.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-121" id="illus-121"></a>
+<img src="images/illus-121-tb.jpg" width="600" height="447" alt="JONAH CAST INTO THE SEA" title="" />
+<span class="caption">JONAH CAST INTO THE SEA<br />(<i>After the bronze relief by </i>Vellano da Padova<i>. Padua: S. Antonio</i>)
+<br /><i>Anderson</i></span><br /><span class="link"><a href="images/illus-121.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Having returned after these works to Padua with a very good name,
+Vellano was held in esteem not only in his native city, but in all
+Lombardy and in the March of Treviso, both because up to that time there
+had been no craftsmen of excellence in those parts, and because he had
+very great skill in the founding of metals. Afterwards, when Vellano was
+already old, the Signoria of Venice determined to have an equestrian
+statue of Bartolommeo da Bergamo made in bronze; and they allotted the
+horse to Andrea del Verrocchio of Florence, and the figure to Vellano.
+On hearing this, Andrea, who thought that the whole work should fall to
+him, knowing himself to be, as indeed he was, a better master than
+Vellano, flew into such a rage that he broke up and destroyed the whole
+model of the horse that he had already finished, and went off to
+Florence. But after a time, being recalled by the Signoria, who gave him
+the whole work to do, he returned once more to finish it; at which
+Vellano felt so much displeasure that he departed from Venice, without
+saying a word or expressing his resentment in any manner, and returned
+to Padua, where he afterwards lived in honour for the rest of his life,
+contenting himself with the works that he had made and with being loved
+and honoured, as he ever was, in his native place. He died at the age of
+ninety-two, and was buried in the Santo with that distinction which his
+excellence, having honoured both himself and his country, had deserved.
+His portrait was sent to me from Padua by certain friends of mine, who
+had it, so they told me, from the very learned and very reverend
+Cardinal Bembo, whose love of our arts was no less remarkable than his
+supremacy over all other men of our age in all the rarest qualities and
+gifts both of mind and body.<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<p><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span></p><p><br /><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+<h2><br /><br />FRA FILIPPO LIPPI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_FRA_FILIPPO_LIPPI" id="LIFE_OF_FRA_FILIPPO_LIPPI"></a>LIFE OF FRA FILIPPO LIPPI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Fra Filippo di Tommaso Lippi, a Carmelite, was born in Florence in a
+street called Ardiglione, below the Canto alla Cuculia and behind the
+Convent of the Carmelites. By the death of his father Tommaso he was
+left a poor little orphan at the age of two, with no one to take care of
+him, for his mother had also died not long after giving him birth. He
+was left, therefore, in the charge of one Mona Lapaccia, his aunt,
+sister of his father, who brought him up with very great inconvenience
+to herself; and when he was eight years of age and she could no longer
+support him, she made him a friar in the aforesaid Convent of the
+Carmine. Living there, in proportion as he showed himself dexterous and
+ingenious in the use of his hands, so was he dull and incapable of
+making any progress in the learning of letters, so that he would never
+apply his intelligence to them or regard them as anything save his
+enemies. This boy, who was called by his secular name of Filippo, was
+kept with others in the noviciate under the discipline of the
+schoolmaster, in order to see what he could do; but in place of studying
+he would never do anything save deface his own books and those of the
+others with caricatures. Whereupon the Prior resolved to give him every
+opportunity and convenience for learning to paint. There was then in the
+Carmine a chapel that had been newly painted by Masaccio, which, being
+very beautiful, pleased Fra Filippo so greatly that he would haunt it
+every day for his recreation; and continually practising there in
+company with many young men, who were ever drawing in it, he surpassed
+the others by a great measure in dexterity and knowledge, insomuch that
+it was held certain that in time he would do something marvellous. Nay,
+not merely in his maturity,<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> but even in his early childhood, he
+executed so many works worthy of praise that it was a miracle. It was no
+long time before he wrought in terra-verde in the cloister, close to the
+Consecration painted by Masaccio, a Pope confirming the Rule of the
+Carmelites; and he painted pictures in fresco on various walls in many
+parts of the church, particularly a S. John the Baptist with some scenes
+from his life. And thus, making progress every day, he had learnt the
+manner of Masaccio very well, so that he made his works so similar to
+those of the other that many said that the spirit of Masaccio had
+entered into the body of Fra Filippo. On a pilaster in the church, close
+to the organ, he made a figure of S. Marziale which brought him infinite
+fame, for it could bear comparison with the works that Masaccio had
+painted. Wherefore, hearing himself so greatly praised by the voices of
+all, at the age of seventeen he boldly threw off his monastic habit.</p>
+
+<p>Now, chancing to be in the March of Ancona, he was disporting himself
+one day with some of his friends in a little boat on the sea, when they
+were all captured together by the Moorish galleys that were scouring
+those parts, and taken to Barbary, where each of them was put in chains
+and held as a slave; and thus he remained in great misery for eighteen
+months. But one day, seeing that he was thrown much into contact with
+his master, there came to him the opportunity and the whim to make a
+portrait of him; whereupon, taking a piece of dead coal from the fire,
+with this he portrayed him at full length on a white wall in his Moorish
+costume. When this was reported by the other slaves to the master (for
+it appeared a miracle to them all, since drawing and painting were not
+known in these parts), it brought about his liberation from the chains
+in which he had been held for so long. Truly glorious was it for this
+art to have caused one to whom the power of condemnation and punishment
+was granted by law, to do the very opposite&mdash;nay, in place of inflicting
+pains and death, to consent to show friendliness and grant liberty!
+After having wrought some works in colour for his master, he was brought
+safely to Naples, where he painted for King Alfonso, then Duke of
+Calabria, a panel in distemper for the Chapel of the Castle, where the
+guard-room now is.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-129" id="illus-129"></a>
+<img src="images/illus-129-tb.jpg" width="600" height="288" alt="FRA FILIPPO LIPPI: THE ANNUNCIATION" title="" />
+<span class="caption">FRA FILIPPO LIPPI: THE ANNUNCIATION<br />(<i>London: National Gallery, 666. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-129.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+<p>After this there came upon him a desire to return to Florence, where he
+remained for some months. There he wrought a very beautiful panel for
+the high-altar of the Nuns of S. Ambrogio, which made him very dear to
+Cosimo de' Medici, who became very much his friend for this reason. He
+also painted a panel for the Chapter-house of S. Croce, and another that
+was placed in the chapel of the house of the Medici, on which he painted
+the Nativity of Christ. For the wife of the said Cosimo, likewise, he
+painted a panel with the same Nativity of Christ and with S. John the
+Baptist, which was to be placed in the Hermitage of Camaldoli, in one of
+the hermits' cells, dedicated to S. John the Baptist, which she had
+caused to be built in proof of her devotion. And he painted some little
+scenes that were sent by Cosimo as a gift to Pope Eugenius IV, the
+Venetian; wherefore Fra Filippo acquired great favour with that Pope by
+reason of this work.</p>
+
+<p>It is said that he was so amorous, that, if he saw any women who pleased
+him, and if they were to be won, he would give all his possessions to
+win them; and if he could in no way do this, he would paint their
+portraits and cool the flame of his love by reasoning with himself. So
+much a slave was he to this appetite, that when he was in this humour he
+gave little or no attention to the works that he had undertaken;
+wherefore on one occasion Cosimo de' Medici, having commissioned him to
+paint a picture, shut him up in his own house, in order that he might
+not go out and waste his time; but after staying there for two whole
+days, being driven forth by his amorous&mdash;nay, beastly&mdash;passion, one
+night he cut some ropes out of his bed-sheets with a pair of scissors
+and let himself down from a window, and then abandoned himself for many
+days to his pleasures. Thereupon, since he could not be found, Cosimo
+sent out to look for him, and finally brought him back to his labour;
+and thenceforward Cosimo gave him liberty to go out when he pleased,
+repenting greatly that he had previously shut him up, when he thought of
+his madness and of the danger that he might run. For this reason he
+strove to keep a hold on him for the future by kindnesses; and so he was
+served by Filippo with greater readiness, and was wont to say that the
+virtues of rare minds were celestial beings, and not slavish hacks.<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+<p>For the Church of S. Maria Primerana, on the Piazza of Fiesole, he
+painted a panel containing the Annunciation of Our Lady by the Angel,
+which shows very great diligence, and there is such beauty in the figure
+of the Angel that it appears truly a celestial thing. For the Nuns of
+the Murate he painted two panels: one, containing an Annunciation, is
+placed on the high-altar; and the other is on an altar in the same
+church, and contains stories of S. Benedict and S. Bernard. In the
+Palace of the Signoria he painted an Annunciation on a panel, which is
+over a door; and over another door in the said Palace he also painted a
+S. Bernard. For the Sacristy of S. Spirito in Florence he executed a
+panel with the Madonna surrounded by angels, and with saints on either
+side&mdash;a rare work, which has ever been held in the greatest veneration
+by the masters of these our arts. In the Chapel of the Wardens of Works
+in S. Lorenzo he wrought a panel with another Annunciation; with one for
+the Della Stufa Chapel, which he did not finish. For a chapel in S.
+Apostolo, in the same city, he painted a panel with some figures round a
+Madonna. In Arezzo, by order of Messer Carlo Marsuppini, he painted the
+panel of the Chapel of S. Bernardo for the Monks of Monte Oliveto,
+depicting therein the Coronation of Our Lady, surrounded by many saints;
+which picture has remained so fresh, that it appears to have been made
+by the hand of Fra Filippo at the present day. It was then that he was
+told by the aforesaid Messer Carlo to give attention to the painting of
+the hands, seeing that his works were much criticized in this respect;
+wherefore from that day onwards, in painting hands, Fra Filippo covered
+the greater part of them with draperies or with some other contrivance,
+in order to avoid the aforesaid criticism. In this work he portrayed the
+said Messer Carlo from the life.</p>
+
+
+<div class="figcenter" style="width: 549px;">
+<a name="illus-133" id="illus-133"></a>
+<img src="images/illus-133-tb.jpg" width="549" height="600" alt="THE VIRGIN ADORING" title="" />
+<span class="caption">THE VIRGIN ADORING<br />(<i>After the panel by </i>Fra Filippo Lippi<i>. Florence: Accademia, 79</i>)<br />
+<i>Anderson</i></span><br /><span class="link"><a href="images/illus-133.jpg">View larger image</a></span>
+</div>
+
+
+<p>For the Nuns of Annalena in Florence he painted a Manger on a panel; and
+some of his pictures are still to be seen in Padua. He sent two little
+scenes with small figures, painted by his hand, to Cardinal Barbo in
+Rome; these were very excellently wrought, and executed with great
+diligence. Truly marvellous was the grace with which he painted, and
+very perfect the harmony that he gave to his works, for which he has
+been ever esteemed by craftsmen and honoured by our modern masters<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+with consummate praise; nay, so long as the voracity of time allows his
+many excellent labours to live, he will be held in veneration by every
+age. In Prato, near Florence, where he had some relatives, he stayed for
+many months, executing many works throughout that whole district in
+company with Fra Diamante, a friar of the Carmine, who had been his
+comrade in the noviciate. After this, having been commissioned by the
+Nuns of S. Margherita to paint the panel of their high-altar, he was
+working at this when there came before his eyes a daughter of Francesco
+Buti, a citizen of Florence, who was living there as a ward or as a
+novice. Having set eyes on Lucrezia (for this was the name of the girl),
+who was very beautiful and graceful, Fra Filippo contrived to persuade
+the nuns to allow him to make a portrait of her for a figure of Our Lady
+in the work that he was doing for them. With this opportunity he became
+even more enamoured of her, and then wrought upon her so mightily, what
+with one thing and another, that he stole her away from the nuns and
+took her off on the very day when she was going to see the Girdle of Our
+Lady, an honoured relic of that township, being exposed to view.
+Whereupon the nuns were greatly disgraced by such an event, and her
+father, Francesco, who never smiled again, made every effort to recover
+her; but she, either through fear or for some other reason, refused to
+come back&mdash;nay, she insisted on staying with Filippo, to whom she bore a
+male child, who was also called Filippo, and who became, like his
+father, a very excellent and famous painter.</p>
+
+<p>In S. Domenico, in the aforesaid Prato, there are two of his panels; and
+in the tramezzo<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> of the Church of S. Francesco there is a Madonna, in
+the removing of which from the place where it was at first, it was cut
+out from the wall on which it was painted, in order not to spoil it, and
+bound round with wood, and then transported to that wall of the church
+where it is still to be seen to-day. In a courtyard of the Ceppo of
+Francesco di Marco, over a well, there is a little panel by the hand of
+the same man, containing the portrait of the said Francesco di Marco,
+the creator and founder of that holy place. In the Pieve of the said
+township, on a little panel over the side-door as one ascends the steps,
+he painted the<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> Death of S. Bernard, by the touch of whose bier many
+cripples are being restored to health. In this picture are friars
+bewailing the death of their master, and it is a marvellous thing to see
+the beautiful expression of the sadness of lamentation in the heads,
+counterfeited with great art and resemblance to nature. Here there are
+draperies in the form of friars' gowns with most beautiful folds, which
+deserve infinite praise for their good design, colouring, and
+composition; not to mention the grace and proportion that are seen in
+the said work, which was executed with the greatest delicacy by the hand
+of Fra Filippo. The Wardens of Works for the said Pieve, in order to
+have some memorial of him, commissioned him to paint the Chapel of the
+High-Altar in that place; and he gave great proof of his worth in that
+work, which, besides its general excellence and masterliness, contains
+most admirable draperies and heads. He made the figures therein larger
+than life, thus introducing to our modern craftsmen the method of giving
+grandeur to the manner of our own day. There are certain figures with
+garments little used in those times, whereby he began to incite the
+minds of men to depart from that simplicity which should be called
+rather old-fashioned than ancient. In the same work are the stories of
+S. Stephen (the titular Saint of the said Pieve), distributed over the
+wall on the right hand&mdash;namely, the Disputation, the Stoning, and the
+Death of that Protomartyr, in whose face, as he disputes with the Jews,
+Filippo depicted so much zeal and so much fervour, that it is a
+difficult thing to imagine it, and much more to express it; and in the
+faces and the various attitudes of the Jews he revealed their hatred,
+disdain, and anger at seeing themselves overcome by him. Even more
+clearly did he make manifest the brutality and rage of those who are
+slaying him with stones, which they have grasped, some large, some
+small, with a horrible gnashing of teeth, and with gestures wholly cruel
+and enraged. None the less, amid so terrible an onslaught, S. Stephen,
+raising his countenance with great calmness to Heaven, is seen making
+supplication to the Eternal Father with the warmest love and fervour for
+the very men who are slaying him. All these conceptions are truly very
+beautiful, and serve to show to others how great is the value of
+invention and of knowing how to express<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> emotions in pictures; and this
+he remembered so well, that in those who are burying S. Stephen he made
+gestures so dolorous, and some faces so afflicted and broken with
+weeping, that it is scarcely possible to look at them without being
+moved. On the other side he painted the Birth of S. John the Baptist,
+the Preaching, the Baptism, the Feast of Herod, and the Beheading of the
+Saint. Here, in his countenance as he is preaching, there is seen the
+Divine Spirit; with various emotions in the multitude that is listening,
+joy and sorrow both in the women and in the men, who are all hanging
+intently on the teaching of S. John. In the Baptism are seen beauty and
+goodness; and, in the Feast of Herod, the majesty of the banquet, the
+dexterity of Herodias, the astonishment of the company, and their
+immeasurable grief when the severed head is presented in the charger.
+Round the banqueting-table are seen innumerable figures with very
+beautiful attitudes, and with good execution both in the draperies and
+in the expressions of the faces. Among these, with a mirror, he
+portrayed himself dressed in the black habit of a prelate; and he made a
+portrait of his disciple Fra Diamante among those who are bewailing S.
+Stephen. This work is in truth the most excellent of all his paintings,
+both for the reasons mentioned above, and because he made the figures
+somewhat larger than life, which encouraged those who came after him to
+give grandeur to their manner. So greatly was he esteemed for his
+excellent gifts, that many circumstances in his life that were worthy of
+blame were passed over in consideration of the eminence of his great
+talents. In this work he portrayed Messer Carlo, the natural son of
+Cosimo de' Medici, who was then Provost of that church, which received
+great benefactions from him and from his house.</p>
+
+<p>In the year 1463, when he had finished this work, he painted a panel in
+distemper, containing a very beautiful Annunciation, for the Church of
+S. Jacopo in Pistoia, by order of Messer Jacopo Bellucci, of whom he
+made therein a most vivid portrait from the life. In the house of
+Pulidoro Bracciolini there is a picture by his hand of the Birth of Our
+Lady; and in the Hall of the Tribunal of Eight in Florence he painted in
+distemper a Madonna with the Child in her arms, on a lunette. In the
+house of Lodovico Capponi there is another picture with a very
+beautiful<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> Madonna; and in the hands of Bernardo Vecchietti, a gentleman
+of Florence and a man of a culture and excellence beyond my power of
+expression, there is a little picture by the hand of the same man,
+containing a very beautiful S. Augustine engaged in his studies. Even
+better is a S. Jerome in Penitence, of the same size, in the guardaroba
+of Duke Cosimo; for if Fra Filippo was a rare master in all his
+pictures, he surpassed himself in the small ones, to which he gave such
+grace and beauty that nothing could be better, as may be seen in the
+predelle of all the panels that he painted. In short, he was such that
+none surpassed him in his own times, and few in our own; and
+Michelagnolo has not only always extolled him, but has imitated him in
+many things.</p>
+
+<p>For the Church of S. Domenico Vecchio in Perugia, also, he painted a
+panel that was afterwards placed on the high-altar, containing a
+Madonna, S. Peter, S. Paul, S. Louis, and S. Anthony the Abbot. Messer
+Alessandro degli Alessandri, a Chevalier of that day and a friend of
+Filippo, caused him to paint a panel for the church of his villa at
+Vincigliata on the hill of Fiesole, containing a S. Laurence and other
+Saints, among whom he portrayed Alessandro and two sons of his.</p>
+
+<p>Fra Filippo was much the friend of gay spirits, and he ever lived a
+joyous life. He taught the art of painting to Fra Diamante, who executed
+many pictures in the Carmine at Prato; and he did himself great credit
+by the close imitation of his master's manner, for he attained to the
+greatest perfection. Sandro Botticelli, Pesello, and Jacopo del Sellaio
+of Florence worked with Fra Filippo in their youth (the last-named
+painted two panels in S. Friano, and one wrought in distemper in the
+Carmine), with a great number of other masters, to whom he ever taught
+the art with great friendliness. He lived honourably by his labours,
+spending extraordinary sums on the pleasures of love, in which he
+continued to take delight right up to the end of his life. He was
+requested by the Commune of Spoleto, through the mediation of Cosimo de'
+Medici, to paint the chapel in their principal church (dedicated to Our
+Lady), which he brought very nearly to completion, working in company
+with Fra Diamante, when death intervened to prevent him from
+finishing<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> it. Some say, indeed, that in consequence of his great
+inclination for his blissful amours some relations of the lady that he
+loved had him poisoned.</p>
+
+<div class="figcenter" style="width: 599px;">
+<a name="illus-139" id="illus-139"></a>
+<img src="images/illus-139-tb.jpg" width="599" height="600" alt="MADONNA AND CHILD" title="" />
+<span class="caption">MADONNA AND CHILD<br />(<i>After the panel (tondo) by </i>Fra Filippo Lippi<i>. Florence: Pitti, 343</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-139.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Fra Filippo finished the course of his life in 1438, at the age of
+fifty-seven, and left a will entrusting to Fra Diamante his son Filippo,
+a little boy of ten years of age, who learnt the art of painting from
+his guardian. Fra Diamante returned with him to Florence, carrying away
+three hundred ducats, which remained to be received from the Commune of
+Spoleto for the work done; with these he bought some property for
+himself, giving but a little share to the boy. Filippo was placed with
+Sandro Botticelli, who was then held a very good master; and the old man
+was buried in a tomb of red and white marble, which the people of
+Spoleto caused to be erected in the church that he had been painting.</p>
+
+<p>His death grieved many friends, particularly Cosimo de' Medici, as well
+as Pope Eugenius, who offered in his life-time to give him a
+dispensation, so that he might make Lucrezia, the daughter of Francesco
+Buti, his legitimate wife; but this he refused to do, wishing to have
+complete liberty for himself and his appetites.</p>
+
+<p>While Sixtus IV was alive, Lorenzo de' Medici became ambassador to the
+Florentines, and made the journey to Spoleto, in order to demand from
+that community the body of Fra Filippo, to the end that it might be laid
+in S. Maria del Fiore in Florence; but their answer to him was that they
+were lacking in ornaments, and above all in distinguished men, for which
+reason they demanded Filippo from him as a favour in order to honour
+themselves, adding that since there was a vast number of famous men in
+Florence, nay, almost a superfluity, he should consent to do without
+this one; and more than this he could not obtain. It is true, indeed,
+that afterwards, having determined to do honour to him in the best way
+that he could, he sent his son Filippino to Rome to paint a chapel for
+the Cardinal of Naples; and Filippino, passing through Spoleto, caused a
+tomb of marble to be erected for him at the commission of Lorenzo,
+beneath the organ and over the sacristy, on which he spent one hundred
+ducats of gold, which were paid by Nofri Tornabuoni, master of the bank
+of the Medici; and Lorenzo also caused Messer<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> Angelo Poliziano to write
+the following epigram, which is carved on the said tomb in antique
+lettering:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">CONDITUS HIC EGO SUM PICTUR&AElig; FAMA PHILIPPUS;</span><br />
+<span style="margin-left: 2.5em;">NULLI IGNOTA ME&AElig; EST GRATIA MIRA MANUS.</span><br />
+<span style="margin-left: 1.5em;">ARTIFICES POTUI DIGITIS ANIMARE COLORES,</span><br />
+<span style="margin-left: 2.5em;">SPERATAQUE ANIMOS FALLERE VOCE DIU.</span><br />
+<span style="margin-left: 1.5em;">IPSA MEIS STUPUIT NATURA EXPRESSA FIGURIS,</span><br />
+<span style="margin-left: 2.5em;">MEQUE SUIS FASSA EST ARTIBUS ESSE PAREM.</span><br />
+<span style="margin-left: 1.5em;">MARMOREO TUMULO MEDICES LAURENTIUS HIC ME</span><br />
+<span style="margin-left: 2.5em;">CONDIDIT; ANTE HUMILI PULVERE TECTUS ERAM.</span><br />
+</p>
+
+<p>Fra Filippo was a very good draughtsman, as may be seen in our book of
+drawings by the most famous painters, particularly in some wherein the
+panel of S. Spirito is drawn, with others showing the chapel in Prato.<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span></p><p><br /><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+<h2><br /><br />PAOLO ROMANO, MAESTRO MINO, AND CHIMENTI CAMICIA<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_PAOLO_ROMANO_AND_MAESTRO_MINO_SCULPTORS" id="LIVES_OF_PAOLO_ROMANO_AND_MAESTRO_MINO_SCULPTORS"></a>LIVES OF PAOLO ROMANO AND MAESTRO MINO, SCULPTORS</h2>
+
+<h3>[<i>MINO DEL REGNO, OR MINO DEL REAME</i>]</h3>
+
+<h3>AND CHIMENTI CAMICIA, ARCHITECT</h3>
+
+
+<p>We have now to speak of Paolo Romano and Mino del Regno, who were
+contemporaries and of the same profession, but very different in
+character and in knowledge of art, for Paolo was modest and quite able,
+and Mino much less able, but so presumptuous and arrogant, that he was
+not only overbearing in his actions, but also with his speech exalted
+his own works beyond all due measure. When Pope Pius II gave a
+commission for a figure to the Roman sculptor Paolo, Mino tormented and
+persecuted him out of envy so greatly, that Paolo, who was a good and
+most modest man, was forced to show resentment. Whereupon Mino, falling
+into a rage with Paolo, offered to bet a thousand ducats that he would
+make a figure better than Paolo's; and this he said with the greatest
+presumption and effrontery, knowing the nature of Paolo, who disliked
+any annoyance, and believing that he would not accept such a challenge.
+But Paolo accepted the invitation, and Mino, half repentant, bet a
+hundred ducats merely to save his honour The figures finished, the
+victory was given to Paolo as a rare and excellent master, which he was;
+and Mino was scorned as the sort of craftsman whose words were worth
+more than his works.</p>
+
+<p>By the hand of Mino are certain works in marble at Naples, and a tomb at
+Monte Cassino, a seat of the Black Friars in the kingdom of Naples; the
+S. Peter and the S. Paul that are at the foot of the steps of S. Pietro
+in Rome, and the tomb of Pope Paul II in S. Pietro. The figure that
+Paolo made in competition with Mino was the S. Paul that is to be seen
+on a marble base at the head of the Ponte S. Angelo,<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> which stood
+unnoticed for a long time in front of the Chapel of Sixtus IV. It
+afterwards came to pass that one day Pope Clement VII observed this
+figure, which pleased him greatly, for he was a man of knowledge and
+judgment in such matters; wherefore he determined to have a S. Peter
+made of the same size, and also, after removing two little chapels of
+marble, dedicated to those Apostles, which stood at the head of the
+Ponte S. Angelo and obstructed the view of the Castle, to put these two
+statues in their place.</p>
+
+<p>It may be read in the work of Antonio Filarete that Paolo was not only a
+sculptor but also an able goldsmith, and that he wrought part of the
+twelve Apostles in silver which stood, before the sack of Rome, over the
+altar of the Papal Chapel. Part of the work of these statues was done by
+Niccol&ograve; della Guardia and Pietro Paolo da Todi, disciples of Paolo, who
+were afterwards passing good masters in sculpture, as is seen from the
+tombs of Pope Pius II and Pope Pius III, on which the said Pontiffs are
+portrayed from nature. By the hand of the same men are medals of three
+Emperors and other great persons. The said Paolo made a statue of an
+armed man on horseback, which is now on the ground in S. Pietro, near
+the Chapel of S. Andrea. A pupil of Paolo was the Roman Gian Cristoforo,
+who was an able sculptor; and there are certain works by his hand in S.
+Maria Trastevere and in other places.</p>
+
+<p>Chimenti Camicia, of whose origin nothing is known save that he was a
+Florentine, was employed in the service of the King of Hungary, for whom
+he made palaces, gardens, fountains, churches, fortresses, and many
+other buildings of importance, with ornaments, carvings, decorated
+ceilings, and other things of the kind, which were executed with much
+diligence by Baccio Cellini. After these works, drawn by love for his
+country, Chimenti returned to Florence, whence he sent to Baccio (who
+remained there), as presents for the King, certain pictures by the hand
+of Berto Linaiuolo, which were held very beautiful in Hungary and much
+extolled by that King. This Berto (of whom I will not refrain from
+making this record as well), after having painted many pictures in a
+beautiful manner, which are in the houses of many citizens, died at the
+very height of his powers, cutting short the great expectations that
+had<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> been formed of him. But to return to Chimenti; he had not been long
+in Florence when he returned to Hungary, where he continued to serve the
+King; but while he was journeying on the Danube in order to give designs
+for mills, in consequence of fatigue he was seized by a sickness, which
+carried him off in a few days to the other life. The works of these
+masters date about the year 1470.</p>
+
+<p>About the same time, during the pontificate of Pope Sixtus IV, there
+lived in Rome one Baccio Pintelli, a Florentine, who was rewarded for
+the great skill that he had in architecture by being employed by that
+Pope in all his building enterprises. With his design, then, were built
+the Church and Convent of S. Maria del Popolo, and certain highly ornate
+chapels therein, particularly that of Domenico della Rovere, Cardinal of
+San Clemente and nephew of that Pope. The same Pontiff erected a palace
+in Borgo Vecchio after the design of Baccio, which was then held to be a
+very beautiful and well-planned edifice. The same master built the Great
+Library under the apartments of Niccola, and that chapel in the Palace
+that is called the Sistine, which is adorned with beautiful paintings.
+He also rebuilt the structure of the new Hospital of S. Spirito in
+Sassia (which was burnt down almost to the foundations in the year
+1471), adding to it a very long loggia and all the useful conveniences
+that could be desired. Within the hospital, along its whole length, he
+caused scenes to be painted from the life of Pope Sixtus, from his birth
+up to the completion of that building&mdash;nay, up to the end of his life.
+He also made the bridge that is called the Ponte Sisto, from the name of
+that Pontiff; this was held to be an excellent work, because Baccio
+built it with such stout piers and with the weight so well distributed,
+that it is very strong and very well founded. In the year of the Jubilee
+of 1475, likewise, he built many new little churches throughout Rome,
+which are recognized by the arms of Pope Sixtus&mdash;in particular, S.
+Apostolo, S. Pietro in Vincula, and S. Sisto. For Cardinal Guglielmo,
+Bishop of Ostia, he made the model of his church, with that of the
+fa&ccedil;ade and of the steps, in the manner wherein they are seen to-day.
+Many declare that the design of the Church of S. Pietro a Montorio in
+Rome was by the hand of Baccio, but I cannot say with truth that I have
+found this to be so.<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> This church was built at the expense of the King
+of Portugal, almost at the same time that the Spanish nation had the
+Church of S. Jacopo erected in Rome.</p>
+
+<p>The talent of Baccio was so highly esteemed by that Pontiff, that he
+would never have done anything in the way of building without his
+counsel; wherefore, in the year 1480, hearing that the Church and
+Convent of S. Francesco at Assisi were threatening to fall, he sent
+Baccio thither; and he, making a very stout counterfort on the side of
+the plain, rendered that marvellous fabric perfectly secure. On one
+buttress he placed a statue of that Pontiff, who, not many years before,
+had caused to be made in that same convent many apartments, in the form
+of chambers and halls, which are known not only by their magnificence
+but also by the arms of the said Pope that are seen in them. In the
+courtyard there is one coat of arms much larger than the others, with
+some Latin verses in praise of Pope Sixtus IV, who gave many proofs that
+he held that holy place in great veneration.<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
+
+<hr style="width: 65%;" />
+
+<h2><br /><br />ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO<br /><br /></h2>
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span><br /><span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_ANDREA_DAL_CASTAGNO_OF_MUGELLO_AND_DOMENICO_VINIZIANO" id="LIVES_OF_ANDREA_DAL_CASTAGNO_OF_MUGELLO_AND_DOMENICO_VINIZIANO"></a>LIVES OF ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO</h2>
+
+<h3>[<i>ANDREA DEGL' IMPICCATI AND DOMENICO DA VENEZIA</i>]</h3>
+
+<h3>PAINTERS</h3>
+
+
+<p>How reprehensible is the vice of envy, which should never exist in
+anyone, when found in a man of excellence, and how wicked and horrible a
+thing it is to seek under the guise of a feigned friendship to
+extinguish not only the fame and glory of another but his very life, I
+truly believe it to be impossible to express with words, for the
+wickedness of the act overcomes all power and force of speech, however
+eloquent. For this reason, without enlarging further on this subject, I
+will only say that in such men there dwells a spirit not merely inhuman
+and savage but wholly cruel and devilish, and so far removed from any
+sort of virtue that they are no longer men or even animals, and do not
+deserve to live. For even as emulation and rivalry, when men seek by
+honest endeavour to vanquish and surpass those greater than themselves
+in order to acquire glory and honour, are things worthy to be praised
+and to be held in esteem as necessary and useful to the world, so, on
+the contrary, the wickedness of envy deserves a proportionately greater
+meed of blame and vituperation, when, being unable to endure the honour
+and esteem of others, it sets to work to deprive of life those whom it
+cannot despoil of glory; as did that miserable Andrea dal Castagno, who
+was truly great and excellent in painting and design, but even more
+notable for the rancour and envy that he bore towards other painters,
+insomuch that with the blackness of his crime he concealed and obscured
+the splendour of his talents.</p>
+
+<p>This man, having been born at a small village called Castagno in
+Mugello, in the territory of Florence, took that name as his own
+surname<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> when he came to live in Florence, which came about in the
+following manner. Having been left without a father in his earliest
+childhood, he was adopted by an uncle, who employed him for many years
+in watching his herds, since he saw him to be very ready and alert, and
+so masterful, that he could look after not only his cattle but the
+pastures and everything else that touched his own interest. Now, while
+he was following this calling, it came to pass one day that he chanced
+to seek shelter from the rain in a place wherein one of those local
+painters, who work for small prices, was painting a shrine for a
+peasant. Whereupon Andrea, who had never seen anything of the kind
+before, was seized by a sudden marvel and began to look most intently at
+the work and to study its manner; and there came to him on the spot a
+very great desire and so violent a love for that art, that without
+losing time he began to scratch drawings of animals and figures on walls
+and stones with pieces of charcoal or with the point of his knife, in so
+masterly a manner that it caused no small marvel to all who saw them.
+The fame of this new study of Andrea's then began to spread among the
+peasants; whereupon, as his good-fortune would have it, the matter
+coming to the ears of a Florentine gentleman named Bernardetto de'
+Medici, whose possessions were in that district, he expressed a wish to
+know the boy; and finally, having seen him and having heard him
+discourse with great readiness, he asked him whether he would like to
+learn the art of painting. Andrea answered that nothing could happen to
+him that would be more welcome or more pleasing than this, and
+Bernardetto took the boy with him to Florence, to the end that he might
+become perfect in that art, and set him to work with one of those
+masters who were then esteemed the best.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="illus-153" id="illus-153"></a>
+<img src="images/illus-153-tb.jpg" width="650" height="404" alt="THE LAST SUPPER" title="" />
+<span class="caption">THE LAST SUPPER<br />(<i>After the fresco by</i> Andrea dal Castagno. <i>Florence: S. Apollonia</i>)<br />
+<i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-153.jpg">View larger image</a></span>
+</div>
+
+
+<p>Thereupon Andrea, following the art of painting and devoting himself
+heart and soul to its studies, displayed very great intelligence in the
+difficulties of that art, above all in draughtsmanship. But he was not
+so successful in the colouring of his works, which he made somewhat
+crude and harsh, thus impairing to a great extent their excellence and
+grace, and depriving them, above all, of a certain quality of
+loveliness, which is not found in his colouring. He showed very great
+boldness in the<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> movements of his figures and much vehemence in the
+heads both of men and of women, making them grave in aspect and
+excellent in draughtsmanship. There are works coloured in fresco,
+painted by his hand in his early youth, in the cloister of S. Miniato al
+Monte as one descends from the church to go into the convent, including
+a story of S. Miniato and S. Cresci leaving their father and mother. In
+S. Benedetto, a most beautiful monastery without the Porta a Pinti, both
+in a cloister and in the church, there were many pictures by the hand of
+Andrea, of which there is no need to make mention, since they were
+thrown to the ground in the siege of Florence. Within the city, in the
+first cloister of the Monastery of the Monks of the Angeli, opposite to
+the principal door, he painted the Crucifix that is still there to-day,
+with the Madonna, S. John, S. Benedict, and S. Romualdo; and at the head
+of the cloister, which is above the garden, he made another like it,
+only varying the heads and a few other details. In S. Trinita, beside
+the Chapel of Maestro Luca, he painted a S. Andrew. In a hall at Legnaia
+he painted many illustrious men for Pandolfo Pandolfini; and a standard
+to be borne in processions, which is held very beautiful, for the
+Company of the Evangelist.</p>
+
+<p>In certain chapels of the Church of the Servi in the said city he
+wrought three flat niches in fresco. In one of these, that of S.
+Giuliano, there are scenes from the life of that Saint, with a good
+number of figures, and a dog in foreshortening that was much extolled.
+Above this, in the chapel dedicated to S. Girolamo, he painted that
+Saint shaven and wasted away, with good design and great diligence. Over
+this he painted a Trinity, with a Crucifix so well foreshortened that
+Andrea deserves to be greatly extolled for it, seeing that he executed
+the foreshortenings with a much better and more modern manner than the
+others before him had shown; but this picture, having been afterwards
+covered with a panel by the family of the Montaguti, can no longer be
+seen. In the third, which is beside the one below the organ, and which
+was erected by Messer Orlando de' Medici, he painted Lazarus, Martha,
+and the Magdalene. For the Nuns of S. Giuliano, over their door, he made
+a Crucifix in fresco, with a Madonna, a S. Dominic, a S. Julian,<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> and a
+S. John; which picture, one of the best that Andrea ever made, is
+universally praised by all craftsmen.</p>
+
+<p>In the Chapel of the Cavalcanti in S. Croce he painted a S. John the
+Baptist and a S. Francis, which are held to be very good figures. But
+what caused all the craftsmen to marvel was a very beautiful picture in
+fresco that he made at the head of the new cloister of the said convent,
+opposite to the door, of Christ being scourged at the Column, wherein he
+painted a loggia with columns in perspective, and groined vaulting with
+diminishing lines, and walls inlaid in a pattern of mandorle, with so
+much art and so much diligence, that he showed that he had no less
+knowledge of the difficulties of perspective than he had of design in
+painting. In the same scene there are beautiful and most animated
+attitudes in those who are scourging Christ, showing hatred and rage in
+their faces as clearly as Jesus Christ is showing patience and humility.
+In the body of Christ, which is bound tightly with ropes to the Column,
+it appears that Andrea tried to demonstrate the suffering of the flesh,
+while the Divinity concealed in that body maintains a certain noble
+splendour, which seems to be moving Pilate, who is seated among his
+councillors, to seek to find some means of liberating Him. In short,
+this picture is such that, if the little care that has been taken of it
+had not allowed it to be scratched and spoilt by children and
+simpletons, who have scratched all the heads and the arms and almost the
+entire persons of the Jews, as though they would thus take vengeance on
+them for the wrongs of Our Lord, it would certainly be the most
+beautiful of all the works of Andrea. And if Nature had given grace of
+colouring to this craftsman, even as she gave him invention and design,
+he would have been held truly marvellous.</p>
+
+<p>In S. Maria del Fiore he painted the image of Niccol&ograve; da Tolentino on
+horseback; and while he was working at this a boy who was passing shook
+his ladder, whereupon he flew into such a rage, like the brutal man that
+he was, that he jumped down and ran after him as far as the Canto de'
+Pazzi. In the cemetery of S. Maria Nuova, also, below the Ossa, he
+painted a S. Andrew, which gave so much satisfaction that he was
+afterwards commissioned to paint the Last Supper of Christ with His<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span>
+Apostles in the refectory, where the nurses and other attendants have
+their meals. Having acquired favour through this work with the house of
+Portinari and with the Director of the hospital, he was appointed to
+paint a part of the principal chapel, of which another part was allotted
+to Alesso Baldovinetti, and the third to the then greatly celebrated
+painter Domenico da Venezia, who had been summoned to Florence by reason
+of the new method that he knew of painting in oil. Now, while each of
+them applied himself to his part of the work, Andrea was very envious of
+Domenico, because, while knowing himself to be superior to the other in
+design, he was much displeased that the Venetian, although a foreigner,
+should be welcomed and entertained by the citizens; wherefore anger and
+disdain moved him so strongly, that he began to think whether he could
+not in one way or another remove him from his path. Andrea was no less
+crafty in dissimulation than he was excellent in painting, being
+cheerful of countenance at his pleasure, ready of speech, fiery in
+spirit, and as resolute in every bodily action as he was in mind; he
+felt towards others as he did towards Domenico, and, if he saw some
+error in the works of other craftsmen, he was wont to mark it secretly
+with his nail. And in his youth, when his works were criticized in any
+respect, he would give the critics to know by means of blows and insults
+that he was ever able and willing to take revenge in one way or another
+for any affront.</p>
+
+<p>But let us say something of Domenico, before we come to the work of the
+said chapel. Before coming to Florence, Domenico had painted some
+pictures with much grace in the Sacristy of S. Maria at Loreto, in
+company with Piero della Francesca; which pictures, besides what he had
+wrought in other places (such as an apartment in the house of the
+Baglioni in Perugia, which is now in ruins), had made his fame known in
+Florence. Being summoned to that city, before doing anything else, he
+painted a Madonna in the midst of some saints, in fresco, in a shrine on
+the Canto de' Carnesecchi, at the corner of two streets, of which one
+leads to the new Piazza di S. Maria Novella and the other to the old.
+This work, being approved and greatly extolled by the citizens and by
+the craftsmen of those times, caused even greater disdain and envy to
+blaze<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> up in the accursed mind of Andrea against poor Domenico;
+wherefore Andrea, having determined to effect by deceit and treachery
+what he could not carry out openly without manifest peril to himself,
+pretended to be very much the friend of Domenico, who, being a good and
+affectionate fellow, fond of singing and devoted to playing on the lute,
+received him as a friend very willingly, thinking Andrea to be a clever
+and amusing person. And so, continuing this friendship, so true on one
+side and so false on the other, they would come together every night to
+make merry and to serenade their mistresses; and this gave great delight
+to Domenico, who, loving Andrea sincerely, taught him the method of
+colouring in oil, which as yet was not known in Tuscany.</p>
+
+<p>Andrea, then (to take events in their due order), working on his wall in
+the Chapel of S. Maria Nuova, painted an Annunciation, which is held
+very beautiful, for in that work he painted the Angel in the air, which
+had never been done up to that time. But a much more beautiful work is
+held to be that wherein he made the Madonna ascending the steps of the
+Temple, on which he depicted many beggars, and one among them hitting
+another on the head with a pitcher; and not only that figure but all the
+others are wondrously beautiful, for he wrought them with much care and
+love, out of rivalry with Domenico. There is seen, also, in the middle
+of a square, an octagonal temple drawn in perspective, standing by
+itself and full of pilasters and niches, with the fa&ccedil;ade very richly
+adorned with figures painted to look like marble. Round the square are
+various very beautiful buildings; and on one side of these there falls
+the shadow of the temple, caused by the light of the sun&mdash;a beautiful
+conception, carried out with great ingenuity and art.</p>
+
+<p>Maestro Domenico, on his part, painting in oil, represented Joachim
+visiting his consort S. Anna, and below this the Birth of Our Lady,
+wherein he depicted a very ornate chamber, and a boy beating very
+gracefully with a hammer on the door of the said chamber. Beneath this
+he painted the Marriage of the Virgin, with a good number of portraits
+from the life, among which are those of Messer Bernardetto de' Medici,
+Constable of the Florentines, wearing a large red barret-cap; Bernardo
+Guadagni, who was Gonfalonier; Folco Portinari, and others of that<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+family. He also painted a dwarf breaking a staff, very life-like, and
+some women wearing garments customary in those times, lovely and
+graceful beyond belief. But this work remained unfinished, for reasons
+that will be told below.</p>
+
+<div class="figcenter" style="width: 406px;">
+<a name="illus-159" id="illus-159"></a>
+<img src="images/illus-159-tb.jpg" width="406" height="600" alt="ANDREA DAL CASTAGNO: DANTE" title="" />
+<span class="caption">ANDREA DAL CASTAGNO: DANTE<br /><i>(Florence: S. Apollonia. Fresco)</i></span>
+<br /><span class="link"><a href="images/illus-159.jpg">View larger image</a></span>
+</div>
+
+<p>Meanwhile Andrea had painted in oil on his wall the Death of Our Lady,
+in which, both by reason of his rivalry with Domenico and in order to
+make himself known for the able master that he truly was, he wrought in
+foreshortening, with incredible diligence, a bier containing the dead
+Virgin, which appears to be three braccia in length, although it is not
+more than one and a half. Round her are the Apostles, wrought in such a
+manner, that, although there is seen in their faces their joy at seeing
+their Madonna borne to Heaven by Jesus Christ, there is also seen in
+them their bitter sorrow at being left on earth without her. Among the
+Apostles are some angels holding burning lights, with beautiful
+expressions in their faces, and so well executed that it is seen that he
+was as well able to manage oil-colours as his rival Domenico. In these
+pictures Andrea made portraits from life of Messer Rinaldo degli
+Albizzi, Puccio Pucci, and Falganaccio, who brought about the liberation
+of Cosimo de' Medici, together with Federigo Malevolti, who held the
+keys of the Alberghetto. In like manner he portrayed Messer Bernardo di
+Domenico della Volta, Director of that hospital, who is kneeling and
+appears to be alive; and in a medallion at the beginning of the work he
+painted himself with the face of Judas Iscariot, whom he resembled both
+in appearance and in deed.</p>
+
+<p>Now Andrea, having carried this work very nearly to completion, being
+blinded by envy of the praises that he heard given to the talent of
+Domenico, determined to remove him from his path; and after having
+thought of many expedients, he put one of them into execution in the
+following manner. One summer evening, according to his custom, Domenico
+took his lute and went forth from S. Maria Nuova, leaving Andrea in his
+room drawing, for he had refused to accept the invitation to take his
+recreation with Domenico, under the pretext of having to do certain
+drawings of importance. Domenico therefore went to take his pleasure by
+himself, and Andrea set himself to wait for him in hiding<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> behind a
+street corner; and when Domenico, on his way home, came up to him, he
+crushed his lute and his stomach at one and the same time with certain
+pieces of lead, and then, thinking that he had not yet finished him off,
+beat him grievously on the head with the same weapons; and finally,
+leaving him on the ground, he returned to his room in S. Maria Nuova,
+where he put the door ajar and sat down to his drawing in the manner
+that he had been left by Domenico. Meanwhile an uproar had arisen, and
+the servants, hearing of the matter, ran to call Andrea and to give the
+bad news to the murderer and traitor himself, who, running to where the
+others were standing round Domenico, was not to be consoled, and kept
+crying out: "Alas, my brother! Alas, my brother!" Finally Domenico
+expired in his arms; nor could it be discovered, for all the diligence
+that was used, who had murdered him; and if Andrea had not revealed the
+truth in confession on his death-bed, it would not be known now.</p>
+
+<p>In S. Miniato fra le Torri in Florence Andrea painted a panel containing
+the Assumption of Our Lady, with two figures; and in a shrine in the
+Nave a Lanchetta, without the Porta alla Croce, he painted a Madonna. In
+the house of the Carducci, now belonging to the Pandolfini, the same man
+depicted certain famous men, some from imagination and some portrayed
+from life, among whom are Filippo Spano degli Scolari, Dante, Petrarca,
+Boccaccio, and others. At Scarperia in Mugello, over the door of the
+Vicar's Palace, he painted a very beautiful nude figure of Charity,
+which has since been ruined. In the year 1478, when Giuliano de' Medici
+was killed and his brother Lorenzo wounded in S. Maria del Fiore by the
+family of the Pazzi and their adherents and fellow-conspirators, it was
+ordained by the Signoria that all those who had shared in the plot
+should be painted as traitors on the wall of the Palace of the Podest&agrave;.
+This work was offered to Andrea, and he, as a servant and debtor of the
+house of Medici, accepted it very willingly, and, taking it in hand,
+executed it so beautifully that it was a miracle. It would not be
+possible to express how much art and judgment were to be seen in those
+figures, which were for the most part portraits from life, and which
+were hung up by the feet in strange attitudes, all varied<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span> and very
+beautiful. This work, which pleased the whole city and particularly all
+who had understanding in the art of painting, brought it about that from
+that time onwards he was called no longer Andrea dal Castagno but Andrea
+degl' Impiccati.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p>
+
+<div class="figcenter" style="width: 303px;">
+<a name="illus-163" id="illus-163"></a>
+<img src="images/illus-163-tb.jpg" width="303" height="600" alt="MADONNA AND CHILD" title="" />
+<span class="caption">MADONNA AND CHILD<br />(<i>After the fresco by </i>Domenico Viniziano<i>. London: National Gallery,
+1215</i>)<br /><i>Mansell</i></span>
+<br /><span class="link"><a href="images/illus-163.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Andrea lived in honourable style, and since he spent his money freely,
+particularly on dress and on maintaining a fine household, he left
+little property when he passed to the other life at the age of
+seventy-one. But since the crime that he had committed against Domenico,
+who loved him so, became known a short time after his death, it was with
+shameful obsequies that he was buried in S. Maria Nuova, where, at the
+age of fifty-six, the unhappy Domenico had also been buried. The work
+begun by the latter in S. Maria Nuova remained unfinished, nor did he
+ever complete it, as he had done the panel of the high-altar in S. Lucia
+de' Bardi, wherein he executed with much diligence a Madonna with the
+Child in her arms, S. John the Baptist, S. Nicholas, S. Francis, and S.
+Lucia; which panel he had brought to perfect completion a little before
+he was murdered.<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>
+</p>
+
+<p>Disciples of Andrea were Jacopo del Corso, who was a passing good
+master, Pisanello, Marchino, Piero del Pollaiuolo, and Giovanni da
+Rovezzano.</p>
+
+
+<hr style="width: 65%;" />
+<h2><br /><br />GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA<br /><br /></h2>
+
+<p><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_GENTILE_DA_FABRIANO_AND_VITTORE_PISANELLO_OF_VERONA14" id="LIVES_OF_GENTILE_DA_FABRIANO_AND_VITTORE_PISANELLO_OF_VERONA14"></a>LIVES OF GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></h2>
+
+<h3>PAINTERS</h3>
+
+<p><span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span></p><p><br /><span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+<p>Very great is the advantage enjoyed by one who follows in the steps of a
+predecessor who has gained honour and fame by means of some rare talent,
+for the reason that, if only he follows to some extent the path prepared
+by his master, he seldom fails to arrive without much fatigue at an
+honourable goal; whereas, if he had to reach it by himself, he would
+have need of a much longer time and far greater labours. The truth of
+this could be seen, ready for the finger to point to, as the saying is,
+among many other examples, in that of Pisano, or rather, Pisanello, a
+painter of Verona, who, having spent many years in Florence with Andrea
+dal Castagno, and having finished his works after his death, acquired so
+much credit by means of Andrea's name, that Pope Martin V, coming to
+Florence, took him in his train to Rome, where he caused him to paint
+some scenes in fresco in S. Giovanni Laterano, which are very lovely and
+beautiful beyond belief, because he used therein a great abundance of a
+sort of ultramarine blue given to him by the said Pope, which was so
+beautiful in colour that it has never yet been equalled.</p>
+
+<p>In competition with Pisanello, below the aforesaid scenes, certain
+others were painted by Gentile da Fabriano; of which Platina makes
+mention in his Life of Pope Martin, saying that when that Pontiff had
+caused the pavement, the ceiling, and the roof of S. Giovanni Laterano
+to be reconstructed, Gentile da Fabriano painted many pictures there,<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>
+and, among other figures between the windows, in terretta and in
+chiaroscuro, certain prophets, which are held to be the best paintings
+in the whole of that work. The same Gentile executed an infinite number
+of works in the March, particularly in Agobbio, where some of them are
+still to be seen, and likewise throughout the whole state of Urbino. He
+worked in S. Giovanni at Siena; and in the Sacristy of S. Trinita in
+Florence he painted the Story of the Magi on a panel, wherein he
+portrayed himself from the life. In S. Niccol&ograve;, near the Porta a S.
+Miniato, for the family of the Quaratesi, he painted the panel of the
+high-altar, which appears to me without a doubt the best of all the
+works that I have seen by his hand, for, not to mention the Madonna
+surrounded by many saints, all well wrought, the predella of the said
+panel, full of scenes with little figures from the life of S. Nicholas,
+could not be more beautiful or executed better than it is. In S. Maria
+Nuova in Rome, in a little arch over the tomb of the Florentine Cardinal
+Adimari, Archbishop of Pisa, which is beside that of Pope Gregory IX, he
+painted the Madonna with the Child in her arms, between S. Benedict and
+S. Joseph. This work was held in esteem by the divine Michelagnolo, who
+was wont to say, speaking of Gentile, that his hand in painting was
+similar to his name. The same master executed a very beautiful panel in
+S. Domenico in Perugia; and in S. Agostino at Bari he painted a Crucifix
+outlined in the wood, with three very beautiful half-length figures,
+which are over the door of the choir.</p>
+
+<p>But to return to Vittore Pisano; the account that has been given of him
+above was written by us, with nothing more, when this our book was
+printed for the first time, because we had not then received that
+information and knowledge of the works of this excellent craftsman which
+we have since gained from notices supplied by that very reverend and
+most learned Father, Fra Marco de' Medici of Verona, of the Order of
+Preaching Friars, and from the narrative of Biondo da Forl&igrave;, where he
+speaks of Verona in his "Italia Illustrata." Vittore was equal in
+excellence to any painter of his age; and to this, not to speak of the
+works enumerated above, most ample testimony is borne by many others
+that are seen in his most noble native city of Verona, although many are
+almost eaten<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> away by time. And because he took particular delight in
+depicting animals, he painted in the Chapel of the Pellegrini family, in
+the Church of S. Anastasia at Verona, a S. Eustace caressing a dog
+spotted with white and tan, which, with its feet raised and leaning
+against the leg of the said Saint, is turning its head backwards as
+though it had heard some noise; and it is making this movement with so
+great vivacity, that a live dog could not do it better. Beneath this
+figure there is seen painted the name of Pisano, who used to call
+himself sometimes Pisano, and sometimes Pisanello, as may be seen from
+the pictures and the medals by his hand. After the said figure of S.
+Eustace, which is truly very beautiful and one of the best that this
+craftsman ever wrought, he painted the whole outer wall of the same
+chapel; and on the other side he made a S. George clad in white armour
+made of silver, as was the custom in that age not only with him but with
+all the other painters. This S. George, wishing to replace his sword in
+the scabbard after slaying the Dragon, is raising his right hand, which
+holds the sword, the point of which is already in the scabbard, and is
+lowering the left hand, to the end that the increased distance may make
+it easier for him to sheathe the sword, which is long; and this he is
+doing with so much grace and with so beautiful a manner, that nothing
+better could be seen. Michele San Michele of Verona, architect to the
+most illustrious Signoria of Venice, and a man with a very wide
+knowledge of these fine arts, was often seen during his life
+contemplating these works of Vittore in a marvel, and then heard to say
+that there was little to be seen that was better than the S. Eustace,
+the dog, and the S. George described above. Over the arch of the said
+chapel is painted the scene when S. George, having slain the Dragon, is
+liberating the King's daughter, who is seen near the Saint, clad in a
+long dress after the custom of those times. Marvellous, likewise, in
+this part of the work, is the figure of the same S. George, who, armed
+as above, and about to remount his horse, is standing with his face and
+person turned towards the spectator, and is seen, with one foot in the
+stirrup and his left hand on the saddle, almost in the act of leaping on
+to the horse, which has its hindquarters towards the spectator, so that
+the whole animal, being<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> foreshortened, is seen very well, although in a
+small space. In a word, it is impossible to contemplate without infinite
+marvel&mdash;nay, amazement&mdash;a work executed with such extraordinary design,
+grace, and judgment.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-171" id="illus-171"></a>
+<img src="images/illus-171-tb.jpg" width="600" height="504" alt="GENTILE DA FABRIANO: MADONNA AND CHILD, WITH THREE KINGS" title="" />
+<span class="caption">GENTILE DA FABRIANO: MADONNA AND CHILD, WITH THREE KINGS<br />
+(DETAIL FROM THE ADORATION OF THE MAGI)<br />(<i>Florence: Accademia, 165. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-171.jpg">View larger image</a></span>
+</div>
+
+
+<p>The same Pisano painted a picture in S. Fermo Maggiore at Verona (a
+church of the Conventual Friars of S. Francis), in the Chapel of the
+Brenzoni, on the left as one enters by the principal door of the said
+church, over the tomb of the Resurrection of Our Lord, wrought in
+sculpture and very beautiful for those times; he painted, I say, as an
+ornament for that work, the Virgin receiving the Annunciation from the
+Angel, which two figures, picked out with gold according to the use of
+those times, are very beautiful, as are certain very well drawn
+buildings, as well as some little animals and birds scattered throughout
+the work, which are as natural and lifelike as it is possible to
+imagine.</p>
+
+<p>The same Vittore cast in medallions innumerable portraits of Princes and
+other persons of his time, from which there have since been made many
+portraits in painting. And Monsignor Giovio, speaking of Vittore Pisano
+in an Italian letter written to the Lord Duke Cosimo, which may be read
+in print together with many others, says the following words:</p>
+
+<p>"This man was also very excellent in the work of low-relief, which is
+esteemed very difficult among craftsmen, because it is the mean between
+the flat surface of painting and the roundness of statuary. For this
+reason there are seen many highly esteemed medals of great Princes by
+his hand, made in a large form, and in the same proportions as that
+reverse of the horse clad in armour that Guidi has sent me. Of these I
+have that of the great King Alfonso with his hair long, with a captain's
+helmet on the reverse; that of Pope Martin, with the arms of the house
+of Colonna as the reverse; that of the Sultan Mahomet (who took
+Constantinople), showing him on horseback in Turkish dress, with a
+scourge in his hand; Sigismondo Malatesta, with Madonna Isotta of Rimini
+on the reverse; and that of Niccol&ograve; Piccinino, wearing a large oblong
+cap on his head, with the said reverse sent to me by Guidi, which I am
+returning. Besides these, I have also a very beautiful medal of John
+Pal&aelig;ologus, Emperor of Constantinople, with that bizarre Greek<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> cap
+which the Emperors used to wear. This was made by Pisano in Florence, at
+the time of the Council of Eugenius, at which the aforesaid Emperor was
+present; and it has on the reverse the Cross of Christ, sustained by two
+hands&mdash;namely, the Latin and the Greek."</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-175" id="illus-175"></a>
+<img src="images/illus-175-tb.jpg" width="600" height="498" alt="VITTORE PISANELLO: THE VISION OF S. EUSTACE" title="" />
+<span class="caption">VITTORE PISANELLO: THE VISION OF S. EUSTACE<br />(<i>London: National Gallery, 1436. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-175.jpg">View larger image</a></span>
+</div>
+
+
+<p>So far Giovio, and still further, Vittore also made medals with
+portraits of Filippo de' Medici, Archbishop of Pisa, Braccio da Montone,
+Giovan Galeazzo Visconti, Carlo Malatesta, Lord of Rimini, Giovan
+Caracciolo, Grand Seneschal of Naples, Borso and Ercole D'Este, and many
+other nobles and men distinguished in arms and in letters.</p>
+
+<p>By reason of his fame and reputation in that art, this master gained the
+honour of being celebrated by very great men and rare writers; for,
+besides what Biondo wrote of him, as has been said, he was much extolled
+in a Latin poem by the elder Guerino, his compatriot and a very great
+scholar and writer of those times; of which poem, called, from the
+surname of its subject, "Il Pisano del Guerino," honourable mention is
+made by Biondo. He was also celebrated by the elder Strozzi, Tito
+Vespasiano, father of the other Strozzi, both of whom were very rare
+poets in the Latin tongue. The father honoured the memory of Vittore
+Pisano with a very beautiful epigram, which is in print with the others.
+Such are the fruits that are borne by a worthy life.</p>
+
+<p>Some say that when he was learning art in Florence in his youth, he
+painted in the old Church of the Temple, which stood where the old
+Citadel now is, the stories of that pilgrim who was going to S. Jacopo
+di Galizia, when the daughter of his host put a silver cup into his
+wallet, to the end that he might be punished as a robber; but he was
+rescued by S. Jacopo, who brought him back home in safety. In this
+Pisano gave promise of becoming, as he did, an excellent painter.
+Finally, having come to a good old age, he passed to a better life. And
+Gentile, after making many works in Citt&agrave; di Castello, became palsied,
+and was reduced to such a state that he could no longer do anything
+good; and at length, wasted away by old age, and having lived eighty
+years, he died. The portrait of Pisano I have not been able to find in
+any place whatsoever. Both these painters drew very well, as may be seen
+in our book.</p>
+
+<div class="figcenter" style="width: 500px;">
+<a name="illus-179" id="illus-179"></a>
+<img src="images/illus-179-tb.jpg" width="500" height="502" alt="MEDALS OF SIGISMONDO PANDOLFO MALATESTA AND NICCOL&Ograve; PICCININO" title="" />
+<span class="caption">MEDALS OF SIGISMONDO PANDOLFO MALATESTA AND NICCOL&Ograve; PICCININO<br />(<i>After </i>Vittore Pisanello<i>. London: British Museum</i>)</span>
+<br /><span class="link"><a href="images/illus-179.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span><br /><span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span></p><p><br /><span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span></p>
+<h2><br /><br />PESELLO AND FRANCESCO PESELLI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_PESELLO_AND_FRANCESCO_PESELLI" id="LIVES_OF_PESELLO_AND_FRANCESCO_PESELLI"></a>LIVES OF PESELLO AND FRANCESCO PESELLI</h2>
+
+<h3>[<i>PESELLINO, OR FRANCESCO DI PESELLO</i>]</h3>
+
+<h3>PAINTERS OF FLORENCE</h3>
+
+
+<p>It is rarely wont to happen that the disciples of the best masters, if
+they observe their precepts, fail to become very excellent, or, if they
+do not actually surpass them, at least to equal them and to make
+themselves in every way like them. For the burning zeal of imitation,
+with assiduity in studying, has power to make them equal the talent of
+those who show them the true method of working; wherefore the disciples
+become such that they afterwards compete with their masters, and even
+find it easy to outstrip them, because it is always but little labour to
+add to what has been discovered by others. That this is true is proved
+by Francesco di Pesello, who imitated the manner of Fra Filippo so well
+that he would have surpassed him by a long way, if death had not cut him
+off so prematurely. It is also known that Pesello imitated the manner of
+Andrea dal Castagno; and he took so much pleasure in counterfeiting
+animals, of which he kept some of all sorts alive in his house, and made
+them so lifelike and vivacious, that there was no one in his time who
+equalled him in this branch of his profession. He worked up to the age
+of thirty under the discipline of Andrea, learning from him, and became
+a very good master. Wherefore, having given good proof of his knowledge,
+he was commissioned by the Signoria of Florence to paint a panel in
+distemper of the Magi bringing offerings to Christ, which was placed
+half-way up the staircase of their Palace, and acquired great fame for
+Pesello, above all because he had made certain portraits therein,
+including that of Donato Acciaiuoli. In S. Croce, also, in the Chapel of
+the Cavalcanti, below the Annunciation of Donato, he painted a predella
+with little figures, con<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span>taining stories of S. Nicholas. In the house of
+the Medici he adorned some panelling very beautifully with animals, and
+certain coffers with little scenes of jousts on horseback. And in the
+same house there are seen to this day certain canvases by his hand,
+representing lions pressing against a grating, which appear absolutely
+alive; and he made others on the outside, together with one fighting
+with a serpent; and on another canvas he painted an ox, a fox, and other
+animals, very animated and vivacious. In the Chapel of the Alessandri,
+in S. Piero Maggiore, he made four little scenes with little figures of
+S. Peter, of S. Paul, of S. Zanobi restoring to life the son of the
+widow, and of S. Benedict. In S. Maria Maggiore in the same city of
+Florence, in the Chapel of the Orlandini, he made a Madonna and two
+other very beautiful figures. For the children of the Company of S.
+Giorgio he painted a Crucifix, S. Jerome, and S. Francis; and he made an
+Annunciation on a panel in the Church of S. Giorgio. In the Church of S.
+Jacopo at Pistoia he painted a Trinity, S. Zeno, and S. James; and
+throughout the houses of citizens in Florence there are many pictures,
+both round and square, by the hand of the same man.</p>
+
+<p>Pesello was a temperate and gentle person; and whenever it was in his
+power to assist his friends, he would do it very lovingly and willingly.
+He married young, and had a son named Francesco, known as Pesellino, who
+became a painter, following very closely in the steps of Fra Filippo.
+From what is known of this man, it is clear that if he had lived longer
+he would have done much more than he did, for he was a zealous student
+of his art, and would draw all day and night without ceasing. In the
+Chapel of the Noviciate in S. Croce, below the panel by Fra Filippo,
+there is still seen a most marvellous predella with little figures,
+which appear to be by the hand of Fra Filippo. He made many little
+pictures with small figures throughout Florence, where, having acquired
+a great name, he died at the age of thirty-one; to the great grief of
+Pesello, who followed him after no long time, at the age of
+seventy-seven.</p>
+
+
+<div class="figcenter" style="width: 460px;">
+<a name="illus-185" id="illus-185"></a>
+<img src="images/illus-185-tb.jpg" width="460" height="600" alt="PESELLINO: MADONNA ENTHRONED WITH SAINTS AND ANGELS" title="" />
+<span class="caption">PESELLINO: MADONNA ENTHRONED WITH SAINTS AND ANGELS<br />(<i>Empoli: Gallery. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-185.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p>
+<h2><br /><br />BENOZZO GOZZOLI</h2>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-189" id="illus-189"></a>
+<img src="images/illus-189-tb.jpg" width="600" height="473" alt="THE PROCESSION OF THE MAGI" title="" />
+<span class="caption">THE PROCESSION OF THE MAGI<br />(<i>Detail, after the fresco by</i> Benozzo Gozzoli. <i>Florence: Palazzo
+Riccardi</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-189.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_BENOZZO_GOZZOLI15" id="LIFE_OF_BENOZZO_GOZZOLI15"></a>LIFE OF BENOZZO GOZZOLI<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>He who pursues the path of excellence in his labours, although it is, as
+men say, both stony and full of thorns, finds himself finally at the end
+of the ascent on a broad plain, with all the blessings that he has
+desired. And as he looks downwards and sees the difficult and perilous
+way that he has come, he thanks God for having brought him out safely,
+and with the greatest contentment he blesses those labours that he has
+just been finding so burdensome. And so, recompensed for his past
+sufferings by the gladness of the happy present, he labours without
+fatigue, in order to demonstrate to all who see him how heat, cold,
+sweat, hunger, thirst, and all the other discomforts that are endured in
+the acquiring of excellence, deliver men from poverty, and bring them to
+that secure and tranquil state in which, with so much contentment,
+Benozzo Gozzoli enjoyed repose from his labours.</p>
+
+<p>This man was a disciple of Fra Giovanni Angelico, by whom he was loved
+with good reason; and by all who knew him he was held to be a practised
+master, very rich in invention, and very productive in the painting of
+animals, perspectives, landscapes, and ornaments. He wrought so many
+works in his day that he showed that he cared little for other delights;
+and although, in comparison with many who surpassed him in design, he
+was not very excellent, yet in this great mass of work he surpassed all
+the painters of his age, for in such a multitude of pictures he
+succeeded in making some that were good. In his youth he painted a panel
+for the altar of the Company of S. Marco in Florence, and, in S. Friano,
+a picture of the passing of S. Jerome, which has been<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> spoilt in
+restoring the fa&ccedil;ade of the church along the street. In the Chapel of
+the Palace of the Medici he painted the Story of the Magi in fresco.</p>
+
+<p>In the Araceli at Rome, in the Chapel of the Cesarini, he painted the
+stories of S. Anthony of Padua, wherein he made portraits from life of
+Cardinal Giuliano Cesarini and Antonio Colonna. In the Conti Tower,
+likewise, over a door under which one passes, he made in fresco a
+Madonna with many saints; and in a chapel in S. Maria Maggiore, on the
+right hand as one enters the church by the principal door, he painted
+many figures in fresco, which are passing good.</p>
+
+<p>After returning from Rome to Florence, Benozzo went to Pisa, where he
+worked in the cemetery called the Campo Santo, which is beside the
+Duomo, covering the surface of a wall that runs the whole length of the
+building with stories from the Old Testament, wherein he showed very
+great invention. And this may be said to be a truly tremendous work,
+seeing that it contains all the stories of the Creation of the world
+from one day to another. After this come Noah's Ark and the inundation
+of the Flood, represented with very beautiful composition and an
+abundance of figures. Then there follow the building of the proud Tower
+of Nimrod, the burning of Sodom and the other neighbouring cities, and
+the stories of Abraham, wherein there are some very beautiful effects to
+be observed, for the reason that, although Benozzo was not remarkable
+for the drawing of figures, yet he showed his art effectually in the
+Sacrifice of Isaac, for there he painted an ass foreshortened in such a
+manner that it seems to turn to either side, which is held something
+very beautiful. After this comes the Birth of Moses, together with all
+those signs and prodigies that were seen, up to the time when he led his
+people out of Egypt and fed them for so many years in the desert. To
+these he added all the stories of the Hebrews up to the time of David
+and his son Solomon; and in this work Benozzo displayed a spirit truly
+more than bold, for, whereas so great an enterprise might very well have
+daunted a legion of painters, he alone wrought the whole and brought it
+to perfection. Wherefore, having thus acquired very great fame, he won
+the honour of having the following epigram placed in the middle of the
+work:</p>
+
+
+<div class="figcenter" style="width: 393px;">
+<a name="illus-193" id="illus-193"></a>
+<img src="images/illus-193-tb.jpg" width="393" height="600" alt="BENOZZO BOZZOLI: MADONNA AND CHILD" title="" />
+<span class="caption">BENOZZO BOZZOLI: MADONNA AND CHILD<br />
+(<i>Berlin: Kaiser Friedrich Museum, 60<span class="smcap">B</span>. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-193.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">QUID SPECTAS VOLUCRES, PISCES, ET MONSTRA FERARUM,</span><br />
+<span style="margin-left: 2.5em;">ET VIRIDES SILVAS &AElig;THEREASQUE DOMOS,</span><br />
+<span style="margin-left: 1.5em;">ET PUEROS, JUVENES, MATRES, CANOSQUE PARENTES,</span><br />
+<span style="margin-left: 2.5em;">QUEIS SEMPER VIVUM SPIRAT IN ORE DECUS?</span><br />
+<span style="margin-left: 1.5em;">NON H&AElig;C TAM VARIIS FINXIT SIMULACRA FIGURIS</span><br />
+<span style="margin-left: 2.5em;">NATURA, INGENIO F&OElig;TIBUS APTA SUO:</span><br />
+<span style="margin-left: 1.5em;">EST OPUS ARTIFICIS: PINXIT VIVA ORA BENOXUS;</span><br />
+<span style="margin-left: 2.5em;">O SUPERI, VIVOS FUNDITE IN ORA SONOS.</span><br />
+</p>
+
+<p>Throughout this whole work there are scattered innumerable portraits
+from the life; but, since we have not knowledge of them all, I will
+mention only those that I have recognized as important, and those that I
+know by means of some record. In the scene of the Queen of Sheba going
+to visit Solomon there is the portrait of Marsilio Ficino among certain
+prelates, with those of Argiropolo, a very learned Greek, and of Batista
+Platina, whom he had previously portrayed in Rome; while he himself is
+on horseback, in the form of an old man shaven and wearing a black cap,
+in the fold of which there is a white paper, perchance as a sign, or
+because he intended to write his own name thereon.</p>
+
+<p>In the same city of Pisa, for the Nuns of S. Benedetto a Ripa d'Arno, he
+painted all the stories of the life of that Saint; and in the building
+of the Company of the Florentines, which then stood where the Monastery
+of S. Vito now is, he wrought the panel and many other pictures. In the
+Duomo, behind the chair of the Archbishop, he painted a S. Thomas
+Aquinas on a little panel in distemper, with an infinite number of
+learned men disputing over his works, among whom there is a portrait of
+Pope Sixtus IV, together with a number of Cardinals and many Chiefs and
+Generals of various Orders. This is the best and most highly finished
+work that Benozzo ever made. In S. Caterina, a seat of the Preaching
+Friars in the same city, he executed two panels in distemper, which are
+known very well by the manner; and he also painted another in the Church
+of S. Niccola, with two in S. Croce without Pisa.</p>
+
+<p>In his youth, Benozzo also painted the altar of S. Bastiano in the Pieve
+of San Gimignano, opposite to the principal chapel; and in the Hall of
+the Council there are some figures, partly by his hand, and partly old
+works restored by him. For the Monks of Monte Oliveto,<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> in the same
+territory, he painted a Crucifix and other pictures; but the best work
+that he made in that place was in the principal chapel of S. Agostino,
+where he painted stories of S. Augustine in fresco, from his conversion
+to his death; of the whole of which work I have the design by his hand
+in my book, together with many drawings of the aforesaid scenes in the
+Campo Santo of Pisa. In Volterra, likewise, he executed certain works,
+of which there is no need to make mention.</p>
+
+<p>Now, while Benozzo was working in Rome, there was another painter there
+called Melozzo, who came from Forl&igrave;; and many who know no more than
+this, having found the name of Melozzo written and having compared the
+dates, have believed that Melozzo stands for Benozzo; but they are
+mistaken, for the said painter was one who lived at the same time and
+was a very zealous student of the problems of art, devoting particular
+diligence and study to the making of foreshortenings, as may be seen in
+S. Apostolo at Rome, in the tribune of the high-altar, where, in a
+frieze drawn in perspective, as an ornament for that work, there are
+some figures picking grapes, with a cask, which show no little of the
+good. But this is seen more clearly in the Ascension of Jesus Christ, in
+the midst of a choir of angels who are leading him up to Heaven, wherein
+the figure of Christ is so well foreshortened that it seems to be
+piercing the ceiling, and the same is true of the angels, who are
+circling with various movements through the spacious sky. The Apostles,
+likewise, who are on the earth below, are so well foreshortened in their
+various attitudes that the work brought him much praise, as it still
+does, from the craftsmen, who have learnt much from his labours. He was
+also a great master of perspective, as is demonstrated by the buildings
+painted in this work, which he executed at the commission of Cardinal
+Riario, nephew of Pope Sixtus IV, by whom he was richly rewarded.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-197" id="illus-197"></a>
+<img src="images/illus-197-tb.jpg" width="600" height="442" alt="THE DEATH OF S. AUGUSTINE" title="" />
+<span class="caption">THE DEATH OF S. AUGUSTINE<br />(<i>After the fresco by</i> Benozzo Gozzoli. <i>San Gimigano: S. Agostino</i>)
+<br /><i>Brogi</i></span>
+<br /><span class="link"><a href="images/illus-197.jpg">View larger image</a></span>
+</div>
+
+
+<p>But to return to Benozzo; wasted away at last by length of years and by
+his labours, he went to his true rest, in the city of Pisa, at the age
+of seventy-eight, while dwelling in a little house that he had bought in
+Carraia di San Francesco during his long sojourn there. This house he
+left at his death to his daughter; and, mourned by the whole city, he<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+was honourably buried in the Campo Santo, with the following epitaph,
+which is still to be read there:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">HIC TUMULUS EST BENOTII FLORENTINI, QUI PROXIME HAS PINXIT</span><br />
+<span style="margin-left: 2.5em;">HISTORIAS. HUNC SIBI PISANOR. DONAVIT HUMANITAS, MCCCCLXXVIII.</span><br />
+</p>
+
+<p><span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span></p>
+
+<p>Benozzo ever lived the well-ordered life of a true Christian, spending
+all his years in honourable labour. For this and for his good manner and
+qualities he was long looked upon with favour in that city. The
+disciples whom he left behind him were Zanobi Macchiavelli, a
+Florentine, and others of whom there is no need to make further
+record.<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
+<h2><br /><br />FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO</h2>
+
+<div class="figcenter" style="width: 387px;">
+<a name="illus-203" id="illus-203"></a>
+<img src="images/illus-203-tb.jpg" width="387" height="600" alt="FRANCESCO DI GIORGIO: S. DOROTHY" title="" />
+<span class="caption">FRANCESCO DI GIORGIO: S. DOROTHY<br />(<i>London: National Gallery</i>, 1682. <i>Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-203.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_FRANCESCO_DI_GIORGIO" id="LIVES_OF_FRANCESCO_DI_GIORGIO"></a>LIVES OF FRANCESCO DI GIORGIO</h2>
+
+<h3>SCULPTOR AND ARCHITECT OF SIENA</h3>
+
+<h3>AND LORENZO VECCHIETTO</h3>
+
+<h3>SCULPTOR AND PAINTER OF SIENA</h3>
+
+
+<p>Francesco di Giorgio of Siena, who was an excellent sculptor and
+architect, made the two bronze angels that are on the high-altar of the
+Duomo in that city. These were truly very beautiful pieces of casting,
+and he finished them afterwards by himself with the greatest diligence
+that it is possible to imagine. This he could do very conveniently, for
+he was endowed with good means as well as with a rare intelligence;
+wherefore he would work when he felt inclined, not through greed of
+gain, but for his own pleasure and in order to leave some honourable
+memorial behind him. He also gave attention to painting and executed
+some pictures, but these did not equal his sculptures. He had very good
+judgment in architecture, and proved that he had a very good knowledge
+of that profession; and to this ample testimony is borne by the palace
+that he built for Duke Federigo Feltro at Urbino, which is commodiously
+arranged and beautifully planned, while the bizarre staircases are well
+conceived and more pleasing than any others that had been made up to his
+time. The halls are large and magnificent, and the apartments are
+conveniently distributed and handsome beyond belief. In a word, the
+whole of that palace is as beautiful and as well built as any other that
+has been erected down to our own day.</p>
+
+<p>Francesco was a very able engineer, particularly in connection with
+military engines, as he showed in a frieze that he painted with his own
+hand in the said palace at Urbino, which is all full of rare things of
+that<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span> kind for the purposes of war. He also filled some books with
+designs of such instruments; and the Lord Duke Cosimo de' Medici has the
+best of these among his greatest treasures. The same man was so zealous
+a student of the warlike machines and instruments of the ancients, and
+spent so much time in investigating the plans of the ancient
+amphitheatres and other things of that kind, that he was thereby
+prevented from giving equal attention to sculpture; but these studies
+brought him and still bring him no less honour than sculpture could have
+gained for him. For all these reasons he was so dear to the said Duke
+Federigo, whose portrait he made both on medals and in painting, that
+when he returned to his native city of Siena he found his honours were
+equal to his profits.</p>
+
+<p>For Pope Pius II he made all the designs and models of the Palace and
+Vescovado of Pienza, the native place of the said Pope, which was raised
+by him to the position of a city, and called Pienza after himself, in
+place of its former name of Corsignano. These buildings were as
+magnificent and handsome as they could be for that place; and he did the
+same for the general form and the fortifications of the said city,
+together with the palace and loggia built for the same Pontiff.
+Wherefore he ever lived in honour, and was rewarded with the supreme
+magistracy of the Signoria in his native city; but finally, having
+reached the age of forty-seven, he died. His works date about 1480. He
+left behind him his companion and very dear friend, Jacopo Cozzerello,
+who devoted himself to sculpture and architecture, making some figures
+of wood in Siena, and a work of architecture without the Porta a
+Tufi&mdash;namely, S. Maria Maddalena, which remained unfinished by reason of
+his death. To him we are also indebted for the portrait of the aforesaid
+Francesco, which he made with his own hand; to which Francesco much
+gratitude is due for his having facilitated the art of architecture, and
+for his having rendered to it greater services than any other man had
+done from the time of Filippo di Ser Brunellesco to his own.</p>
+
+
+<div class="figcenter" style="width: 302px;">
+<a name="illus-207" id="illus-207"></a>
+<img src="images/illus-207-tb.jpg" width="302" height="600" alt="THE RISEN CHRIST" title="" />
+<span class="caption">THE RISEN CHRIST<br />(<i>After the bronze by</i> Lorenzo Vecchietto. <i>Siena: S. Maria della
+Scala</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-207.jpg">View larger image</a></span>
+</div>
+
+
+<p>A Sienese and also a much extolled sculptor was Lorenzo, the son of
+Piero Vecchietti who, having first been a highly esteemed goldsmith,
+finally devoted himself to sculpture and to casting in bronze; which
+arts he studied so zealously that he became excellent in them, and was
+com<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span>missioned to make a tabernacle in bronze for the high-altar of the
+Duomo in his native city of Siena, together with the marble ornaments
+that are still seen therein. This casting, which is admirable, acquired
+very great fame and repute for him by reason of the proportion and grace
+that it shows in all its parts; and whosoever observes this work well
+can see that the design is good, and that the craftsman was a man of
+judgment and of practised ability. For the Chapel of the Painters of
+Siena, in the great Hospital of the Scala, the same man made a beautiful
+metal casting of a nude Christ, of the size of life and holding the
+Cross in His hand; which work was finished with a love and diligence
+worthy of the beautiful success of the casting. In the pilgrim's hall in
+the same place there is a scene painted in colours by Lorenzo. Over the
+door of S. Giovanni he painted an arch with figures wrought in fresco;
+and in like manner, since the baptismal font was not finished, he
+wrought for it certain little figures in bronze, besides finishing, also
+in bronze, a scene formerly begun by Donatello. In this place two scenes
+in bronze had been already wrought by Jacopo della Fonte, whose manner
+Lorenzo ever imitated as closely as he was able. This Lorenzo brought
+the said baptismal font to perfect completion, adding to it some bronze
+figures, formerly cast by Donato but entirely finished by himself, which
+are held to be very beautiful.</p>
+
+<p>For the Loggia of the Ufficiali<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> in Banchi Lorenzo made two life-size
+figures in marble of S. Peter and S. Paul, wrought with consummate grace
+and executed with fine mastery. He disposed the works that he made in
+such a manner that he deserves as much praise for them after death as he
+did when alive. He was a melancholic and solitary person, ever lost in
+contemplation; which was perchance the reason that he did not live
+longer, for he passed to the other life at the age of fifty-eight. His
+works date about the year 1482.<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+
+
+<p><br /><span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span></p><p><br /><span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span></p>
+<h2><br /><br />GALASSO FERRARESE<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_GALASSO_FERRARESE17" id="LIFE_OF_GALASSO_FERRARESE17"></a>LIFE OF GALASSO FERRARESE<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></h2>
+
+<h3>[<i>GALASSO GALASSI</i>]</h3>
+
+<h3>PAINTER</h3>
+
+
+<p>When strangers come to do work in a city in which there are no craftsmen
+of excellence, there is always some man whose intelligence is afterwards
+stirred to strive to learn that same art, and to bring it about that
+from that time onwards there should be no need for strangers to come and
+embellish his city and carry away her wealth, which he now labours to
+deserve by his own ability, seeking to acquire for himself those riches
+that seemed to him too splendid to be given to foreigners. This was made
+clearly manifest by Galasso Ferrarese, who, seeing Piero dal Borgo a San
+Sepolcro rewarded by the Duke of Ferrara for the works that he executed,
+and also honourably received in Ferrara, was incited so strongly by such
+an example, after Piero's departure, to devote himself to painting, that
+he acquired the name of a good and excellent master in Ferrara. Besides
+this, he was held in all the greater favour in that place for having
+gone to Venice and there learnt the method of painting in oil, which he
+brought to his native place, for he afterwards made an infinity of
+figures in that manner, which are scattered about in many churches
+throughout Ferrara.</p>
+
+<p>Next, having gone to Bologna, whither he was summoned by certain
+Dominican friars, he painted in oil a chapel in S. Domenico; and so his
+fame increased, together with his credit. After this he painted many
+pictures in fresco in S. Maria del Monte, a seat of the Black Friars
+without Bologna, beyond the Porta di S. Mammolo; and the whole church of
+the Casa di<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> Mezzo, on the same road, was likewise painted by his hand
+with works in fresco, in which he depicted the stories of the Old
+Testament.</p>
+
+<p>His life was ever most praiseworthy, and he showed himself very
+courteous and agreeable; which arose from his being used to live and
+dwell more out of his native place than in it. It is true, indeed, that
+through his being somewhat irregular in his way of living, his life did
+not last long; for he left it at the age of about fifty, to go to that
+life which has no end. After his death he was honoured by a friend with
+the following epitaph:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">GALASSUS FERRARIENSIS.</span><br />
+<br />
+<span style="margin-left: 1.5em;"><span class="smcap">SUM TANTO STUDIO NATURAM IMITATUS ET ARTE</span><br />
+<span style="margin-left: 3.5em;">DUM PINGO RERUM QU&AElig; CREAT ILLA PARENS;</span><br />
+<span style="margin-left: 1.5em;">H&AElig;C UT S&AElig;PE QUIDEM NON PICTA PUTAVERIT A ME,</span><br />
+<span style="margin-left: 3.5em;">A SE CREDIDERIT SED GENERATA MAGIS.</span></span><br />
+</p>
+
+<p>In these same times lived Cosm&egrave;, also of Ferrara. Works by his hand that
+are to be seen are a chapel in S. Domenico in the said city, and two
+folding-doors that close the organ in the Duomo. This man was better as
+a draughtsman than as a painter; indeed, from what I have been able to
+gather, he does not seem to have painted much.</p>
+
+
+<div class="figcenter" style="width: 458px;">
+<a name="illus-215" id="illus-215"></a>
+<img src="images/illus-215-tb.jpg" width="458" height="600" alt="THE MADONNA ENTHRONED" title="" />
+<span class="caption">THE MADONNA ENTHRONED<br />(<i>After the tempera panel by </i>Cosm&egrave; [Cosimo Tura]. <i>Berlin: Kaiser
+Friedrich Museum, 86</i>)<br /><i>Hanfstaengl</i></span>
+<br /><span class="link"><a href="images/illus-215.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span></p><p><br /><span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span></p>
+<h2><br /><br />ANTONIO AND BERNARDO ROSSELLINO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_ANTONIO_ROSSELLINO_SCULPTOR_OF_FLORENCE" id="LIVES_OF_ANTONIO_ROSSELLINO_SCULPTOR_OF_FLORENCE"></a>LIVES OF ANTONIO ROSSELLINO, SCULPTOR OF FLORENCE</h2>
+
+<h3>[<i>ROSSELLINO DAL PROCONSOLO</i>]</h3>
+
+<h3>AND BERNARDO, HIS BROTHER</h3>
+
+
+<p>It has ever been a truly laudable and virtuous thing to be modest and to
+be adorned with that gentleness and those rare qualities that are easily
+recognized in the honourable actions of the sculptor Antonio Rossellino,
+who put so much grace into his art that he was esteemed by all who knew
+him as something much more than man, and adored almost as a saint, for
+those supreme virtues that were united to his talent. Antonio was called
+Rossellino dal Proconsolo, because he ever had his shop in a part of
+Florence called by that name. He showed such sweetness and delicacy in
+his works, with a finish and a refinement so perfect, that his manner
+may be rightly called the true one and truly modern.</p>
+
+<p>For the Palace of the Medici he made the marble fountain that is in the
+second court; in which fountain are certain children opening the mouths
+of dolphins that pour out water; and the whole is finished with
+consummate grace and with a most diligent manner. In the Church of S.
+Croce, near the holy-water basin, he made a tomb for Francesco Nori,
+with a Madonna in low-relief above it; and another Madonna in the house
+of the Tornabuoni, together with many other things sent to various
+foreign parts, such as a tomb of marble for Lyons in France. At S.
+Miniato al Monte, a monastery of White Friars without the walls of
+Florence, he was commissioned to make the tomb of the Cardinal of
+Portugal, which was executed by him so marvellously and with such great
+diligence and art, that no craftsman can ever expect to be able to see
+any work likely to surpass it in any respect whatsoever with regard to
+finish or<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> grace. And in truth, if one examines it, it appears not
+merely difficult but impossible for it to have been executed so well;
+for certain angels in the work reveal such grace, beauty, and art in
+their expressions and their draperies, that they appear not merely made
+of marble but absolutely alive. One of these is holding the crown of
+chastity of that Cardinal, who is said to have died celibate; the other
+bears the palm of victory, which he had won from the world. Among the
+many most masterly things that are there, one is an arch of grey-stone
+supporting a looped-back curtain of marble, which is so highly-finished
+that, what with the white of the marble and the grey of the stone, it
+appears more like real cloth than like marble. On the sarcophagus are
+some truly very beautiful boys and the dead man himself, with a Madonna,
+very well wrought, in a medallion. The sarcophagus has the shape of that
+one made of porphyry which is in the Piazza della Ritonda in Rome. This
+tomb of the Cardinal was erected in 1459; and its form, with the
+architecture of the chapel, gave so much satisfaction to the Duke of
+Malfi, nephew of Pope Pius II, that he had another made in Naples by the
+hand of the same master for his wife, similar to the other in every
+respect save in the figure of the dead. For this, moreover, Antonio made
+a panel containing the Nativity of Christ and the Manger, with a choir
+of angels over the hut, dancing and singing with open mouths, in such a
+manner, that he truly seems to have given them all possible movement and
+expression short of breath itself, and that with so much grace and so
+high a finish, that iron tools and man's intelligence could effect
+nothing more in marble. Wherefore his works have been much esteemed by
+Michelagnolo and by all the rest of the supremely excellent craftsmen.
+In the Pieve of Empoli he made a S. Sebastian of marble, which is held
+to be a very beautiful work; and of this we have a drawing by his hand
+in our book, together with others of all the architecture and the
+figures in the said chapel in S. Miniato al Monte, and likewise his own
+portrait.</p>
+
+<p>Antonio finally died in Florence at the age of forty-six, leaving a
+brother called Bernardo, an architect and sculptor, who made a marble
+tomb in S. Croce for Messer Lionardo Bruni of Arezzo, who wrote the
+History<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> of Florence and was a very learned man as all the world knows.
+This Bernardo was much esteemed for his knowledge of architecture by
+Pope Nicholas V, who loved him dearly and made use of him in very many
+works that he carried out in his pontificate, of which he would have
+executed even more if death had not intervened to hinder the works that
+he had in mind. He caused him, therefore, according to the account of
+Giannozzo Manetti, to reconstruct the Piazza of Fabriano, in the year
+when he spent some months there by reason of the plague; and whereas it
+was narrow and badly designed, he enlarged it and brought it to a good
+shape, surrounding it with a row of shops, which were useful, very
+commodious, and very beautiful. After this he restored and founded anew
+the Church of S. Francesco in the same district, which was going to
+ruin. At Gualdo he rebuilt the Church of S. Benedetto; almost anew, it
+may be said, for he added to it good and beautiful buildings. At Assisi
+he made new and stout foundations and a new roof for the Church of S.
+Francesco, which was ruined in certain parts and threatened to go to
+ruin in certain others. At Civitavecchia he built many beautiful and
+magnificent edifices. At Civit&agrave; Castellana he rebuilt more than a third
+part of the walls in a good form. At Narni he rebuilt the fortress,
+enlarging it with good and beautiful walls. At Orvieto he made a great
+fortress with a most beautiful palace&mdash;a work of great cost and no less
+magnificence. At Spoleto, likewise, he enlarged and strengthened the
+fortress, making within it dwellings so beautiful, so commodious, and so
+well conceived, that nothing better could be seen. He restored the baths
+of Viterbo at great expense and in a truly royal spirit, making certain
+dwellings there that would have been worthy not merely of the invalids
+who went to bathe there every day, but of the greatest of Princes. All
+these works were executed by the said Pontiff without the city of Rome,
+from the designs of Bernardo.</p>
+
+<p>In Rome he restored, and in many places renewed, the walls of the city,
+which were for the greater part in ruins; adding to them certain towers,
+and enclosing within these some new fortifications that he built without
+the Castle of S. Angelo, with many apartments and decorations that he
+made within. The said Pontiff also had a project in his mind,<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> of which
+he brought the greater part nearly to completion, of restoring or
+rebuilding, according as it might be necessary, the forty Churches of
+the Stations formerly instituted by the Saint, Pope Gregory I, who
+received the surname of Great. Thus he restored S. Maria Trastevere, S.
+Prassedia, S. Teodoro, S. Pietro in Vincula, and many other minor
+churches. But it was with much greater zeal, adornment, and diligence
+that he did this for six of the seven greater and principal
+churches&mdash;namely, S. Giovanni Laterano, S. Maria Maggiore, S. Stefano in
+Celio Monte, S. Apostolo, S. Paolo, and S. Lorenzo extra muros. I say
+nothing of S. Pietro, for of this he made an undertaking by itself.</p>
+
+<p>The same Pope was minded to make the whole of the Vatican into a
+separate city, in the form of a fortress; and for this he was designing
+three roads that should lead to S. Pietro, situated, I believe, where
+the Borgo Vecchio and the Borgo Nuovo now are; and on both sides of
+these roads he meant to build loggie, with very commodious shops,
+keeping the nobler and richer trades separate from the humbler, and
+grouping each in a street by itself. He had already built the Great
+Round Tower, which is still called the Torrione di Niccola. Over these
+shops and loggie were to be erected magnificent and commodious houses,
+built in a very beautiful and very practical style of architecture, and
+designed in such a manner as to be sheltered and protected from all the
+pestiferous winds of Rome, and freed from all the inconveniences of
+water and garbage likely to generate unhealthy exhalations. All this the
+said Pontiff would have finished if he had been granted a little longer
+life, for he had a great and resolute spirit, and an understanding so
+profound, that he gave as much guidance and direction to the craftsmen
+as they gave to him. When this is so, and when the patron has knowledge
+of his own and capacity enough to take an immediate resolution, great
+enterprises can be easily brought to completion; whereas an irresolute
+and incapable man, wavering between yes and no in a sea of conflicting
+designs and opinions, very often lets time slip past unprofitably
+without doing anything. But of this design of Nicholas there is no need
+to say any more, since it was not carried into effect.</p>
+
+
+<div class="figcenter" style="width: 466px;">
+<a name="illus-223" id="illus-223"></a>
+<img src="images/illus-223-tb.jpg" width="466" height="600" alt="TOMB OF CARDINAL JACOPO OF PORTUGAL" title="" />
+<span class="caption">TOMB OF CARDINAL JACOPO OF PORTUGAL<br />(<i>After</i> Antonio Rossellino. <i>Florence: S. Miniato</i>)<br /><i>Brogi</i></span>
+<br /><span class="link"><a href="images/illus-223.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Besides this, he wished to build the Papal Palace with so much<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>
+magnificence and grandeur, and with so many conveniences and such
+loveliness, that it might be in all respects the greatest and most
+beautiful edifice in Christendom; and he intended that it should not
+only serve for the person of the Supreme Pontiff, the Chief of all
+Christians, and for the sacred college of Cardinals, who, being his
+counsellors and assistants, had always to be about him, but also that it
+should provide accommodation for the transaction of all the business,
+resolutions, and judicial affairs of the Court; so that the grouping
+together of all the offices and courts would have produced great
+magnificence, and, if such a word may be used in such a context, an
+effect of incredible pomp. What is infinitely more, it was meant for the
+reception of all Emperors, Kings, Dukes, and other Christian Princes who
+might, either on affairs of their own or out of devotion, visit that
+most holy apostolic seat. It is incredible, but he proposed to make
+there a theatre for the crowning of the Pontiffs, with gardens, loggie,
+aqueducts, fountains, chapels, libraries, and a most beautiful building
+set apart for the Conclave. In short, this edifice&mdash;I know not whether I
+should call it palace, or castle, or city&mdash;would have been the most
+superb work that had ever been made, so far as is known, from the
+Creation of the world to our own day. What great glory it would have
+been for the Holy Roman Church to see the Supreme Pontiff, her Chief,
+gather together, as into the most famous and most holy of monasteries,
+all those ministers of God who dwell in the city of Rome, to live there,
+as it were in a new earthly Paradise, a celestial, angelic, and most
+holy life, giving an example to all Christendom, and awakening the minds
+of the infidels to the true worship of God and of the Blessed Jesus
+Christ! But this great work remained unfinished&mdash;nay, scarcely begun&mdash;by
+reason of the death of that Pontiff; and the little that was carried out
+is known by his arms, or the device that he used as his arms, namely,
+two keys crossed on a field of red. The fifth of the five works that the
+same Pope intended to execute was the Church of S. Pietro, which he had
+proposed to make so vast, so rich, and so ornate, that it is better to
+be silent than to attempt to speak of it, because I could not describe
+even the least part of it, and the rather as the model was afterwards
+destroyed, and others have been made by other architects. If any<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> man
+wishes to gain a full knowledge of the grand conception of Pope Nicholas
+V in this matter, let him read what Giannozzo Manetti, a noble and
+learned citizen of Florence, has written with the most minute detail in
+the Life of the said Pontiff, who availed himself in all the aforesaid
+designs, as has been said, as well as in his others, of the intelligence
+and great industry of Bernardo Rossellino.</p>
+
+<p>Antonio, brother of Bernardo (to return at length to the point whence,
+with so fair an occasion, I digressed), wrought his sculptures about the
+year 1490; and since the more men's works display diligence and
+difficulties the more they are admired, and these two characteristics
+are particularly noticeable in Antonio's works, he deserves fame and
+honour as a most illustrious example from which modern sculptors have
+been able to learn how those statues should be made that are to secure
+the greatest praise and fame by reason of their difficulties. For after
+Donatello he did most towards adding a certain finish and refinement to
+the art of sculpture, seeking to give such depth and roundness to his
+figures that they appear wholly round and finished, a quality which had
+not been seen to such perfection in sculpture up to that time; and since
+he first introduced it, in the ages after his and in our own it appears
+a marvel.</p>
+
+
+<div class="figcenter" style="width: 355px;">
+<a name="illus-227" id="illus-227"></a>
+<img src="images/illus-227-tb.jpg" width="355" height="600" alt="TOMB OF LEONARDO BRUNI" title="" />
+<span class="caption">TOMB OF LEONARDO BRUNI<br />(<i>After</i> Bernardo Rossellino. <i>Florence: S. Croce</i>)<br /><i>Brogi</i></span>
+<br /><span class="link"><a href="images/illus-227.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span></p><p><br /><span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<h2><br /><br />DESIDERIO DA SETTIGNANO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_DESIDERIO_DA_SETTIGNANO" id="LIFE_OF_DESIDERIO_DA_SETTIGNANO"></a>LIFE OF DESIDERIO DA SETTIGNANO</h2>
+
+<h3>SCULPTOR</h3>
+
+
+<p>Very great is the obligation that is owed to Heaven and to Nature by
+those who bring their works to birth without effort and with a certain
+grace which others cannot give to their creations, either by study or by
+imitation. It is a truly celestial gift, which pours down on these works
+in such a manner, that they ever have about them a loveliness and a
+charm which attract not only those who are versed in that calling, but
+also many others who do not belong to the profession. And this springs
+from facility in the production of the good, which presents no crudeness
+or harshness to the eye, such as is often shown by works wrought with
+labour and difficulty; and this grace and simplicity, which give
+universal pleasure and are recognized by all, are seen in all the works
+made by Desiderio.</p>
+
+<p>Of this man, some say that he came from Settignano, a place two miles
+distant from Florence, while certain others hold him to be a Florentine;
+but this matters nothing, the distance between the one place and the
+other being so small. He was an imitator of the manner of Donato,
+although he had a natural gift of imparting very great grace and
+loveliness to his heads; and in the expressions of his women and
+children there is seen a delicate, sweet, and charming manner, produced
+as much by nature, which had inclined him to this, as by the zeal with
+which he had practised his intelligence in the art. In his youth he
+wrought the base of Donato's David, which is in the Duke's Palace in
+Florence, making on it in marble certain very beautiful harpies, and
+some vine-tendrils in bronze, very graceful and well conceived. On the
+fa&ccedil;ade of the house of the Gianfigliazzi he made a large and very
+beautiful coat of arms, with a lion; besides other works in stone, which
+are in the same city. For the Chapel<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> of the Brancacci in the Carmine he
+made an angel of wood; and he finished with marble the Chapel of the
+Sacrament in S. Lorenzo, carrying it to complete perfection with much
+diligence. There was in it a child of marble in the round, which was
+removed and is now set up on the altar at the festivals of the Nativity
+of Christ, as an admirable work; and in place of this Baccio da
+Montelupo made another, also of marble, which stands permanently over
+the Tabernacle of the Sacrament. In S. Maria Novella he made a marble
+tomb for the Blessed Villana, with certain graceful little angels, and
+portrayed her there from nature in such a manner that she appears not
+dead but asleep; and for the Nuns of the Murate he wrought a little
+Madonna with a lovely and graceful manner, in a tabernacle standing on a
+column; insomuch that both these works are very highly esteemed and very
+greatly prized. In S. Pietro Maggiore, also, he made the Tabernacle of
+the Sacrament in marble with his usual diligence; and although there are
+no figures in this work, yet it shows a beautiful manner and infinite
+grace, like his other works. And he portrayed from the life, likewise in
+marble, the head of Marietta degli Strozzi, who was so beautiful that
+the work turned out very excellent.</p>
+
+<p>In S. Croce he made a tomb for Messer Carlo Marsuppini of Arezzo, which
+not only amazed the craftsmen and the people of understanding who saw it
+at that time, but still fills with marvel all who see it at the present
+day; for on the sarcophagus he wrought some foliage, which, although
+somewhat stiff and dry, was held&mdash;since but few antiquities had been
+discovered up to that time&mdash;to be something very beautiful. Among other
+parts of the said work are seen certain wings, acting as ornaments for a
+shell at the foot of the sarcophagus, which seem to be made not of
+marble but of feathers&mdash;difficult things to imitate in marble, seeing
+that the chisel is not able to counterfeit hair and feathers. There is a
+large shell of marble, more real than if it were an actual shell. There
+are also some children and some angels, executed with a beautiful and
+lively manner; and consummate excellence and art are likewise seen in
+the figure of the dead, portrayed from nature on the sarcophagus, and in
+a Madonna in low-relief on a medallion, wrought after the manner of
+Donato with judgment and most admirable grace; as are many other<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+works that he made in low-relief on marble, some of which are in the
+guardaroba of the Lord Duke Cosimo, and in particular a medallion with
+the head of Our Lord Jesus Christ and with that of John the Baptist as a
+boy. At the foot of the tomb of the said Messer Carlo he laid a large
+stone in memory of Messer Giorgio, a famous Doctor, and Secretary to the
+Signoria of Florence, with a very beautiful portrait in low-relief of
+Messer Giorgio, clad in his Doctor's robes according to the use of those
+times.</p>
+
+<div class="figcenter" style="width: 306px;">
+<a name="illus-233" id="illus-233"></a>
+<img src="images/illus-233-tb.jpg" width="306" height="600" alt="TOMB OF CARLO MARSUPPINI" title="" />
+<span class="caption">TOMB OF CARLO MARSUPPINI<br />(<i>After</i> Desiderio da Settignano. <i>Florence: S. Croce</i>)
+<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-233.jpg">View larger image</a></span>
+</div>
+
+
+<p>If death had not snatched so prematurely from the world a spirit which
+worked so nobly, he would have done so much later on by means of
+experience and study, that he would have outstripped in art all those
+whom he had surpassed in grace. Death cut the thread of his life at the
+age of twenty-eight, which caused great grief to those who were looking
+forward to seeing so great an intellect attain to perfection in old age;
+and they were left in the deepest dismay at such a loss. He was followed
+by his relatives and by many friends to the Church of the Servi; and a
+vast number of epigrams and sonnets continued for a long time to be
+placed on his tomb, of which I have contented myself with including only
+the following:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">COME VIDE NATURA</span><br />
+<span style="margin-left: 2.5em;">DAR DESIDERIO AI FREDDI MARMI VITA,</span><br />
+<span style="margin-left: 2.5em;">E POTER LA SCULTURA</span><br />
+<span style="margin-left: 2.5em;">AGGUAGLIAR SUA BELLEZZA ALMA E INFINITA,</span><br />
+<span style="margin-left: 2.5em;">SI FERM&Ograve; SBIGOTTITA</span><br />
+<span style="margin-left: 2.5em;">E DISSE; OMAI SAR&Agrave; MIA GLORIA OSCURA.</span><br />
+<span style="margin-left: 2.5em;">E PIENA D'ALTO SDEGNO</span><br />
+<span style="margin-left: 2.5em;">TRONC&Ograve; LA VITA A COS&Igrave; BELL' INGEGNO.</span><br />
+<span style="margin-left: 2.5em;">MA IN VAN; CHE SE COSTUI</span><br />
+<span style="margin-left: 2.5em;">DI&Egrave; VITA ETERNA AI MARMI, E I MARMI A LUI.</span><br />
+</p>
+<p><span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span></p>
+<p>The sculptures of Desiderio date about 1485. He left unfinished a figure
+of S. Mary Magdalene in Penitence, which was afterwards completed by
+Benedetto da Maiano, and is now in S. Trinita in Florence, on the right
+hand as one enters the church; and the beauty of this figure is beyond
+the power of words to express. In our book are certain very beautiful
+pen-drawings by Desiderio; and his portrait was obtained from some of
+his relatives in Settignano.<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span></p><p><br /><span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span></p>
+<h2><br /><br />MINO DA FIESOLE<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_MINO_DA_FIESOLE" id="LIFE_OF_MINO_DA_FIESOLE"></a>LIFE OF MINO DA FIESOLE</h2>
+
+<h3>[<i>MINO DI GIOVANNI</i>]</h3>
+
+<h3>SCULPTOR</h3>
+
+
+<p>When our craftsmen seek to do no more in the works that they execute
+than to imitate the manner of their masters, or that of some other man
+of excellence whose method of working pleases them, either in the
+attitudes of the figures, or in the expressions of the heads, or in the
+folds of the draperies, and when they study these things only, they may
+with time and diligence come to make them exactly the same, but they
+cannot by these means alone attain to perfection in their art, seeing
+that it is clearly evident that one who ever walks behind rarely comes
+to the front, since the imitation of nature becomes fixed in the manner
+of a craftsman who has developed that manner out of long practice. For
+imitation is a definite art of copying what you represent exactly after
+the model of the most beautiful things of nature, which you must take
+pure and free from the manner of your master or that of others, who also
+reduce to a manner the things that they take from nature. And although
+it may appear that the imitations made by excellent craftsmen are
+natural objects, or absolutely similar, it is not possible with all the
+diligence in the world to make them so similar that they shall be like
+nature herself, or even, by selecting the best, to compose a body so
+perfect as to make art excel nature. Now, if this is so, it follows that
+only objects taken from nature can make pictures and sculptures perfect,
+and that if a man studies closely only the manner of other craftsmen,
+and not bodies and objects of nature, it is inevitable that he should
+make works inferior both to nature and to those of the man whose manner
+he adopts. Wherefore it has been seen in the case of many of our
+craftsmen, who have<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span> refused to study anything save the works of their
+masters, leaving nature on one side, that they have failed to gain any
+real knowledge of them or to surpass their masters, but have done very
+great injury to their own powers; whereas, if they had studied the
+manner of their masters and the objects of nature together, they would
+have produced much greater fruits in their works than they did. This is
+seen in the works of the sculptor Mino da Fiesole, who, having an
+intelligence capable of achieving whatsoever he wished, was so
+captivated by the manner of his master Desiderio da Settignano, by
+reason of the beautiful grace that he gave to the heads of women,
+children, and every other kind of figure, which appeared to Mino's
+judgment to be superior to nature, that he practised and studied it
+alone, abandoning natural objects and thinking them useless; wherefore
+he had more grace than solid grounding in his art.</p>
+
+<p>It was on the hill of Fiesole, a very ancient city near Florence, that
+there was born the sculptor Mino di Giovanni, who, having been
+apprenticed to the craft of stone-cutting under Desiderio da Settignano,
+a young man excellent in sculpture, showed so much inclination to his
+master's art, that, while he was labouring at the hewing of stones, he
+learnt to copy in clay the works that Desiderio had made in marble; and
+this he did so well that his master, seeing that he was likely to make
+progress in that art, brought him forward and set him to work on his own
+figures in marble, in which he sought with very great attention to
+reproduce the model before him. Nor did he continue long at this before
+he became passing skilful in that calling; at which Desiderio was
+greatly pleased, and still more pleased was Mino by the loving-kindness
+of his master, seeing that Desiderio was ever ready to teach him how to
+avoid the errors that can be committed in that art. Now, while he was on
+the way to becoming excellent in his profession, his ill luck would have
+it that Desiderio should pass to a better life, and this loss was a very
+great blow to Mino, who departed from Florence, almost in despair, and
+went to Rome. There, assisting masters who were then executing works in
+marble, such as tombs of Cardinals, which were placed in S. Pietro,
+although they have since been thrown to the ground in the building of
+the new church, he became known as a very experienced and capable
+master; and he was commissioned by<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span> Cardinal Guglielmo Destovilla, who
+was pleased with his manner, to make the marble altar where lies the
+body of S. Jerome, in the Church of S. Maria Maggiore, together with
+scenes in low-relief from his life, which he executed to perfection,
+with a portrait of that Cardinal.</p>
+
+
+<div class="figcenter" style="width: 343px;">
+<a name="illus-241" id="illus-241"></a>
+<img src="images/illus-241-tb.jpg" width="343" height="600" alt="TOMB OF MARGRAVE HUGO" title="" />
+<span class="caption">TOMB OF MARGRAVE HUGO<br />(<i>After</i> Mino da Fiesole. <i>Florence: Badia</i>)
+<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-241.jpg">View larger image</a></span>
+</div>
+
+
+<p>Afterwards, when Pope Paul II, the Venetian, was erecting his Palace of
+S. Marco, Mino was employed thereon in making certain coats of arms.
+After the death of that Pope, Mino was commissioned to make his tomb,
+which he delivered finished and erected in S. Pietro in the space of two
+years. This tomb was then held to be the richest, both in ornaments and
+in figures, that had ever been made for any Pontiff; but it was thrown
+to the ground by Bramante in the demolition of S. Pietro, and remained
+there buried among the rubbish for some years, until 1547, when certain
+Venetians had it rebuilt in the old S. Pietro, against a wall near the
+Chapel of Pope Innocent. And although some believe that this tomb is by
+the hand of Mino del Reame, yet, notwithstanding that these two masters
+lived almost at the same time, it is without doubt by the hand of Mino
+da Fiesole. It is true, indeed, that the said Mino del Reame made some
+little figures on the base, which can be recognized; if in truth his
+name was Mino, and not, as some maintain, Dino.</p>
+
+<p>But to return to our craftsman; having acquired a good name in Rome by
+the said tomb, by the sarcophagus that he made for the Minerva, on which
+he placed a marble statue of Francesco Tornabuoni from nature, which is
+held very beautiful, and by other works, it was not long before he
+returned to Fiesole with a good sum of money saved, and took a wife. And
+no long time after this, working for the Nuns of the Murate, he made a
+marble tabernacle in half-relief to contain the Sacrament, which was
+brought to perfection by him with all the diligence in his power. This
+he had not yet fixed into its place, when the Nuns of S. Ambrogio&mdash;who
+desired to have an ornament made, similar in design but richer in
+adornment, to contain that most holy relic, the Miracle of the
+Sacrament&mdash;hearing of the ability of Mino, commissioned him to execute
+that work, which he finished with so great diligence that those nuns,
+being satisfied with him, gave him all that he asked as the price of the
+work. And a little after this he undertook, at the instance of<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> Messer
+Dietisalvi Neroni, to make a little panel with figures of Our Lady with
+the Child in her arms, and S. Laurence on one side and S. Leonard on the
+other, in half-relief, which was intended for the priests or chapter of
+S. Lorenzo; but it has remained in the Sacristy of the Badia of
+Florence. For those monks he made a marble medallion containing a
+Madonna in relief with the Child in her arms, which they placed over the
+principal door of entrance into the church; and since it gave great
+satisfaction to all, he received a commission for a tomb for the
+Magnificent Chevalier, Messer Bernardo de' Giugni, who, having been an
+honourable man of high repute, rightly received this memorial from his
+brothers. On this tomb, besides the sarcophagus and the portrait from
+nature of the dead man, Mino executed a figure of Justice, which
+resembles the manner of Desiderio closely, save only that its draperies
+are a little too full of detail in the carving. This work induced the
+Abbot and Monks of the Badia of Florence, in which place the said tomb
+was erected, to entrust Mino with the making of one for Count Ugo, son
+of the Marquis Uberto of Magdeburg, who bequeathed great wealth and many
+privileges to that abbey. And so, desiring to honour him as much as they
+could, they caused Mino to make a tomb of Carrara marble, which was the
+most beautiful work that Mino ever made; for in it there are some boys,
+upholding the arms of that Count, who are standing in very spirited
+attitudes, with a childish grace; and besides the figure of the dead
+Count, with his likeness, which he made on the sarcophagus, in the
+middle of the wall above the bier there is a figure of Charity, with
+certain children, wrought with much diligence and very well in harmony
+with the whole. The same is seen in a Madonna with the Child in her
+arms, in a lunette, which Mino made as much like the manner of Desiderio
+as he could; and if he had assisted his methods of work by studying from
+the life, there is no doubt that he would have made very great progress
+in his art. This tomb, with all its expenses, cost 1,600 lire, and he
+finished it in 1481, thereby acquiring much honour, and obtaining a
+commission to make a tomb for Lionardo Salutati, Bishop of Fiesole, in
+the Vescovado of that place, in a chapel near the principal chapel, on
+the right hand as one goes up; on which tomb he portrayed him in his
+episcopal robes, as<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span> lifelike as possible. For the same Bishop he made a
+head of Christ in marble, life-size and very well wrought, which was
+left among other bequests to the Hospital of the Innocenti; and at the
+present day the Very Reverend Don Vincenzio Borghini, Prior of that
+hospital, holds it among his most precious examples of these arts, in
+which he takes a delight beyond my power to express in words.</p>
+
+<p>In the Pieve of Prato Mino made a pulpit entirely of marble, in which
+there are stories of Our Lady, executed with much diligence and put
+together so well, that the work appears all of one piece. This pulpit
+stands over one corner of the choir, almost in the middle of the church,
+above certain ornaments made under the direction of the same Mino. He
+also made portraits of Piero di Lorenzo de' Medici and his wife,
+marvellously lifelike and true to nature. These two heads stood for many
+years over two doors in Piero's apartment in the house of the Medici,
+each in a lunette; afterwards they were removed, with the portraits of
+many other illustrious men of that house, to the guardaroba of the Lord
+Duke Cosimo. Mino also made a Madonna in marble, which is now in the
+Audience Chamber of the Guild of the Masters in Wood and Stone; and to
+Perugia, for Messer Baglione Ribi, he sent a marble panel, which was
+placed in the Chapel of the Sacrament in S. Pietro, the work being in
+the form of a tabernacle, with S. John on one side and S. Jerome on the
+other&mdash;good figures in half-relief. The Tabernacle of the Sacrament in
+the Duomo of Volterra is likewise by his hand, with the two angels
+standing one on either side of it, so well and so diligently executed
+that this work is deservedly praised by all craftsmen.</p>
+
+<p>Finally, attempting one day to move certain stones, and not having the
+needful assistance at hand, Mino fatigued himself so greatly that he was
+seized by pleurisy and died of it; and he was honourably buried by his
+friends and relatives in the Canon's house at Fiesole in the year 1486.
+The portrait of Mino is in our book of drawings, but I do not know by
+whose hand; it was given to me together with some drawings made with
+blacklead by Mino himself, which have no little beauty.<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>
+
+<p><br /><span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span></p><p><br /><span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span></p>
+<h2><br /><br />LORENZO COSTA<br /><br /></h2>
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_LORENZO_COSTA" id="LIFE_OF_LORENZO_COSTA"></a>LIFE OF LORENZO COSTA</h2>
+
+<h3>PAINTER OF FERRARA</h3>
+
+
+<p>Although men have ever practised the arts of design more in Tuscany than
+in any other province of Italy, and perhaps of Europe, yet it is none
+the less true that in every age there has arisen in the other provinces
+some genius who has proved himself rare and excellent in the same
+professions, as has been shown up to the present in many of the Lives,
+and will be demonstrated even more in those that are to follow. It is
+true, indeed, that where there are no studies, and where men are not
+disposed by custom to learn, they are not able to advance so rapidly or
+to become so excellent as they do in those places where craftsmen are
+for ever practising and studying in competition. But as soon as one or
+two make a beginning, it seems always to come to pass that many
+others&mdash;such is the force of excellence&mdash;strive to follow them, with
+honour both for themselves and for their countries.</p>
+
+<p>Lorenzo Costa of Ferrara, being inclined by nature to the art of
+painting, and hearing that Fra Filippo, Benozzo, and others were
+celebrated and highly esteemed in Tuscany, betook himself to Florence in
+order to see their works; and on his arrival, finding that their manner
+pleased him greatly, he stayed there many months, striving to imitate
+them to the best of his power, particularly in drawing from nature. In
+this he succeeded so happily, that, after returning to his own country,
+although his manner was a little dry and hard, he made many praiseworthy
+works there; as may be seen from the choir of the Church of S. Domenico
+in Ferrara, wrought entirely by his hand, from which it is evident that
+he used great diligence in his art and put much labour into his works.
+In the guardaroba of the Lord Duke of Ferrara there are seen<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> portraits
+from life in many pictures by his hand, which are very well wrought and
+very lifelike. In the houses of noblemen, likewise, there are works by
+his hand which are held in great veneration.</p>
+
+<p>In the Church of S. Domenico at Ravenna, in the Chapel of S. Sebastiano,
+he painted the panel in oil and certain scenes in fresco, which were
+much extolled. Being next summoned to Bologna, he painted a panel in the
+Chapel of the Mariscotti in S. Petronio, representing S. Sebastian bound
+to the column and pierced with arrows, with many other figures, which
+was the best work in distemper that had been made up to that time in
+that city. By his hand, also, was the panel of S. Jerome in the Chapel
+of the Castelli, and likewise that of S. Vincent, wrought in like manner
+in distemper, which is in the Chapel of the Griffoni; the predella of
+this he caused to be painted by a pupil of his, who acquitted himself
+much better than the master did in the panel, as will be told in the
+proper place. In the same city, and in the same church, Lorenzo painted
+a panel for the Chapel of the Rossi, with Our Lady, S. James, S. George,
+S. Sebastian, and S. Jerome; which work is better and sweeter in manner
+than any other that he ever made.</p>
+
+<p>Afterwards, having entered the service of Signor Francesco Gonzaga,
+Marquis of Mantua, Lorenzo painted many scenes for him, partly in
+gouache and partly in oil, in an apartment in the Palace of S.
+Sebastiano. In one is the Marchioness Isabella, portrayed from life,
+accompanied by many ladies who are singing various parts and making a
+sweet harmony. In another is the Goddess Latona, who is transforming
+certain peasants into frogs, according to the fable. In the third is the
+Marquis Francesco, led by Hercules along the path of virtue upon the
+summit of a mountain consecrated to Eternity. In another picture the
+same Marquis is seen triumphant on a pedestal, with a staff in his hand;
+and round him are many nobles and retainers with standards in their
+hands, all rejoicing and full of jubilation at his greatness, among whom
+there is an infinite number of portraits from the life. And in the great
+hall, where the triumphal processions by the hand of Mantegna now are,
+he painted two pictures, one at each end. In the first, which is in
+gouache, are many naked figures lighting fires and making sacrifices to
+Hercules; and in this is a<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> portrait from life of the Marquis, with
+his three sons, Federigo, Ercole, and Ferrante, who afterwards became
+very great and very illustrious lords; and there are likewise some
+portraits of great ladies. In the other, which was painted in oil many
+years after the first, and which was one of the last works that Lorenzo
+executed, is the Marquis Federigo, grown to man's estate, with a staff
+in his hand, as General of Holy Church under Leo X; and round him are
+many lords portrayed by Costa from the life.</p>
+
+
+<div class="figcenter" style="width: 471px;">
+<a name="illus-251" id="illus-251"></a>
+<img src="images/illus-251-tb.jpg" width="471" height="600" alt="THE CORONATION OF THE VIRGIN" title="" />
+<span class="caption">THE CORONATION OF THE VIRGIN<br />(<i>After the panel by</i> Lorenzo Costa. <i>Bologna: S. Giovanni in Monte</i>)
+<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-251.jpg">View larger image</a></span>
+</div>
+
+
+<p>In Bologna, in the Palace of Messer Giovanni Bentivogli, the same man
+painted certain rooms in competition with many other masters; but of
+these, since they were thrown to the ground in the destruction of that
+palace, no further mention will be made. But I will not forbear to say
+that, of the works that he executed for the Bentivogli, only one
+remained standing&mdash;namely, the chapel that he painted for Messer
+Giovanni in S. Jacopo, wherein he wrought two scenes of triumphal
+processions, which are held very beautiful, with many portraits. In the
+year 1497, also, for Jacopo Chedini, he painted a panel for a chapel in
+S. Giovanni in Monte, in which he wished to be buried after death; in
+this he made a Madonna, S. John the Evangelist, S. Augustine, and other
+saints. On a panel in S. Francesco he painted a Nativity, S. James, and
+S. Anthony of Padua. In S. Pietro he made a most beautiful beginning in
+a chapel for Domenico Garganelli, a gentleman of Bologna; but, whatever
+may have been the reason, after making some figures on the ceiling, he
+left it unfinished, nay, scarcely begun.</p>
+
+<p>In Mantua, besides the works that he executed there for the Marquis, of
+which we have spoken above, he painted a Madonna on a panel for S.
+Silvestro; and on one side, S. Sylvester recommending the people of that
+city to her, and, on the other, S. Sebastian, S. Paul, S. Elizabeth, and
+S. Jerome. It is reported that the said panel was placed in that church
+after the death of Costa, who, having finished his life in Mantua, in
+which city his descendants have lived ever since, wished to have a
+burial-place in that church both for himself and for his successors.</p>
+
+<p>The same man made many other pictures, of which nothing more will be
+said, for it is enough to have recorded the best. His portrait I<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span>
+received in Mantua from Fermo Ghisoni, an excellent painter, who assured
+me that it was by the hand of Costa, who was a passing good draughtsman,
+as may be seen from a pen-drawing on parchment in our book, wherein is
+the Judgment of Solomon, with a S. Jerome in chiaroscuro, which are both
+very well wrought.</p>
+
+<p>Disciples of Lorenzo were Ercole da Ferrara, his compatriot, whose Life
+will be written below, and Lodovico Malino, likewise of Ferrara, by whom
+there are many works in his native city and in other places; but the
+best that he made was a panel which is in the Church of S. Francesco in
+Bologna, in a chapel near the principal door, representing Jesus Christ
+at the age of twelve disputing with the Doctors in the Temple. The elder
+Dosso of Ferrara, of whose works mention will be made in the proper
+place, also learnt his first principles from Costa. And this is as much
+as I have been able to gather about the life and works of Lorenzo Costa
+of Ferrara.<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span></p><p><br /><span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span></p>
+<h2><br /><br />ERCOLE FERRARESE<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_ERCOLE_FERRARESE" id="LIFE_OF_ERCOLE_FERRARESE"></a>LIFE OF ERCOLE FERRARESE</h2>
+
+<h3>[<i>ERCOLE DA FERRARA</i>]</h3>
+
+<h3>PAINTER</h3>
+
+
+<p>Although, long before Lorenzo Costa died, his disciple Ercole Ferrarese
+was in very good repute and was invited to work in many places, he would
+never abandon his master (a thing which is rarely wont to happen), and
+was content to work with him for meagre gains and praise, rather than
+labour by himself for greater profit and credit. For this gratitude, in
+view of its rarity among the men of to-day, all the more praise is due
+to Ercole, who, knowing himself to be indebted to Lorenzo, put aside all
+thought of his own interest in favour of his master's wishes, and was
+like a brother or a son to him up to the end of his life.</p>
+
+<p>Ercole, then, who was a better draughtsman than Costa, painted, below
+the panel executed by Lorenzo in the Chapel of S. Vincenzio in S.
+Petronio, certain scenes in distemper with little figures, so well and
+with so beautiful and good a manner, that it is scarcely possible to see
+anything better, or to imagine the labour and diligence that Ercole put
+into the work: and thus the predella is a much better painting than the
+panel. Both were wrought at one and the same time during the life of
+Costa. After his master's death, Ercole was employed by Domenico
+Garganelli to finish that chapel in S. Petronio which Lorenzo, as has
+been said above, had begun, completing only a small part. Ercole, to
+whom the said Domenico was giving four ducats a month for this, with his
+own expenses and those of a boy, and all the colours that were to be
+used for the painting, set himself to work and finished the whole in
+such a manner, that he surpassed his master by a long way both in
+drawing and colouring as well as in invention. In the first part, or
+rather, wall, is the Crucifixion of Christ, wrought with much judgment:
+for besides the<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> Christ, who is seen there already dead, he represented
+very well the tumult of the Jews who have come to see the Messiah on the
+Cross, among whom there is a marvellous variety of heads, whereby it is
+seen that Ercole sought with very great pains to make them so different
+one from another that they should not resemble each other in any
+respect. There are also some figures bursting into tears of sorrow,
+which demonstrate clearly enough how much he sought to imitate reality.
+There is the swooning of the Madonna, which is most moving; but much
+more so are the Maries, who are facing her, for they are seen full of
+compassion and with an aspect so heavy with sorrow, that it is almost
+impossible to imagine it, at seeing that which mankind holds most dear
+dead before their eyes, and themselves in danger of losing the second.
+Among other notable things in this work is Longinus on horseback, riding
+a lean beast, which is foreshortened and in very strong relief; and in
+him we see the impiety that made him pierce the side of Christ, and the
+penitence and conversion that followed from his enlightenment. He gave
+strange attitudes, likewise, to the figures of certain soldiers who are
+playing for the raiment of Christ, with bizarre expressions of
+countenance and fanciful garments. Well wrought, too, with beautiful
+invention, are the Thieves on the Cross. And since Ercole took much
+delight in making foreshortenings, which, if well conceived, are very
+beautiful, he made in that work a soldier on a horse, which, rearing its
+fore-legs on high, stands out in such a manner that it appears to be in
+relief; and as the wind is bending a banner that the soldier holds in
+his hand, he is making a most beautiful effort to hold it up. He also
+made a S. John, flying away wrapped in a sheet. In like manner, the
+soldiers that are in this work are very well wrought, with more natural
+and appropriate movements than had been seen in any other figures up to
+that time; and all these attitudes and gestures, which could scarcely be
+better done, show that Ercole had a very great intelligence and took
+great pains with his art.</p>
+
+<p>On the wall opposite to this one the same man painted the Passing of Our
+Lady, who is surrounded by the Apostles in very beautiful attitudes,
+among whom are six figures portrayed so well from life, that those
+who<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> knew them declare that these are most vivid likenesses. In the
+same work he also made his own portrait, and that of Domenico
+Garganelli, the owner of the chapel, who, when it was finished, moved by
+the love that he bore to Ercole and by the praises that he heard given
+to the work, bestowed upon him a thousand lire in Bolognese currency. It
+is said that Ercole spent twelve years in labouring at this work; seven
+in executing it in fresco, and five in retouching it on the dry. It is
+true, indeed, that during this time he painted some other works; and in
+particular, so far as is known, the predella of the high-altar of S.
+Giovanni in Monte, in which he wrought three scenes of the Passion of
+Christ.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="illus-259" id="illus-259"></a>
+<img src="images/illus-259-tb.jpg" width="650" height="293" alt="THE ISRAELITES GATHERING MANNA" title="" />
+<span class="caption">THE ISRAELITES GATHERING MANNA<br />(<i>After the panel by</i> Ercole Ferrarese. <i>London: National Gallery,
+1217</i>)<br /><i>Mansell</i></span>
+<br /><span class="link"><a href="images/illus-259.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Ercole was eccentric in character, particularly in his custom of
+refusing to let any man, whether painter or not, see him at work;
+wherefore he was greatly hated in Bologna by the painters of that city,
+who have ever borne an envious hatred to the strangers who have been
+summoned to work there; nay, they sometimes show the same among
+themselves out of rivalry with each other, although this may be said to
+be the particular vice of the professors of these our arts in every
+place. Certain Bolognese painters, then, having come to an agreement one
+day with a carpenter, shut themselves up by his help in the church,
+close to the chapel where Ercole was working; and when night came,
+breaking into it by force, they did not content themselves with seeing
+the work, which should have sufficed them, but carried off all his
+cartoons, sketches, and designs, and every other thing of value that was
+there. At this Ercole fell into such disdain that when the work was
+finished he departed from Bologna, without stopping another day there,
+taking with him Duca Tagliapietra, a sculptor of much renown, who carved
+the very beautiful foliage in marble which is in the parapet in front of
+the chapel wherein Ercole painted the said work, and who afterwards made
+all the stone windows of the Ducal Palace at Ferrara, which are most
+beautiful. Ercole, therefore, weary at length of living away from home,
+remained ever after in company with this man in Ferrara, and made many
+works in that city.</p>
+
+<p>Ercole had an extraordinary love of wine, and his frequent drunkenness
+did much to shorten his life, which he had enjoyed without any<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> accident
+up to the age of forty, when he was smitten one day by apoplexy, which
+made an end of him in a short time.</p>
+
+<p>He left a pupil, the painter Guido Bolognese, who, in 1491, as may be
+seen from the place where he put his name, under the portico of S.
+Pietro at Bologna, painted a Crucifixion in fresco, with the Maries, the
+Thieves, horses, and other passing good figures. And desiring very
+greatly to become esteemed in that city, as his master had been, he
+studied so zealously and subjected himself to so many hardships that he
+died at the age of thirty-five. If Guido had set himself to learn his
+art in his childhood, and not, as he did, at the age of eighteen, he
+would not only have equalled his master without difficulty, but would
+even have surpassed him by a great measure. In our book there are
+drawings by the hands of Ercole and Guido, very well wrought, and
+executed with grace and in a good manner.<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p><p><br /><span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span></p>
+<h2><br /><br />JACOPO, GIOVANNI, AND GENTILE BELLINI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_JACOPO_GIOVANNI_AND_GENTILE_BELLINI" id="LIVES_OF_JACOPO_GIOVANNI_AND_GENTILE_BELLINI"></a>LIVES OF JACOPO, GIOVANNI, AND GENTILE BELLINI</h2>
+
+<h3>PAINTERS OF VENICE</h3>
+
+
+<p>Enterprises that are founded on excellence, although their beginnings
+often appear humble and mean, keep climbing higher step by step, nor do
+they ever halt or take rest until they have reached the supreme heights
+of glory: as could be clearly seen from the poor and humble beginning of
+the house of the Bellini, and from the rank to which it afterwards rose
+by means of painting.</p>
+
+<p>Jacopo Bellini, a painter of Venice, having been a disciple of Gentile
+da Fabriano, worked in competition with that Domenico who taught the
+method of colouring in oil to Andrea dal Castagno; but, although he
+laboured greatly to become excellent in that art, he did not acquire
+fame therein until after the departure of Domenico from Venice. Then,
+finding himself in that city without any competitor to equal him, he
+kept growing in credit and fame, and became so excellent that he was the
+greatest and most renowned man in his profession. And to the end that
+the name which he had acquired in painting might not only be maintained
+in his house and for his descendants, but might grow greater, there were
+born to him two sons of good and beautiful intelligence, strongly
+inclined to the art: one was Giovanni, and the other Gentile, to whom he
+gave that name in tender memory of Gentile da Fabriano, who had been his
+master and like a loving father to him. Now, when the said two sons had
+grown to a certain age, Jacopo himself with all diligence taught them
+the rudiments of drawing; but no long time passed before both one and
+the other surpassed his father by a great measure, whereat he rejoiced
+greatly, ever encouraging them and showing them that he desired them to
+do as the Tuscans did, who gloried among themselves in making<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> efforts
+to outstrip each other, according as one after another took up the art:
+even so should Giovanni vanquish himself, and Gentile should vanquish
+them both, and so on in succession.</p>
+
+<p>The first works that brought fame to Jacopo were the portraits of
+Giorgio Cornaro and of Caterina, Queen of Cyprus; a panel which he sent
+to Verona, containing the Passion of Christ, with many figures, among
+which he portrayed himself from the life; and a picture of the Story of
+the Cross, which is said to be in the Scuola of S. Giovanni Evangelista.
+All these works and many others were painted by Jacopo with the aid of
+his sons; and the last-named picture was painted on canvas, as it has
+been almost always the custom to do in that city, where they rarely
+paint, as is done elsewhere, on panels of the wood of that tree that is
+called by many oppio<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> and by some gattice.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> This wood, which grows
+mostly beside rivers or other waters, is very soft, and admirable for
+painting on, for it holds very firmly when joined together with
+carpenters' glue. But in Venice they make no panels, and, if they do
+make a few, they use no other wood than that of the fir, of which that
+city has a great abundance by reason of the River Adige, which brings a
+very great quantity of it from Germany, not to mention that no small
+amount comes from Sclavonia. It is much the custom in Venice, then, to
+paint on canvas, either because it does not split and does not grow
+worm-eaten, or because it enables pictures to be made of any size that
+is desired, or because, as was said elsewhere, they can be sent easily
+and conveniently wherever they are wanted, with very little expense and
+labour. Be the reason what it may, Jacopo and Gentile, as was said
+above, made their first works on canvas.</p>
+
+
+<div class="figcenter" style="width: 429px;">
+<a name="illus-267" id="illus-267"></a>
+<img src="images/illus-267-tb.jpg" width="429" height="600" alt="JACOPO BELLINI: THE MADONNA AND CHILD" title="" />
+<span class="caption">JACOPO BELLINI: THE MADONNA AND CHILD<br />(<i>Florence: Uffizi, 1562. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-267.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>To the last-named Story of the Cross Gentile afterwards added by himself
+seven other pictures, or rather, eight, in which he painted the miracle
+of the Cross of Christ, which the said Scuola preserves as a relic;
+which miracle was as follows. The said Cross was thrown, I know not by
+what chance, from the Ponte della Pagl&iacute;a into the Canal, and, by reason
+of the reverence that many bore to the piece of the Cross of Christ that
+it contained, they threw themselves into the water to recover it; but it
+was the will of God that no one should be worthy to succeed in grasping
+it<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> save the Prior of that Scuola. Gentile, therefore, representing
+this story, drew in perspective, along the Grand Canal, many houses, the
+Ponte della Pagl&iacute;a, the Piazza di S. Marco, and a long procession of men
+and women walking behind the clergy; also many who have leapt into the
+water, others in the act of leaping, many half immersed, and others in
+other very beautiful actions and attitudes; and finally he painted the
+said Prior recovering the Cross. Truly great were the labour and
+diligence of Gentile in this work, considering the infinite number of
+people, the many portraits from life, the diminution of the figures in
+the distance, and particularly the portraits of almost all the men who
+then belonged to that Scuola, or rather, Confraternity. Last comes the
+picture of the replacing of the said Cross, wrought with many beautiful
+conceptions. All these scenes, painted on the aforesaid canvases,
+acquired a very great name for Gentile.</p>
+
+
+<div class="figcenter" style="width: 433px;">
+<a name="illus-269" id="illus-269"></a>
+<img src="images/illus-269-tb.jpg" width="433" height="600" alt="GIOVANNI BELLINI: THE DOGE LEONARDO LOREDANO" title="" />
+<span class="caption">GIOVANNI BELLINI: THE DOGE LEONARDO LOREDANO<br />(<i>London: National Gallery, 189. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-269.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Afterwards, Jacopo withdrew to work entirely by himself, as did his two
+sons, each of them devoting himself to his own studies in the art. Of
+Jacopo I will make no further mention, seeing that his works were
+nothing out of the ordinary in comparison with those of his sons, and
+because he died not long after his sons withdrew themselves from him;
+and I judge it much better to speak at some length only of Giovanni and
+Gentile. I will not, indeed, forbear to say that although these brothers
+retired to live each by himself, nevertheless they had so much respect
+for each other, and both had such reverence for their father, that each,
+extolling the other, ever held himself inferior in merit; and thus they
+sought modestly to surpass one another no less in goodness and courtesy
+than in the excellence of their art.</p>
+
+<p>The first works of Giovanni were some portraits from the life, which
+gave much satisfaction, and particularly that of Doge Loredano&mdash;although
+some say that this was a portrait of Giovanni Mozzenigo, brother of that
+Piero who was Doge many years before Loredano. Giovanni then painted a
+panel for the altar of S. Caterina da Siena in the Church of S.
+Giovanni, in which picture&mdash;a rather large one&mdash;he painted Our Lady
+seated, with the Child in her arms, and S. Dominic, S. Jerome, S.
+Catherine, S. Ursula, and two other Virgins; and at the feet of the<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span>
+Madonna he made three boys standing, who are singing from a book&mdash;a very
+beautiful group. Above this he made the inner part of a vault in a
+building, which is very beautiful. This work was one of the best that
+had been made in Venice up to that time. For the altar of S. Giobbe in
+the Church of that Saint, the same man painted a panel with good design
+and most beautiful colouring, in the middle of which he made the Madonna
+with the Child in her arms, seated on a throne slightly raised from the
+ground, with nude figures of S. Job and S. Sebastian, beside whom are S.
+Dominic, S. Francis, S. John, and S. Augustine; and below are three
+boys, sounding instruments with much grace. This picture was not only
+praised then, when it was seen as new, but it has likewise been extolled
+ever afterwards as a very beautiful work.</p>
+
+<p>Certain noblemen, moved by the great praises won by these works, began
+to suggest that it would be a fine thing, in view of the presence of
+such rare masters, to have the Hall of the Great Council adorned with
+stories, in which there should be depicted the glories and the
+magnificence of their marvellous city&mdash;her great deeds, her exploits in
+war, her enterprises, and other things of that kind, worthy to be
+perpetuated by painting in the memory of those who should come after&mdash;to
+the end that there might be added, to the profit and pleasure drawn from
+the reading of history, entertainment both for the eye and for the
+intellect, from seeing the images of so many illustrious lords wrought
+by the most skilful hands, and the glorious works of so many noblemen
+right worthy of eternal memory and fame. And so Giovanni and Gentile,
+who kept on making progress from day to day, received the commission for
+this work by order of those who governed the city, who commanded them to
+make a beginning as soon as possible. But it must be remarked that
+Antonio Viniziano had made a beginning long before with the painting of
+the same Hall, as was said in his Life, and had already finished a large
+scene, when he was forced by the envy of certain malignant spirits to
+depart and to leave that most honourable enterprise without carrying it
+on further.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-273" id="illus-273"></a>
+<img src="images/illus-273-tb.jpg" width="600" height="451" alt="THE MIRACLE OF THE TRUE CROSS" title="" />
+<span class="caption">THE MIRACLE OF THE TRUE CROSS<br />(<i>After the panel by</i> Gentile Bellini. <i>Venice: Accademia, 568</i>)
+<br /><i>Anderson</i></span><br /><span class="link"><a href="images/illus-273.jpg">View larger image</a></span>
+
+</div>
+
+
+<p>Now Gentile, either because he had more experience and greater skill in
+painting on canvas than in fresco, or for some other reason, whatever it
+may have been, contrived without difficulty to obtain leave<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> to
+execute that work not in fresco but on canvas. And thus, setting to
+work, in the first scene he made the Pope presenting a wax candle to the
+Doge, that he might bear it in the solemn processions which were to take
+place; in which picture Gentile painted the whole exterior of S. Marco,
+and made the said Pope standing in his pontifical robes, with many
+prelates behind him, and the Doge likewise standing, accompanied by many
+Senators. In another part he represented the Emperor Barbarossa; first,
+when he is receiving the Venetian envoys in friendly fashion, and then,
+when he is preparing for war, in great disdain; in which scene are very
+beautiful perspectives, with innumerable portraits from the life,
+executed with very good grace and amid a vast number of figures. In the
+following scene he painted the Pope exhorting the Doge and the Signori
+of Venice to equip thirty galleys at their common expense, to go out to
+battle against Frederick Barbarossa. This Pope is seated in his rochet
+on the pontifical chair, with the Doge beside him and many Senators at
+his feet. In this part, also, Gentile painted the Piazza and the fa&ccedil;ade
+of S. Marco, and the sea, but in another manner, with so great a
+multitude of men that it is truly a marvel. Then in another part the
+same Pope, standing in his pontifical robes, is giving his benediction
+to the Doge, who appears to be setting out for the fray, armed, and with
+many soldiers at his back; behind the Doge are seen innumerable noblemen
+in a long procession, and in the same part are the Palace and S. Marco,
+drawn in perspective. This is one of the best works that there are to be
+seen by the hand of Gentile, although there appears to be more invention
+in that other which represents a naval battle, because it contains an
+infinite number of galleys fighting together and an incredible multitude
+of men, and because, in short, he showed clearly therein that he had no
+less knowledge of naval warfare than of his own art of painting. And
+indeed, all that Gentile executed in this work&mdash;the crowd of galleys
+engaged in battle; the soldiers fighting; the boats duly diminishing in
+perspective; the finely ordered combat; the soldiers furiously striving,
+defending, and striking; the wounded dying in various manners; the
+cleaving of the water by the galleys; the confusion of the waves; and
+all the kinds of naval armament<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span>&mdash;all this vast diversity of subjects,
+I say, cannot but serve to prove the great spirit, art, invention, and
+judgment of Gentile, each detail being most excellently wrought in
+itself, as well as the composition of the whole. In another scene he
+made the Doge returning with the victory so much desired, and the Pope
+receiving him with open arms, and giving him a ring of gold wherewith to
+espouse the sea, as his successors have done and still do every year, as
+a sign of the true and perpetual dominion that they deservedly hold over
+it. In this part there is Otto, son of Frederick Barbarossa, portrayed
+from the life, and kneeling before the Pope; and as behind the Doge
+there are many armed soldiers, so behind the Pope there are many
+Cardinals and noblemen. In this scene only the poops of the galleys
+appear; and on the Admiral's galley is seated a Victory painted to look
+like gold, with a crown on her head and a sceptre in her hand.</p>
+
+<p>The scenes that were to occupy the other parts of the Hall were
+entrusted to Giovanni, the brother of Gentile; but since the order of
+the stories that he painted there is connected with those executed in
+great part, but not finished, by Vivarino, it is necessary to say
+something of the latter. That part of the Hall which was not done by
+Gentile was given partly to Giovanni and partly to the said Vivarino, to
+the end that rivalry might induce each man to do his best. Vivarino,
+then, putting his hand to the part that belonged to him, painted, beside
+the last scene of Gentile, the aforesaid Otto offering to the Pope and
+to the Venetians to go to conclude peace between them and his father
+Frederick; and, having obtained this, he is dismissed on oath and goes
+his way. In this first part, besides other things, which are all worthy
+of consideration, Vivarino painted an open temple in beautiful
+perspective, with steps and many figures. Before the Pope, who is seated
+and surrounded by many Senators, is the said Otto on his knees, binding
+himself by an oath. Beside this scene, he painted the arrival of Otto
+before his father, who is receiving him gladly; with buildings wrought
+most beautifully in perspective, Barbarossa on his throne, and his son
+kneeling and taking his hand, accompanied by many Venetian noblemen, who
+are portrayed from the life so finely that it is clear that he imitated
+nature very well. Poor<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> Vivarino would have completed the remainder
+of his part with great honour to himself, but, having died, as it
+pleased God, from exhaustion and through being of a weakly habit of
+body, he carried it no further&mdash;nay, even what he had done was not
+wholly finished, and it was necessary for Giovanni Bellini to retouch it
+in certain places.</p>
+
+
+<div class="figcenter" style="width: 379px;">
+<a name="illus-277" id="illus-277"></a>
+<img src="images/illus-277-tb.jpg" width="379" height="600" alt="GIOVANNI BELLINI: LA FORTUNA" title="" />
+<span class="caption">GIOVANNI BELLINI: LA FORTUNA<br />(<i>Venice: Accademia, 595. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-277.jpg">View larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 464px;">
+<a name="illus-279" id="illus-279"></a>
+<img src="images/illus-279-tb.jpg" width="464" height="600" alt="GIOVANNI BELLINI: THE DEAD CHRIST" title="" />
+<span class="caption">GIOVANNI BELLINI: THE DEAD CHRIST<br />(<i>Milan: Poldi Pezzoli, 624. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-279.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Meanwhile, Giovanni had also made a beginning with four scenes, which
+follow in due order those mentioned above. In the first he painted the
+said Pope in S. Marco&mdash;which church he portrayed exactly as it
+stood&mdash;presenting his foot to Frederick Barbarossa to kiss; but this
+first picture of Giovanni's, whatever may have been the reason, was
+rendered much more lifelike and incomparably better by the most
+excellent Tiziano. However, continuing his scenes, Giovanni made in the
+next the Pope saying Mass in S. Marco, and afterwards, between the said
+Emperor and the Doge, granting plenary and perpetual indulgence to all
+who should visit the said Church of S. Marco at certain times,
+particularly at that of the Ascension of Our Lord. There he depicted the
+interior of that church, with the said Pope in his pontifical robes at
+the head of the steps that issue from the choir, surrounded by many
+Cardinals and noblemen&mdash;a vast group, which makes this a crowded, rich,
+and beautiful scene. In the one below this the Pope is seen in his
+rochet, presenting a canopy to the Doge, after having given another to
+the Emperor and keeping two for himself. In the last that Giovanni
+painted are seen Pope Alexander, the Emperor, and the Doge arriving in
+Rome, without the gates of which the Pope is presented by the clergy and
+by the people of Rome with eight standards of various colours and eight
+silver trumpets, which he gives to the Doge, that he and his successors
+may have them for insignia. Here Giovanni painted Rome in somewhat
+distant perspective, a great number of horses, and an infinity of
+foot-soldiers, with many banners and other signs of rejoicing on the
+Castle of S. Angelo. And since these works of Giovanni, which are truly
+very beautiful, gave infinite satisfaction, arrangements were just being
+made to give him the commission to paint all the rest of that Hall,
+when, being now old, he died.</p>
+
+<p>Up to the present we have spoken of nothing save the Hall, in order<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> not
+to interrupt the sequence of the scenes; but now we must turn back a
+little and say that there are many other works to be seen by the hand of
+the same man. One is a panel which is now on the high-altar of S.
+Domenico in Pesaro. In the Church of S. Zaccheria in Venice, in the
+Chapel of S. Girolamo, there is a panel of Our Lady and many saints,
+executed with great diligence, with a building painted with much
+judgment; and in the same city, in the Sacristy of the Friars Minor,
+called the "C&agrave; Grande," there is another by the same man's hand, wrought
+with beautiful design and a good manner. There is likewise one in S.
+Michele di Murano, a monastery of Monks of Camaldoli; and in the old
+Church of S. Francesco della Vigna, a seat of the Frati del Zoccolo,
+there was a picture of a Dead Christ, so beautiful that it was highly
+extolled before Louis XI, King of France, whereupon he demanded it from
+its owners with great insistence, so that they were forced, although
+very unwillingly, to gratify his wish. In its place there was put
+another with the name of the same Giovanni, but not so beautiful or so
+well executed as the first; and some believe that this substitute was
+wrought for the most part by Girolamo Moretto, a pupil of Giovanni. The
+Confraternity of S. Girolamo also possesses a work with little figures
+by the same Bellini, which is much extolled. And in the house of Messer
+Giorgio Cornaro there is a picture, likewise very beautiful, containing
+Christ, Cleophas, and Luke.</p>
+
+<p>In the aforesaid Hall he also painted, though not at the same time, a
+scene of the Venetians summoning forth from the Monastery of the Carit&agrave;
+a Pope&mdash;I know not which&mdash;who, having fled to Venice, had secretly
+served for a long time as cook to the monks of that monastery; in which
+scene there are many portraits from the life, and other very beautiful
+figures.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-283" id="illus-283"></a>
+<img src="images/illus-283-tb.jpg" width="600" height="421" alt="MADONNA AND SAINTS" title="" />
+<span class="caption">MADONNA AND SAINTS<br />(<i>After the panel by</i> Giovanni Bellini. <i>Venice: S. Francesco della
+Vigna</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-283.jpg">View larger image</a></span>
+</div>
+
+
+<p>No long time after, certain portraits were taken to Turkey by an
+ambassador as presents for the Grand Turk, which caused such
+astonishment and marvel to that Emperor, that, although pictures are
+forbidden among that people by the Mahometan law, nevertheless he
+accepted them with great good-will, praising the art and the craftsman
+without ceasing; and what is more, he demanded that the master of the
+work<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> should be sent to him. Whereupon the Senate, considering that
+Giovanni had reached an age when he could ill endure hardships, not to
+mention that they did not wish to deprive their own city of so great a
+man, particularly because he was then engaged on the aforesaid Hall of
+the Great Council, determined to send his brother Gentile, believing
+that he would do as well as Giovanni. Therefore, having caused Gentile
+to make his preparations, they brought him safely in their own galleys
+to Constantinople, where, after being presented by the Commissioner of
+the Signoria to Mahomet, he was received very willingly and treated with
+much favour as something new, above all after he had given that Prince a
+most lovely picture, which he greatly admired, being wellnigh unable to
+believe that a mortal man had within himself so much divinity, so to
+speak, as to be able to represent the objects of nature so vividly.
+Gentile had been there no long time when he portrayed the Emperor
+Mahomet from the life so well, that it was held a miracle. That Emperor,
+after having seen many specimens of his art, asked Gentile whether he
+had the courage to paint his own portrait; and Gentile, having answered
+"Yes," did not allow many days to pass before he had made his own
+portrait with a mirror, with such resemblance that it appeared alive.
+This he brought to the Sultan, who marvelled so greatly thereat, that he
+could not but think that he had some divine spirit within him; and if it
+had not been that the exercise of this art, as has been said, is
+forbidden by law among the Turks, that Emperor would never have allowed
+Gentile to go. But either in fear of murmurings, or for some other
+reason, one day he summoned him to his presence, and after first causing
+him to be thanked for the courtesy that he had shown, and then praising
+him in marvellous fashion as a man of the greatest excellence, he bade
+him demand whatever favour he wished, for it would be granted to him
+without fail. Gentile, like the modest and upright man that he was,
+asked for nothing save a letter of recommendation to the most Serene
+Senate and the most Illustrious Signoria of Venice, his native city.
+This was written in the warmest possible terms, and afterwards he was
+dismissed with honourable gifts and with the dignity of Chevalier. Among
+other things given to him at parting by that Sovereign, in addition to
+many<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> privileges, there was placed round his neck a chain wrought in the
+Turkish manner, equal in weight to 250 gold crowns, which is still in
+the hands of his heirs in Venice.</p>
+
+<p>Departing from Constantinople, Gentile returned after a most prosperous
+voyage to Venice, where he was received with gladness by his brother
+Giovanni and by almost the whole city, all men rejoicing at the honours
+paid to his talent by Mahomet. Afterwards, on going to make his
+reverence to the Doge and the Signoria, he was received very warmly, and
+commended for having given great satisfaction to that Emperor according
+to their desire. And to the end that he might see in what great account
+they held the letters in which that Prince had recommended him, they
+decreed him a provision of 200 crowns a year, which was paid to him for
+the rest of his life. Gentile made but few works after his return;
+finally, having almost reached the age of eighty, and having executed
+the aforesaid works and many others, he passed to the other life, and
+was given honourable burial by his brother Giovanni in S. Giovanni e
+Paolo, in the year 1501.</p>
+
+<p>Giovanni, thus bereft of Gentile, whom he had ever loved most tenderly,
+went on doing a little work, although he was old, to pass the time. And
+having devoted himself to making portraits from the life, he introduced
+into Venice the fashion that everyone of a certain rank should have his
+portrait painted either by him or by some other master; wherefore in all
+the houses of Venice there are many portraits, and in many gentlemen's
+houses one may see their fathers and grandfathers, up to the fourth
+generation, and in some of the more noble they go still farther back&mdash;a
+fashion which has ever been truly worthy of the greatest praise, and
+existed even among the ancients. Who does not feel infinite pleasure and
+contentment, to say nothing of the honour and adornment that they
+confer, at seeing the images of his ancestors, particularly if they have
+been famous and illustrious for their part in governing their republics,
+for noble deeds performed in peace or in war, or for learning or any
+other notable and distinguished talent? And to what other end, as has
+been said in another place, did the ancients set up images of their
+great men in public places, with honourable inscriptions, than<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span> to
+kindle in the minds of their successors a love of excellence and of
+glory?</p>
+
+
+<div class="figcenter" style="width: 473px;">
+<a name="illus-287" id="illus-287"></a>
+<img src="images/illus-287-tb.jpg" width="473" height="600" alt="GENTILE BELLINI: S. DOMINIC" title="" />
+<span class="caption">GENTILE BELLINI: S. DOMINIC<br />(<i>London: National Gallery, 1440. Canvas</i>)</span>
+<br /><span class="link"><a href="images/illus-287.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>For Messer Pietro Bembo, then, before he went to live with Pope Leo X,
+Giovanni made a portrait of the lady that he loved, so lifelike that,
+even as Simone Sanese had been celebrated in the past by the Florentine
+Petrarca, so was Giovanni deservedly celebrated in his verses by this
+Venetian, as in the following sonnet:</p>
+
+<p class="center">
+O imagine mia celeste e pura,
+</p>
+
+<p>where, at the beginning of the second quatrain, he says,</p>
+
+<p class="center">
+Credo che'l mio Bellin con la figura,
+</p>
+
+<p>with what follows. And what greater reward can our craftsmen desire for
+their labours than that of being celebrated by the pens of illustrious
+poets, as that most excellent Tiziano has been by the very learned
+Messer Giovanni della Casa, in that sonnet which begins&mdash;</p>
+
+<p class="center">
+Ben veggio, Tiziano, in forme nuove,
+</p>
+
+<p>and in that other&mdash;</p>
+
+<p class="center">
+Son queste, Amor, le vaghe treccie bionde.
+</p>
+
+<p>Was not the same Bellini numbered among the best painters of his age by
+the most famous Ariosto, at the beginning of the thirty-third canto of
+the "<i>Orlando Furioso</i>"?</p>
+
+<p>But to return to the works of Giovanni&mdash;that is, to his principal works,
+for it would take too long to try to make mention of all the pictures
+and portraits that are in the houses of gentlemen in Venice and in other
+parts of that country. In Rimini, for Signor Sigismondo Malatesti, he
+made a large picture containing a Piet&agrave;, supported by two little boys,
+which is now in S. Francesco in that city. And among other portraits he
+made one of Bartolommeo da Liviano, Captain of the Venetians.</p>
+
+<p>Giovanni had many disciples, for he was ever most willing to teach
+anyone. Among them, now sixty years ago, was Jacopo da Montagna, who
+imitated his manner closely, in so far as is shown by his works, which
+are to be seen in Padua and in Venice. But the man who imitated him most
+faithfully and did him the greatest honour was Rondinello da Ravenna,<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span>
+of whom Giovanni availed himself much in all his works. This master
+painted a panel in S. Domenico at Ravenna, and another in the Duomo,
+which is held a very beautiful example of that manner. But the work that
+surpassed all his others was that which he made in the Church of S.
+Giovanni Battista, a seat of the Carmelite Friars, in the same city; in
+which picture, besides Our Lady, he made a very beautiful head in a
+figure of S. Alberto, a friar of that Order, and the whole figure is
+much extolled. A pupil of Giovanni's, also, although he gained but
+little thereby, was Benedetto Coda of Ferrara, who dwelt in Rimini,
+where he made many pictures, leaving behind him a son named Bartolommeo,
+who did the same. It is said that Giorgione Castelfranco also pursued
+his first studies of art under Giovanni, and likewise many others, both
+from the territory of Treviso and from Lombardy, of whom there is no
+need to make record.</p>
+
+<p>Finally, having lived ninety years, Giovanni passed from this life,
+overcome by old age, leaving an eternal memorial of his name in the
+works that he had made both in his native city of Venice and abroad; and
+he was honourably buried in the same church and in the same tomb in
+which he had laid his brother Gentile to rest. Nor were there wanting in
+Venice men who sought to honour him when dead with sonnets and epigrams,
+even as he, when alive, had honoured both himself and his country. About
+the same time that these Bellini were alive, or a little before, many
+pictures were painted in Venice by Giacomo Marzone, who, among other
+things, painted one in the Chapel of the Assumption in S. Lena&mdash;namely,
+the Virgin with a palm, S. Benedict, S. Helen, and S. John; but in the
+old manner, with the figures on tip-toe, as was the custom of those
+painters who lived in the time of Bartolommeo da Bergamo.<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span></p><p><br /><span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>
+<h2><br /><br />COSIMO ROSSELLI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_COSIMO_ROSSELLI" id="LIFE_OF_COSIMO_ROSSELLI"></a>LIFE OF COSIMO ROSSELLI</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Many men take an unholy delight in covering others with ridicule and
+scorn&mdash;a delight which generally turns to their own confusion, as it
+came to pass in the case of Cosimo Rosselli, who threw back on their own
+heads the ridicule of those who sought to vilify his labours. This
+Cosimo, although he was not one of the rarest or most excellent painters
+of his time, nevertheless made works that were passing good. In his
+youth he painted a panel in the Church of S. Ambrogio in Florence, which
+is on the right hand as one enters the church; and three figures over an
+arch for the Nuns of S. Jacopo delle Murate. In the Church of the Servi,
+also in Florence, he painted the panel of the Chapel of S. Barbara; and
+in the first court, before one enters into the church, he wrought in
+fresco the story of the Blessed Filippo taking the Habit of Our Lady.
+For the Monks of Cestello he painted the panel of their high-altar, with
+another in a chapel in the same church; and likewise that one which is
+in a little church above the Bernardino, beside the entrance to
+Cestello. He painted a standard for the children of the Company of the
+said Bernardino, and likewise that of the Company of S. Giorgio, on
+which there is an Annunciation. For the aforesaid Nuns of S. Ambrogio he
+painted the Chapel of the Miracle of the Sacrament, which is a passing
+good work, and is held the best of his in Florence; in this he
+counterfeited a procession on the piazza of that church, with the Bishop
+bearing the Tabernacle of the said Miracle, accompanied by the clergy
+and by an infinity of citizens and women in costumes of those times.
+Here, among many others, is a portrait from life of Pico della
+Mirandola, so excellently wrought that it appears not a portrait but a
+living man.<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> In the Church of S. Martino in Lucca, by the entrance into
+the church through the lesser door of the principal fa&ccedil;ade, on the right
+hand, he painted a scene of Nicodemus making the statue of the Holy
+Cross, and then that statue being brought by sea in a boat and by land
+to Lucca. In this work are many portraits, and in particular that of
+Paolo Guinigi, which he copied from one done in clay by Jacopo della
+Fonte when the latter made the tomb of Paolo's wife. In S. Marco at
+Florence, in the Chapel of the Cloth Weavers, he painted a panel with
+the Holy Cross in the middle, and, at the sides, S. Mark, S. John the
+Evangelist, S. Antonino, Archbishop of Florence, and other figures.</p>
+
+<p>Being afterwards summoned, with the other painters, to execute the work
+that Pope Sixtus IV had undertaken in the Chapel of the Palace, he
+laboured there in company with Sandro Botticelli, Domenico Ghirlandajo,
+the Abbot of S. Clemente, Luca da Cortona, and Pietro Perugino, and
+painted three scenes with his own hand, wherein he depicted the
+Submersion of Pharaoh in the Red Sea, the Preaching of Christ to the
+people on the shore of the Sea of Tiberias, and the Last Supper of the
+Apostles with the Saviour. In this last scene he made an octagonal table
+drawn in perspective, with the ceiling above it likewise octagonal, the
+eight angles of which he foreshortened so well as to show that he had as
+good a knowledge of this art as any of the others. It is said that the
+Pope had offered a prize, which was to be given to the man who, in the
+judgment of the Pontiff himself, should turn out to have done the best
+work in these pictures. The scenes finished, therefore, His Holiness
+went to see them; and each of the painters had done his utmost to merit
+the said prize and honour. Cosimo, feeling himself weak in invention and
+draughtsmanship, had sought to conceal his shortcomings by covering his
+work with the finest ultramarine blues and other lively colours, and had
+illuminated his scenes with a plentiful amount of gold, so that there
+was no tree, or plant, or drapery, or cloud, that was not thus
+illuminated; for he was convinced that the Pope, like a man who knew
+little of that art, must therefore give him the prize of victory. When
+the day arrived on which the works of all were to be unveiled, that of
+Cosimo was seen with the rest, and was scorned and ridiculed with much
+laughter and<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> jeering by all the other craftsmen, who all mocked him
+instead of having compassion on him. But the scorners turned out to be
+the scorned, for, as Cosimo had foreseen, those colours at the first
+glance so dazzled the eyes of the Pope, who had little knowledge of such
+things, although he took no little delight in them, that he judged the
+work of Cosimo to be much better than that of the others. And so,
+causing the prize to be given to him, he bade all the others cover their
+pictures with the best blues that could be found, and to pick them out
+with gold, to the end that they might be similar to those of Cosimo in
+colouring and in richness. Whereupon the poor painters, in despair at
+having to satisfy the small intelligence of the Holy Father, set
+themselves to spoil all the good work that they had done; and Cosimo
+laughed at the men who had just been laughing at his methods.</p>
+
+<p>Afterwards, returning to Florence with some money, he set himself to
+work as usual, living much at his ease, and having as his companion that
+Piero, his disciple, who was ever called Piero di Cosimo, and who
+assisted him in his labours in the Sistine Chapel at Rome, and painted
+there, besides other things, a landscape in the picture of the Preaching
+of Christ, which landscape is held to be the best thing there. Andrea di
+Cosimo also worked with him, occupying himself much with grotesques.
+Finally, having reached the age of sixty-eight, Cosimo died in the year
+1484, wasted away by a long infirmity; and he was buried in S. Croce by
+the Company of Bernardino.</p>
+
+<p>Cosimo took so much delight in alchemy that he wasted therein all that
+he possessed, as all do who meddle with it, insomuch that it swallowed
+up all his means and finally reduced him from easy circumstances to the
+greatest poverty. He was a very good draughtsman, as may be seen in our
+book, not only from the drawing of the aforesaid story of the Preaching
+which he painted in the Sistine Chapel, but also from many others made
+with the style and in chiaroscuro. And in the said book we have his
+portrait by the hand of Agnolo di Donnino, a painter who was much his
+friend. This Agnolo showed great diligence in his works, as may be seen,
+not to mention his drawings, in the loggia of the Hospital of Bonifazio,
+where, upon the corbel of a vault, there is a Trinity in<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> fresco by his
+hand; and beside the door of the said hospital, where the foundlings now
+live, there are certain beggars painted by the same man, with the
+Director receiving them, all very well wrought, and likewise certain
+women. This man spent his life labouring and wasting all his time over
+drawings, without putting them into execution; and at length he died as
+poor as he could well be. But to return to Cosimo; he left only one son,
+who was a builder and a passing good architect.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-297" id="illus-297"></a>
+<img src="images/illus-297-tb.jpg" width="600" height="458" alt="CHRIST HEALING THE LEPER" title="" />
+<span class="caption">CHRIST HEALING THE LEPER<br />(<i>Detail from the fresco</i> by Cosimo Rosselli. <i>Rome: Sistine Chapel</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-297.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span></p><p><br /><span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span></p>
+<h2><br /><br />CECCA<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CECCA" id="CECCA"></a>CECCA</h2>
+
+<h3>ENGINEER OF FLORENCE</h3>
+
+
+<p>If necessity had not forced men to exercise their ingenuity for their
+own advantage and convenience, architecture would not have become so
+excellent and so marvellous in the minds and in the works of those who
+have practised it in order to acquire profit and fame, gaining that
+great honour which is paid to them every day by all who have knowledge
+of the good. It was necessity that first gave rise to buildings;
+necessity that created ornaments for them; necessity that led to the
+various Orders, the statues, the gardens, the baths, and all those other
+sumptuous adjuncts which all desire but few possess; and it was
+necessity that excited rivalry and competition in the minds of men with
+regard not only to buildings, but also to their accessories. For this
+reason craftsmen have been forced to display industry in inventing
+appliances for traction, and in making engines of war, waterworks, and
+all those devices and contrivances which, under the name of mechanical
+and architectural inventions, confer beauty and convenience on the
+world, discomfiting their enemies and assisting their friends. And
+whenever a man has been able to make such things better than his
+fellows, he has not only raised himself beyond all the anxieties of
+want, but has also been consummately extolled and prized by all other
+men.</p>
+
+<p>This was the case in the time of our fathers with the Florentine Cecca,
+into whose hands there came many highly honourable works in his day; and
+in these he acquitted himself so well, toiling in the service of his
+country with economy and with great satisfaction to his fellow-citizens,
+that his ingenious and industrious labours have made him famous and
+illustrious among the number of distinguished and renowned crafts<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span>men.
+It is said that in his youth Cecca was a very good carpenter, and that
+he had concentrated all his powers on seeking to solve the difficulties
+connected with engines, and how to make machines for assaulting walls in
+war&mdash;scaling-ladders for climbing into cities, battering-rams for
+breaching fortifications, defences for protecting soldiers in the
+attack, and everything that could injure his enemies and assist his
+friends&mdash;wherefore, being a person of the greatest utility to his
+country, he well deserved the permanent provision that the Signoria of
+Florence gave him. For this reason, when there was no war going on, he
+would go through the whole territory inspecting the fortresses and the
+walls of cities and townships, and, if any were weak, he would provide
+them with designs for ramparts and everything else that was wanting.</p>
+
+<p>It is said that the Clouds which were borne in procession throughout
+Florence on the festival of S. John&mdash;things truly most ingenious and
+beautiful&mdash;were invented by Cecca, who was much employed in such matters
+at that time, when the city was greatly given to holding festivals. In
+truth, although such festivals and representations have now fallen
+almost entirely out of use, they were very beautiful spectacles, and
+they were celebrated not only by the Companies, or rather,
+Confraternities, but also in the private houses of gentlemen, who were
+wont to form certain associations and societies, and to meet together at
+certain times to make merry; and among them there were ever many courtly
+craftsmen, who, besides being fanciful and amusing, served to make the
+preparations for such festivals. Among others, four most solemn public
+spectacles took place almost every year, one for each quarter of the
+city, with the exception of that of S. Giovanni, for the festival of
+which a most solemn procession was held, as will be told. The quarter of
+S. Maria Novella kept the feast of S. Ignazio; S. Croce, that of S.
+Bartholomew, called S. Baccio; S. Spirito, that of the Holy Spirit; and
+the Carmine, those of the Ascension of Our Lord and of the Assumption of
+Our Lady. This festival of the Ascension&mdash;for of the others of
+importance an account has been or will be given&mdash;was very beautiful,
+seeing that Christ was uplifted on a cloud covered with angels from a
+Mount very well made of wood, and was borne upwards to a Heaven, leaving
+the Apostles on the Mount;<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> and the whole was so well contrived that it
+was a marvel, above all because the said Heaven was somewhat larger than
+that of S. Felice in Piazza, although the machinery was almost the same.
+And since the said Church of the Carmine, where this representation used
+to take place, is no little broader and higher than that of S. Felice,
+in addition to the part that supported Christ another Heaven was
+sometimes erected, according as it was thought advisable, over the chief
+tribune, wherein were certain great wheels made in the shape of reels,
+which, from the centres to the edges, moved in most beautiful order ten
+circles standing for the ten Heavens, which were all full of little
+lights representing the stars, contained in little copper lamps hanging
+on pivots, so that when the wheels revolved they remained upright, in
+the manner of certain lanterns that are now universally used by all.
+From this Heaven, which was truly a very beautiful thing, there issued
+two stout ropes fastened to the staging or tramezzo<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> which is in the
+said church, and over which the representation took place. To these
+ropes were attached, by each end of a so-called brace-fastening, two
+little bronze pulleys which supported an iron upright fixed into a level
+platform, on which stood two angels fastened by their girdles. These
+angels were kept upright by a counterpoise of lead which they had under
+their feet, and by another that was under the platform on which they
+stood; and this also served to make them balanced one with another. The
+whole was covered with a quantity of cotton-wool, very well arranged in
+the form of a cloud, which was full of cherubim and seraphim, and
+similar kinds of angels, varied in colour and very well contrived. These
+angels, when a little rope was unwound from the Heaven above, came down
+the two larger ropes on to the said tramezzo, where the representation
+took place, and announced to Christ that He was to ascend into Heaven,
+and performed their other functions. And since the iron to which they
+were bound by the girdle was fixed to the platform on which they stood,
+in such a way that they could turn round and round, they could make
+obeisance and turn about both when they had come forth and when they
+were returning, according as was<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> necessary; wherefore in reascending
+they turned towards the Heaven, and were then drawn up again as they had
+come down.</p>
+
+<p>These machines and inventions are said to have been Cecca's, for,
+although Filippo Brunelleschi had made similar things long before, many
+additions were made to them with great judgment by Cecca; and it was
+from these that the thought came to the same man to make those Clouds
+which were borne in procession through the city every year on S. John's
+Eve, and the other beautiful things that were made. And this was his
+charge, because, as it has been said, he was a servant of the public.</p>
+
+<p>Now with this occasion it will not be out of place to describe some of
+the features of the said festival and procession, to the end that some
+memory of them may descend to posterity, seeing that they have now for
+the most part fallen into disuse. First, then, the Piazza di S. Giovanni
+was all covered over with blue cloth, on which were sewn many large
+lilies of yellow cloth; and in the middle, on certain circles also of
+cloth, and ten braccia in diameter, were the arms of the People and
+Commune of Florence, with those of the Captain of the Guelph party and
+others; and all around, from the borders of the said canopy, which
+covered the whole piazza, vast as it is, there hung great banners also
+of cloth, painted with various devices, with the arms of magisterial
+bodies and guilds, and with many lions, which form one of the emblems of
+the city. This canopy, or rather, awning, made thus, was about twenty
+braccia off the ground, and was supported by very strong ropes fastened
+to a number of irons, which are still to be seen round the Church of S.
+Giovanni, on the fa&ccedil;ade of S. Maria del Fiore, and on the houses that
+surround the said piazza on every side. Between one rope and another ran
+cords that likewise supported the awning, which was so well strengthened
+throughout, particularly at the edges, with ropes, cords, linings,
+double widths of cloth, and hems of sacking, that it is impossible to
+imagine anything better. What is more, everything was arranged so well
+and with such great diligence, that although the awning was often
+swelled out and shaken by the wind, which is always very powerful in
+that place, as everyone knows, yet it was never disturbed or damaged in
+any way whatever.<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span> This awning was made of five pieces, to the end that
+it might be easier to handle, but, when set into place, they were all
+joined and fastened and sewn together in such a manner that it appeared
+like one whole. Three pieces covered the piazza and the space that is
+between S. Giovanni and S. Maria del Fiore; and in the middle piece, in
+a straight line between the principal doors, were the aforesaid circles
+containing the arms of the Commune. And the remaining two pieces covered
+the sides&mdash;one towards the Misericordia, and the other towards the
+Canon's house and the Office of Works of S. Giovanni.</p>
+
+<p>The Clouds, which were made of various kinds and with diverse inventions
+by the Companies, were generally fashioned in the following manner. A
+square framework was made of planks, about two braccia in height, with
+four stout legs at the corners, contrived after the manner of the
+trestles of a table, and fastened together with cross-pieces. On this
+framework two panels were laid crosswise, each one braccio wide, with a
+hole in the middle half a braccio in diameter, in which was fixed a high
+pole, whereon there was placed a mandorla all covered with cotton-wool,
+cherubim, lights, and other ornaments, and within this, on a horizontal
+bar of iron, there sat or stood, according as might be desired, a person
+representing that Saint whom the particular Company principally honoured
+as their peculiar patron and protector&mdash;to be exact, a Christ, or a
+Madonna, or a S. John, or some other&mdash;and the draperies of this figure
+covered the iron bar in such a manner that it could not be seen. Round
+the same pole, lower down, below the mandorla, there radiated four or
+five iron bars in the manner of the branches of a tree, and at the end
+of each, attached likewise with irons, stood a little boy dressed like
+an angel. These boys could move round and round at pleasure on the iron
+brackets on which their feet rested, for the brackets hung on hinges.
+And with similar branches there were sometimes made two or three tiers
+of angels or of saints, according to the nature of the subjects to be
+represented. The whole of this structure, with the pole and the iron
+bars (which sometimes represented a lily, sometimes a tree, and often a
+cloud or some other similar thing), was covered with cotton-wool, and,
+as has been said, with cherubim, seraphim, golden stars, and other
+suchlike ornaments. Within<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span> were porters or peasants, who carried it on
+their shoulders, placing themselves round the wooden base that we have
+called the framework, in which, below the places where the weight rested
+on their shoulders, were fixed cushions of leather stuffed with down, or
+cotton-wool, or some other soft and yielding material. All the
+machinery, steps, and other things were covered, as has been said above,
+with cotton-wool, which made a beautiful effect; and all these
+contrivances were called Clouds. Behind them came troops of men on
+horseback and foot-soldiers of various sorts, according to the nature of
+the story to be represented, even as in our own day they go behind the
+cars or other things that are used in place of the said Clouds. Of the
+form of the latter I have some designs in my book of drawings, very well
+done by the hand of Cecca, which are truly ingenious and full of
+beautiful conceptions.</p>
+
+<p>It was from the plans of the same man that those saints were made that
+went or were carried in processions, either dead or tortured in various
+ways, for some appeared to be transfixed by a lance or a sword, others
+had a dagger in the throat, and others had other suchlike weapons in
+their bodies. With regard to this, it is very well known to-day that it
+is done with a sword, lance, or dagger broken in half, the pieces of
+which are held firmly opposite to one another on either side by iron
+rings, after taking away the proportionate amount that has to appear to
+be fixed in the person of the sufferer; wherefore I will say no more
+about them, save that they seem for the most part to have been invented
+by Cecca.</p>
+
+<p>The giants, likewise, that went about in the said festival, were made in
+the following manner. Certain men who were very skilful at walking on
+stilts, or, as they are called in other parts, on wooden legs, had some
+made five or six braccia high, and, having dressed and decked them with
+great masks and other ornaments in the way of draperies, and imitations
+of armour, so that they seemed to have the members and heads of giants,
+they mounted them and walked dexterously along, appearing truly to be
+giants. In front of them, however, they had a man who carried a pike, on
+which the giant leant with one hand, but in such a fashion that the pike
+appeared to be his own weapon, whether<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span> mace, lance, or a great
+bell-clapper, such as Morgante is said by the poets of romance to have
+been wont to carry. And even as there were giants, so there were also
+giantesses, which produced a truly beautiful and marvellous effect.</p>
+
+<p>Different from these, again, were the little phantoms, for these walked
+on similar stilts five or six braccia high, without anything save their
+own proper form, in such a manner that they appeared to be true spirits.
+They likewise had a man in front of them with a pike to assist them; but
+it is stated that some actually walked very well at so great a height
+without leaning on anything whatsoever, and I am sure that he who knows
+what Florentine brains are will in no way marvel at this. For, not to
+mention that native of Montughi (near Florence) who has surpassed all
+the masters that ever lived at climbing and dancing on the rope, whoever
+knew a man called Ruvidino, who died less than ten years ago, remembers
+that climbing to any height on a rope or cord, leaping from the walls of
+Florence to the earth, and walking on stilts much higher than those
+described above, were as easy to him as it is for an ordinary man to
+walk on the level. Wherefore it is no marvel if the men of those times,
+who practised suchlike exercises for money or for other reasons, did
+what has been related above, and even greater things.</p>
+
+<p>I will not speak of certain waxen candles which used to be painted with
+various fanciful devices, but so rudely that they have given their name
+to vulgar painters, insomuch that bad pictures are called "candle
+puppets"; for it is not worth the trouble. I will only say that at the
+time of Cecca they fell for the most part into disuse, and that in their
+place were made the cars that are still used to-day, in the form of
+triumphal chariots. The first of these was the car<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> of the Mint,
+which was brought to that perfection which is still seen every year when
+it is sent out for the said festival by the Masters and Lords of the
+Mint, with a S. John on the highest part and with many other angels and
+saints around and below him, all represented by living persons. Not long
+ago it was determined that one should be made for every borough that
+gave an offering of wax, and ten were made, in order to do magnificent<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span>
+honour to that festival; but the plan was carried no further, by reason
+of events that supervened no long time after. That first car of the
+Mint, then, was made under the direction of Cecca by Domenico, Marco,
+and Giuliano del Tasso, who were among the best master-carpenters, both
+in squared-work and in carving, who were then working in Florence; and
+in this car, among other things, no small praise is due to the wheels
+below it, which are pivoted, in order that the structure may be able to
+turn sharp corners, and may be managed in such a manner as to shake it
+as little as possible, particularly for the sake of those who stand
+fastened upon it.</p>
+
+<p>The same man made a structure for the cleaning and restoration of the
+mosaics in the tribune of S. Giovanni, which could be turned, raised,
+lowered, and advanced at pleasure, and that with such ease that two men
+could handle it; which invention gave Cecca very great repute.</p>
+
+<p>When the Florentine army was besieging Piancaldoli, Cecca ingeniously
+contrived to enable the soldiers to enter it by means of mines, without
+striking a blow. Afterwards, continuing to follow the same army to
+certain other strongholds, his evil fortune would have it that he should
+be killed while attempting to measure certain heights at a difficult
+point; for when he had put his head out beyond the wall in order to let
+a plumb-line down, a priest who was with the enemy (who feared the
+genius of Cecca more than the might of the whole camp) discharged a
+catapult at him and fixed a great dart in his head, insomuch that the
+poor fellow died on the spot. The fate and the loss of Cecca caused
+great grief to the whole army and to his fellow-citizens; but since
+there was no remedy, they sent him back in a coffin to Florence, where
+his sisters gave him honourable burial in S. Piero Scheraggio; and below
+his portrait in marble there was placed the following epitaph:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">FABRUM MAGISTER CICCA, NATUS OPPIDIS VEL OBSIDENDIS VEL TUENDIS,</span><br />
+<span style="margin-left: 1.5em;">HIC JACET. VIXIT ANN. XXXXI, MENS. IV, DIES XIV. OBIIT PRO PATRIA</span><br />
+<span style="margin-left: 1.5em;">TELO ICTUS. PI&AElig; SORORES MONUMENTUM FECERUNT MCCCCXCIX.</span><br />
+<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span></p><p><br /><span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span></p>
+<h2><br /><br />DON BARTOLOMMEO DELLA GATTA<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="DON_BARTOLOMMEO_DELLA_GATTA_ABBOT_OF_S_CLEMENTE" id="DON_BARTOLOMMEO_DELLA_GATTA_ABBOT_OF_S_CLEMENTE"></a>DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE</h2>
+
+<h3>ILLUMINATOR AND PAINTER</h3>
+
+
+<p>Rarely does it happen that a man of good character and exemplary life
+fails to be provided by Heaven with the best of friends and with
+honourable dwellings, or to be held in veneration when alive by reason
+of the goodness of his ways, and very greatly regretted when dead by all
+who knew him, as was Don Bartolommeo della Gatta, Abbot of S. Clemente
+in Arezzo, who was excellent in diverse pursuits and most praiseworthy
+in all his actions. This man, who was a monk of the Angeli in Florence,
+a seat of the Order of Camaldoli, was in his youth&mdash;perchance for the
+reasons mentioned above in the Life of Don Lorenzo&mdash;a very rare
+illuminator, and a very able master of design. Of this we have proof in
+the books that he illuminated for the Monks of SS. Fiore e Lucilla in
+the Abbey of Arezzo, particularly a missal that was presented to Pope
+Sixtus, in which, on the first page of the Secret Prayers, there was a
+very beautiful Passion of Christ. Those are likewise by his hand which
+are in S. Martino, the Duomo of Lucca.</p>
+
+<p>A little while after these works the said Abbey of S. Clemente in Arezzo
+was presented to this father by Mariotto Maldoli of Arezzo, General of
+the Order of Camaldoli, who belonged to the same family from which
+sprang that Maldolo who gave the site and lands of Camaldoli, then
+called Campo di Maldolo, to S. Romualdo, the founder of that Order. Don
+Bartolommeo, in gratitude for that benefice, afterwards executed many
+works for that General and for his Order. After this there came the
+plague of 1468, by reason of which the Abbot, like many others, stayed
+indoors without going about much, and devoted himself to painting large
+figures; and seeing that he was succeeding as<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> well as he could desire,
+he began to execute certain works. The first was a S. Rocco that he
+painted on a panel for the Rectors of the Confraternity of Arezzo, which
+is now in the Audience Chamber where they assemble. This figure is
+recommending the people of Arezzo to Our Lady, and in this picture he
+portrayed the Piazza of the said city and the holy house of that
+Confraternity, with certain grave-diggers who are returning from burying
+the dead. He also painted another S. Rocco for the Church of S. Pietro,
+likewise on a panel, wherein he portrayed the city of Arezzo exactly as
+it stood at that time, when it was very different from what it is
+to-day. And he made another, which was much better than the two
+mentioned above, on a panel which is in the Chapel of the Lippi in the
+Church of the Pieve of Arezzo; and this S. Rocco is a rare and beautiful
+figure, almost the best that he ever made, and the head and hands are as
+beautiful and natural as they could be. In the same city of Arezzo, in
+S. Pietro, a seat of the Servite Friars, he painted an Angel Raphael on
+a panel; and in the same place he made a portrait of the Blessed Jacopo
+Filippo of Piacenza.</p>
+
+<p>Afterwards, being summoned to Rome, he painted a scene in the Chapel of
+Pope Sixtus, in company with Luca da Cortona and Pietro Perugino. On
+returning to Arezzo, he painted a S. Jerome in Penitence in the Chapel
+of the Gozzari in the Vescovado; and this figure, lean and shaven, with
+the eyes fixed most intently on the Crucifix, and beating his breast,
+shows very clearly how greatly the passions of love can disturb the
+chastity even of a body so grievously wasted away. In this work he made
+an enormous crag, with certain cliffs of rock, among the fissures of
+which he painted some stories of that Saint, with very graceful little
+figures. After this, in a chapel in S. Agostino, for the Nuns of the
+Third Order, as they are called, he wrought in fresco a Coronation of
+Our Lady, which is very well done and much extolled; and below this, in
+another chapel, a large panel with an Assumption and certain angels
+beautifully robed in delicate draperies. This panel, for a work made in
+distemper, is much extolled, and in truth it was wrought with good
+design and executed with extraordinary diligence. In the lunette that is
+over the door of the Church of S. Donato, in the Fortress of Arezzo,<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span>
+the same man painted in fresco a Madonna with the Child in her arms, S.
+Donatus, and S. Giovanni Gualberto, all very beautiful figures. In the
+Abbey of S. Fiore in the said city, beside the principal door of
+entrance into the church, there is a chapel painted by his hand, wherein
+are S. Benedict and other saints, wrought with much grace, good
+handling, and sweetness.</p>
+
+<p>For Gentile of Urbino, Bishop of Arezzo, who was much his friend, and
+with whom he almost always lived, he painted a Dead Christ in a chapel
+in the Palace of the Vescovado; and in a loggia he portrayed the Bishop
+himself, his vicar, and Ser Matteo Francini, his court-notary, who is
+reading a Bull to him; and there he also made his own portrait and those
+of certain canons of that city. For the same Bishop he designed a loggia
+which issues from the Palace and leads to the Vescovado, on the same
+level with both. In the centre of this the Bishop had intended to make a
+place of burial for himself in the form of a chapel, in which he wished
+to be interred after his death; and he had carried it well on, when he
+was overtaken by death, and it remained unfinished, for, although he
+left orders that it should be completed by his successor, nothing more
+was done, as generally happens with works of this sort which are left by
+a man to be finished after his death. For the said Bishop the Abbot
+painted a large and beautiful chapel in the Duomo Vecchio, but, as it
+had only a short life, there is no need to say more about it.</p>
+
+<p>Besides this, he made works in various places throughout the whole city,
+such as three figures in the Carmine, and the Chapel of the Nuns of S.
+Orsina. At Castiglione Aretino, for the Chapel of the High-Altar in the
+Pieve of S. Giuliano, he painted a panel in distemper, containing a very
+beautiful Madonna, S. Julian, and S. Michelagnolo&mdash;figures very well
+wrought and executed, particularly S. Julian, who, with his eyes fixed
+on the Christ lying in the arms of the Madonna, appears to be much
+afflicted at having killed his father and mother. In a chapel a little
+below this, likewise, is a little door painted by his hand (which
+formerly belonged to an old organ), wherein there is a S. Michael, which
+is held to be a marvellous thing, with a child in swaddling-clothes,
+which appears alive, in the arms of a woman. For the Nuns of the Murate
+at<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> Arezzo he painted the Chapel of the High-Altar, a work which is
+truly much extolled. At Monte San Savino he painted a shrine opposite to
+the Palace of Cardinal di Monte, which was held very beautiful. And at
+Borgo San Sepolcro, where there is now the Vescovado, he decorated a
+chapel, which brought him very great praise and profit.</p>
+
+<p>Don Clemente was a man of very versatile intelligence, and, besides
+being a great musician, he made organs of lead with his own hand. In S.
+Domenico he made one of cardboard, which has ever remained sweet and
+good; and in S. Clemente there was another, also by his hand, which was
+placed on high, with the keyboard below on the level of the choir&mdash;truly
+with very beautiful judgment, since, the place being such that the monks
+were few, he wished that the organist should sing as well as play. And
+since this Abbot loved his Order, like a true minister and not a
+squanderer of the things of God, he enriched that place greatly with
+buildings and pictures, particularly by rebuilding the principal chapel
+of his church and painting the whole of it; and in two niches, one on
+either side of it, he painted a S. Rocco and a S. Bartholomew, which
+were ruined together with the church.</p>
+
+<p>But to return to the Abbot, who was a good and worthy churchman. He left
+a disciple in painting named Maestro Lappoli, an Aretine, who was an
+able and practised painter, as is shown by the works from his hand which
+are in S. Agostino, in the Chapel of S. Sebastiano, where there is that
+Saint wrought in relief by the same man, with figures round him, in
+painting, of S. Biagio, S. Rocco, S. Anthony of Padua, and S.
+Bernardino; while on the arch of the chapel is an Annunciation, and on
+the vaulting are the four Evangelists, wrought in fresco with a high
+finish. By the hand of the same man, in another chapel on the left hand
+as one enters the said church by the side-door, is a Nativity in fresco,
+with the Madonna receiving the Annunciation from the Angel, in the
+figure of which Angel he portrayed Giuliano Bacci, then a young man of
+very beautiful aspect. Over the said door, on the outer side, he made an
+Annunciation, with S. Peter on one side and S. Paul on the other,
+portraying in the face of the Madonna the mother of Messer Pietro
+Aretino, a very famous poet. In S. Francesco, for the Chapel of S.
+Bernardino, he painted a panel with<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> that Saint, who appears alive, and
+so beautiful that this is the best figure that he ever made. In the
+Chapel of the Pietramaleschi in the Vescovado he painted a very
+beautiful S. Ignazio on a panel in distemper; and in the Pieve, at the
+entrance of the upper door which opens on the piazza, a S. Andrew and a
+S. Sebastian. For the Company of the Trinit&agrave;, by order of Buoninsegna
+Buoninsegni of Arezzo, he made a work with beautiful invention, which
+can be numbered among the best that he ever executed, and this was a
+Crucifix over an altar, with a S. Martin on one side and a S. Rocco on
+the other, and two figures kneeling at the foot, one in the form of a
+poor man, lean, emaciated, and wretchedly clothed, from whom there
+issued certain rays that shone straight on the wounds of the Saviour,
+while the Saint gazed on him most intently; and the other in the form of
+a rich man, clothed in purple and fine linen, and all ruddy and cheerful
+in countenance, whose rays, as he was adoring Christ, although they were
+issuing from his heart, like those of the poor man, appeared not to
+shine directly on the wounds of the Crucified Christ, but to stray and
+spread over certain plains and fields full of grain, green crops,
+cattle, gardens, and other suchlike things, while some diverged over the
+sea towards certain boats laden with merchandise; and others, finally,
+shone on certain money-changers' tables. All these things were wrought
+by Matteo with judgment, great mastery, and much diligence; but they
+were thrown to the ground no long time after in the making of a chapel.
+Beneath the pulpit of the Pieve the same man made a Christ with the
+Cross for Messer Leonardo Albergotti.</p>
+
+<p>A disciple of the Abbot of S. Clemente, likewise, was a Servite friar of
+Arezzo, who painted in colours the fa&ccedil;ade of the house of the Belichini
+in Arezzo, and two chapels in fresco, one beside the other, in S.
+Pietro. Another disciple of Don Bartolommeo was Domenico Pecori of
+Arezzo, who made three figures in distemper on a panel at Sargiano, and
+painted a very beautiful banner in oil, to be carried in processions,
+for the Company of S. Maria Maddalena. For Messer Presentino Bisdomini,
+in the Chapel of S. Andrea in the Pieve, he made a picture of S.
+Apollonia, similar to that mentioned above; and he finished many works
+left incomplete by his master, such as the panel of S. Sebastian and<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> S.
+Fabiano with the Madonna, in S. Pietro, for the family of the Benucci.
+In the Church of S. Antonio he painted the panel of the high-altar,
+wherein is a very devout Madonna, with some saints; and since the said
+Madonna is adoring the Child, whom she has in her lap, he made it appear
+that a little angel, kneeling behind her, is supporting Our Lord on a
+cushion, the Madonna not being able to uphold Him because she has her
+hands clasped in the act of adoration. In the Church of S. Giustino, for
+Messer Antonio Roselli, he painted a chapel with the Magi in fresco; and
+for the Company of the Madonna, in the Pieve, he painted a very large
+panel containing a Madonna in the sky, with the people of Arezzo
+beneath, in which he made many portraits from the life. In this last
+work he was helped by a Spanish painter, who painted very well in oil
+and therein gave assistance to Domenico, who had not as much skill in
+painting in oil as he had in distemper. With the help of the same man he
+executed a panel for the Company of the Trinit&agrave;, containing the
+Circumcision of Our Lord, which was held a very good work, and a "Noli
+Me Tangere" in fresco in the garden of S. Fiore. Finally, he painted a
+panel with many figures in the Vescovado, for Messer Donato Marinelli,
+Primicere. This work, which then brought him and still continues to
+bring him very great honour, shows good invention, good design, and
+strong relief; and in making it, being now very old, he called in the
+aid of a Sienese painter, Capanna, a passing good master, who painted so
+many walls in chiaroscuro and so many panels in Siena, and who, if he
+had lived longer, would have done himself much credit in his art, in so
+far as one may judge from the little that he executed. Domenico wrought
+for the Confraternity of Arezzo a baldacchino painted in oil, a rich and
+costly work, which was lent not many years ago for the holding of a
+representation in S. Francesco at the festival of S. John and S. Paul,
+to adorn a Paradise near the roof of the church. A fire breaking out in
+consequence of the great quantity of lights, this work was burnt,
+together with the man who was representing God the Father, who, being
+fastened, could not escape, as the angels did, and many church-hangings
+were destroyed, while great harm came to the spectators, who, terrified
+by the fire, struggled furiously to fly from the church, everyone
+seeking to be<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> the first, so that about eighty were trampled down in the
+press, which was something very pitiful. This baldacchino was afterwards
+reconstructed with greater richness, and painted by Giorgio Vasari.
+Domenico then devoted himself to the making of glass windows, and there
+were three by his hand in the Vescovado, which were ruined by the
+artillery in the wars.</p>
+
+<p>Another pupil of the same master was the painter Angelo di Lorentino,
+who was a man of passing good ability. He painted the arch over the door
+of S. Domenico, and if he had received assistance he would have become a
+very good master.</p>
+
+<p>The Abbot died at the age of eighty-three, leaving unfinished the Temple
+of the Madonna delle Lacrime, for which he had made a model; it was
+afterwards completed by various masters. He deserves praise, then, as
+illuminator, architect, painter, and musician. He was given burial by
+his monks in his Abbey of S. Clemente, and his works have ever been so
+highly esteemed in the said city that the following verses may be read
+over his tomb:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">PINGEBAT DOCTE ZEUSIS, CONDEBAT ET AEDES</span><br />
+<span style="margin-left: 3.5em;">NICON, PAN CAPRIPES, FISTULA PRIMA TUA EST.</span><br />
+<span style="margin-left: 1.5em;">NON TAMEN EX VOBIS MECUM CERTAVERIT ULLUS;</span><br />
+<span style="margin-left: 3.5em;">QU&AElig; TRES FECISTIS, UNICUS H&AElig;C FACIO.</span><br />
+</p>
+
+<p><span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span></p>
+<p>He died in 1461, having added to the art of illumination that beauty
+which is seen in all his works, as some drawings by his hand can bear
+witness which are in our book. His method of working was afterwards
+imitated by Girolamo Padovano in some books that he illuminated for S.
+Maria Nuova in Florence; by Gherardo, a Florentine illuminator; (and by
+Attavante,<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a>) who was also called Vante, of whom we have spoken in
+another place, particularly with regard to those of his works which are
+in Venice; with respect to which I included word for word a note sent to
+me by certain gentlemen of Venice, contenting myself, in order to
+recompense them for the great pains that they had taken to discover all
+that is to be read there, with relating the whole as they wrote it,
+since I had no personal knowledge of these works on which to form a
+judgment of my own.<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span></p>
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span></p><p><br /><span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span></p>
+<h2><br /><br />GHERARDO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="GHERARDO" id="GHERARDO"></a>GHERARDO</h2>
+
+<h3>ILLUMINATOR OF FLORENCE</h3>
+
+
+<p>It is certain that among all the enduring works that are made in colours
+there is none that resists the assault of wind and water better than
+mosaic. And well was this known in his day to the elder Lorenzo de'
+Medici of Florence, who, like a man of spirit given to investigating the
+memorials of the ancients, sought to bring back into use what had been
+hidden for many years, and, since he took great delight in pictures and
+sculptures, could not fail to take delight also in mosaic. Wherefore,
+seeing that Gherardo, an illuminator of that time and a man of inquiring
+brain, was investigating the difficulties of that calling, he showed him
+great favour, as one who ever assisted those in whom he saw some germ of
+spirit and intellect. Placing him, therefore, in the company of Domenico
+del Ghirlandajo, he obtained for him from the Wardens of Works of S.
+Maria del Fiore a commission for decorating the chapels of the
+transepts, beginning with that of the Sacrament, wherein lies the body
+of S. Zanobi. Whereupon Gherardo, growing ever in keenness of
+intelligence, would have executed most marvellous works in company with
+Domenico, if death had not intervened, as may be judged from the
+beginning of that chapel, which remained unfinished.</p>
+
+<p>Gherardo, in addition to his mosaics, was a most delicate illuminator,
+and he also made large figures on walls. Without the Porta alla Croce
+there is a shrine in fresco by his hand, and there is another in
+Florence, much extolled, at the head of the Via Larga. On the fa&ccedil;ade of
+the Church of S. Gilio at S. Maria Nuova, beneath the stories painted by
+Lorenzo di Bicci, wherein is the consecration of that church by Pope
+Martin V, Gherardo depicted the same Pope conferring the monk's habit<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span>
+and many privileges on the Director of the Hospital. In this scene there
+were far fewer figures than it appeared to require, because it was cut
+in half by a shrine containing a Madonna, which has been removed
+recently by Don Isidoro Montaguto, the present Director of that place,
+in the reconstructing of a principal door for the building; and
+Francesco Brini, a young painter of Florence, has been commissioned to
+paint the rest of the scene. But to return to Gherardo; it would
+scarcely have been possible for even a well-practised master to
+accomplish without great fatigue and diligence what he did in that work,
+which is wrought most excellently in fresco. For the church of the same
+hospital Gherardo illuminated an infinite number of books, with some for
+S. Maria del Fiore in Florence, and certain others for Matthias
+Corvinus, King of Hungary. These last, on the death of the said King,
+together with some by the hand of Vante and of other masters who worked
+for that King in Florence, were purchased and taken over by the
+Magnificent Lorenzo de' Medici, who placed them among those so greatly
+celebrated which were being collected for the formation of the library
+afterwards built by Pope Clement VII, which is now being thrown open to
+the public by order of Duke Cosimo.</p>
+
+<p>Having thus developed, as has been related, from a master of
+illumination into a painter, in addition to the said works, he made some
+great figures in a large cartoon for the Evangelists that he had to make
+in mosaic in the Chapel of S. Zanobi. But before the Magnificent Lorenzo
+de' Medici had obtained for him the commission for the said chapel,
+wishing to show that he understood the art of mosaic, and that he could
+work without a companion, he made a life-size head of S. Zanobi, which
+remained in S. Maria del Fiore, and on days of the highest solemnity it
+is set up on the altar of the said Saint, or in some other place, as a
+rare thing.</p>
+
+<p>The while that Gherardo was labouring at these things, there were
+brought to Florence certain prints in the German manner wrought by
+Martin and by Albrecht D&uuml;rer; whereupon, being much pleased with that
+sort of engraving, he set himself to work with the graver and copied
+some of those plates very well, as may be seen from certain examples
+that are in our book, together with some drawings by the same man's<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span>
+hand. Gherardo painted many pictures which were sent abroad, one of
+which is in the Chapel of S. Caterina da Siena in the Church of S.
+Domenico at Bologna, containing a very good painting of S. Catherine.
+And in S. Marco at Florence, over the table of Pardons, he painted a
+lunette full of very graceful figures. But the more he satisfied others
+the less did he satisfy himself in any of his works, with the exception
+of mosaic, in which sort of painting he was rather the rival than the
+companion of Domenico Ghirlandajo; and if he had lived longer he would
+have become most excellent in that art, for he was very willing to take
+pains with it, and he had discovered the greater part of its best
+secrets.</p>
+
+<p>Some declare that Attavante, otherwise Vante, an illuminator of
+Florence, of whom we have spoken above in more than one place, was a<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span>
+disciple of Gherardo, as was Stefano, likewise a Florentine illuminator;
+but I hold it as certain, considering that both lived at the same time,
+that Attavante was rather the friend, companion, and contemporary of
+Gherardo than his disciple. Gherardo died well advanced in years,
+leaving everything that he used in his art to his disciple Stefano, who,
+devoting himself no long time after to architecture, abandoned the art
+of illuminating, and handed over all his appliances in connection with
+that profession to the elder Boccardino, who illuminated the greater
+part of the books that are in the Badia of Florence. Gherardo died at
+the age of sixty-three, and his works date about the year of our
+salvation 1470.<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span></p><p><br /><span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span></p>
+<h2><br /><br />DOMENICO GHIRLANDAJO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="DOMENICO_GHIRLANDAJO" id="DOMENICO_GHIRLANDAJO"></a>DOMENICO GHIRLANDAJO</h2>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>Domenico di Tommaso del Ghirlandajo, who, from his talent and from the
+greatness and the vast number of his works, may be called one of the
+most important and most excellent masters of his age, was made by nature
+to be a painter; and for this reason, in spite of the opposition of
+those who had charge of him (which often nips the finest fruits of our
+intellects in the bud by occupying them with work for which they are not
+suited, and by diverting them from that to which nature inclines them),
+he followed his natural instinct, secured very great honour for himself
+and profit for his art and for his kindred, and became the great delight
+of his age. He was apprenticed by his father to his own art of
+goldsmith, in which Tommaso was a master more than passing good, for it
+was he who made the greater part of the silver votive offerings that
+were formerly preserved in the press of the Nunziata, and the silver
+lamps of the chapel, which were all destroyed in the siege of the city
+in the year 1529. Tommaso was the first who invented and put into
+execution those ornaments worn on the head by the girls of Florence,
+which are called ghirlande;<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> whence he gained the name of
+Ghirlandajo, not only because he was their first inventor, but also
+because he made an infinite number of them, of a beauty so rare that
+none appeared to please save such as came out of his shop.</p>
+
+<p>Being thus apprenticed to the goldsmith's art, but taking no pleasure
+therein, he was ever occupied in drawing. Endowed by nature with a
+perfect spirit and with an admirable and judicious taste in painting,
+although he was a goldsmith in his boyhood, yet, by devoting himself<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span>
+ever to design, he became so quick, so ready, and so facile, that many
+say that while he was working as a goldsmith he would draw a portrait of
+all who passed the shop, producing a likeness in a second; and of this
+we still have proof in an infinite number of portraits in his works,
+which show a most lifelike resemblance.</p>
+
+<p>His first pictures were in the Chapel of the Vespucci in Ognissanti,
+where there is a Dead Christ with some saints, and a Misericordia over
+an arch, in which is the portrait of Amerigo Vespucci, who made the
+voyages to the Indies; and in the refectory of that place he painted a
+Last Supper in fresco. In S. Croce, on the right hand of the entrance
+into the church, he painted the Story of S. Paulino; wherefore, having
+acquired very great fame and coming into much credit, he painted a
+chapel in S. Trinita for Francesco Sassetti, with stories of S. Francis.
+This work was admirably executed by him, and wrought with grace,
+lovingness, and a high finish; and he counterfeited and portrayed
+therein the Ponte a S. Trinita, with the Palace of the Spini. On the
+first wall he depicted the story of S. Francis appearing in the air and
+restoring the child to life; and here, in those women who see him being
+restored to life&mdash;after their sorrow for his death as they bear him to
+the grave&mdash;there are seen gladness and marvel at his resurrection. He
+also counterfeited the friars issuing from the church behind the Cross,
+together with some grave-diggers, to bury him, all wrought very
+naturally; and there are likewise other figures marvelling at that event
+which give no little pleasure to the eye, among which are portraits of
+Maso degli Albizzi, Messer Agnolo Acciaiuoli, and Messer Palla Strozzi,
+eminent citizens often cited in the history of the city. On another wall
+he painted S. Francis, in the presence of the vicar, renouncing his
+inheritance from his father, Pietro Bernardone, and assuming the habit
+of sackcloth, which he is girding round him with the cord. On the middle
+wall he is shown going to Rome and having his Rule confirmed by Pope
+Honorius, and presenting roses in January to that Pontiff. In this scene
+he depicted the Hall of the Consistory, with Cardinals seated around,
+and certain steps ascending to it, furnishing the flight of steps with a
+balustrade, and painting there some half-length figures portrayed from
+the life, among which is the portrait of the<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span> elder Lorenzo de' Medici,
+the Magnificent; and there he also painted S. Francis receiving the
+Stigmata. In the last he made the Saint dead, with his friars mourning
+for him, among whom is one friar kissing his hands&mdash;an effect that could
+not be rendered better in painting; not to mention that a Bishop in full
+robes, with spectacles on his nose, is chanting the prayers for the dead
+so vividly, that only the lack of sound shows him to be painted. In one
+of two pictures that are on either side of the panel he portrayed
+Francesco Sassetti on his knees, and in the other his wife, Monna Nera,
+with their children (but these last are in the aforesaid scene of the
+child being restored to life), and with certain beautiful maidens of the
+same family, whose names I have not been able to discover, all in the
+costumes and fashions of that age, which gives no little pleasure.
+Besides this, he made four Sibyls on the vaulting, and an ornament above
+the arch on the front wall without the chapel, containing the scene of
+the Tiburtine Sibyl making the Emperor Octavian adore Christ, which is
+executed in a masterly manner for a work in fresco, with much vivacity
+and loveliness in the colours. To this work he added a panel wrought in
+distemper, also by his hand, containing a Nativity of Christ that should
+amaze any person of understanding, wherein he portrayed himself and made
+certain heads of shepherds, which are held to be something divine. Of
+this Sibyl and of other parts of this work there are some very beautiful
+drawings in our book, made in chiaroscuro, and in particular the view in
+perspective of the Ponte a S. Trinita.</p>
+
+<p>For the Frati Ingesuati he painted a panel for their high-altar, with
+certain Saints kneeling&mdash;namely, S. Giusto, Bishop of Volterra, who was
+the titular Saint of that church; S. Zanobi, Bishop of Florence; an
+Angel Raphael; a S. Michael, clad in most beautiful armour; and other
+saints. For this work Domenico truly deserves praise, for he was the
+first who began to counterfeit with colours certain trimmings and
+ornaments of gold, which had not been done up to that time; and he swept
+away in great measure those borders of gilding that were made with
+mordant or with bole, which were more suitable for church-hangings than
+for the work of good masters. More beautiful than all the other figures
+is the Madonna, who has the Child in her arms and four little angels<span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span>
+round her. This panel, which is wrought as well as any work in distemper
+could be, was then placed in the church of those friars without the
+Porta a Pinti; but since that building, as will be told elsewhere, was
+destroyed, it is now in the Church of S. Giovannino, within the Porta S.
+Piero Gattolini, where there is the Convent of the aforesaid Ingesuati.</p>
+
+<p>In the Church of Cestello he painted a panel&mdash;afterwards finished by his
+brothers David and Benedetto&mdash;containing the Visitation of Our Lady,
+with certain most charming and beautiful heads of women. In the Church
+of the Innocenti he painted the Story of the Magi on a panel in
+distemper, which is much extolled. In this are heads most beautiful in
+expression and varied in features, both young and old; and in the head
+of Our Lady, in particular, are seen all the dignity, beauty, and grace
+that art can give to the Mother of the Son of God. On the tramezzo<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a>
+of the Church of S. Marco there is another panel, with a Last Supper in
+the guest-room, both executed with diligence; and in the house of
+Giovanni Tornabuoni there is a round picture with the Story of the Magi,
+wrought with diligence. In the Little Hospital, for the elder Lorenzo
+de' Medici, he painted the story of Vulcan, in which many nude figures
+are at work with hammers making thunderbolts for Jove. And in the Church
+of Ognissanti in Florence, in competition with Sandro di Botticello, he
+painted a S. Jerome in fresco (which is now beside the door that leads
+to the choir), surrounding him with an infinite number of instruments
+and books, such as are used by the learned. The friars having occasion
+to remove the choir from the place where it stood, this picture,
+together with that of Sandro di Botticello, has been bound round with
+irons and transported without injury into the middle of the church, at
+the very time when these Lives are being printed for the second time. He
+also painted the arch over the door of S. Maria Ughi, and a little
+shrine for the Guild of Linen-Manufacturers, and likewise a very
+beautiful S. George, slaying the Dragon, in the same Church of
+Ognissanti. And in truth he had a very good knowledge of the method of
+painting on walls, which he did with very great facility, although he
+was scrupulously careful in the composition of his works.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-331" id="illus-331"></a>
+<img src="images/illus-331-tb.jpg" width="600" height="436" alt="THE DEATH OF S. FRANCIS" title="" />
+<span class="caption">THE DEATH OF S. FRANCIS<br />(<i>After the fresco by</i> Domenico Ghirlandajo. <i>Florence: S. Trinita</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-331.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span></p>
+
+<p>Being then summoned to Rome by Pope Sixtus IV to paint his chapel, in
+company with other masters, he painted there Christ calling Peter and
+Andrew from their nets, and the Resurrection of Jesus Christ, the
+greater part of which has since been spoilt in consequence of being over
+the door, on which it became necessary to replace an architrave that had
+fallen down. There was living in Rome at this same time Francesco
+Tornabuoni, a rich and honoured merchant, much the friend of Domenico.
+This man, whose wife had died in childbirth, as is told in the Life of
+Andrea Verrocchio, desiring to honour her as became their noble station,
+had caused a tomb to be made for her in the Minerva; and he also wished
+Domenico to paint the whole wall against which this tomb stood, and
+likewise to make for it a little panel in distemper. On that wall,
+therefore, he painted four stories&mdash;two of S. John the Baptist and two
+of the Madonna&mdash;which brought him truly great praise at that time. And
+Francesco took so much pleasure in his dealings with Domenico, that,
+when the latter returned to Florence rich in honour and in gains,
+Francesco recommended him by letters to his relative Giovanni, telling
+him how well the painter had served him in that work, and how well
+satisfied the Pope had been with his pictures. Hearing this, Giovanni
+began to contemplate employing him on some magnificent work, such as
+would honour his own memory and bring fame and profit to Domenico.</p>
+
+<p>Now it chanced that the principal chapel of S. Maria Novella (a convent
+of Preaching Friars), formerly painted by Andrea Orcagna, was injured in
+many parts by rain in consequence of the roof of the vaulting being
+badly covered. For this reason many citizens had wished to restore it,
+or rather, to have it painted anew; but the owners, who belonged to the
+family of the Ricci, had never consented to this, being unable to bear
+so great an expense themselves, and unwilling to allow others to do so,
+lest they should lose the rights of ownership and the distinction of the
+arms handed down to them by their ancestors. Giovanni, then, being
+desirous that Domenico should make him his memorial there, set to work
+in this matter, trying various ways; and finally he promised the Ricci
+to bear the whole expense himself, to give them some sort of recompense,
+and to have their arms placed in the most conspicuous and honourable
+place in that<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span> chapel. And so they came to an agreement, making a
+contract in the form of a very precise instrument according to the terms
+described above. Giovanni allotted this work to Domenico, with the same
+subjects as were painted there before; and they agreed that the price
+should be 1,200 gold ducats of full weight, with 200 more in the event
+of the work giving satisfaction to Giovanni. Thereupon Domenico put his
+hand to the work and laboured without ceasing for four years until he
+had finished it&mdash;which was in 1485&mdash;to the very great satisfaction and
+contentment of Giovanni, who, while admitting that he had been well
+served, and confessing ingenuously that Domenico had earned the
+additional 200 ducats, said that he would be pleased if he would be
+satisfied with the original price. And Domenico, who esteemed glory and
+honour much more than riches, immediately let him off all the rest,
+declaring that he set much greater store on having given him
+satisfaction than on the matter of complete payment.</p>
+
+<p>Giovanni afterwards caused two large coats of arms to be made of
+stone&mdash;one for the Tornaquinci and the other for the Tornabuoni&mdash;and
+placed on the pilasters without the chapel, and in the arch he placed
+other arms belonging to that family, which is divided into various names
+and various arms&mdash;namely, in addition to the two already mentioned,
+those of the Ghiachinotti, Popoleschi, Marabottini, and Cardinali. And
+afterwards, when Domenico painted the altar-panel, he caused to be
+placed in the gilt ornament, under an arch, as a finishing touch to that
+panel, a very beautiful Tabernacle of the Sacrament, on the frontal of
+which he made a little shield a quarter of a braccio in length,
+containing the arms of the said owners&mdash;that is, the Ricci. And a fine
+jest it was at the opening of the chapel, for these Ricci looked for
+their arms with much ado, and finally, not being able to find them, went
+off to the Tribunal of Eight, contract in hand. Whereupon the Tornabuoni
+showed that these arms had been placed in the most conspicuous and most
+honourable part of the work; and although the others exclaimed that they
+were invisible, they were told that they were in the wrong, and that
+they must be content, since the Tornabuoni had caused them to be placed
+in so honourable a position as the neighbourhood of the most Holy
+Sacra<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>ment. And so it was decided by that tribunal that they should be
+left untouched, as they may be seen to-day. Now, if this should appear
+to anyone to be outside the scope of the Life that I have to write, let
+him not be vexed, for it all flowed naturally from the tip of my pen.
+And it should serve, if for nothing else, at least to show how easily
+poverty falls a prey to riches, and how riches, if accompanied by
+discretion, achieve without censure anything that a man desires.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-335" id="illus-335"></a>
+<img src="images/illus-335-tb.jpg" width="600" height="448" alt="DOMENICO GHIRLANDAJO: THE VISION OF S. FINA" title="" />
+<span class="caption">DOMENICO GHIRLANDAJO: THE VISION OF S. FINA<br />(<i>San Gimignano. Fresco</i>)</span>
+<br /><span class="link"><a href="images/illus-335.jpg">View larger image</a></span>
+</div>
+
+
+<p>But to return to the beautiful works of Domenico; in that chapel, first
+of all, are the four Evangelists on the vaulting, larger than life; and,
+on the window-wall, stories of S. Dominic, S. Peter Martyr, S. John
+going into the Desert, the Madonna receiving the Annunciation from the
+Angel, and many patron saints of Florence on their knees above the
+window; while at the foot, on the right hand, is a portrait from life of
+Giovanni Tornabuoni, with one of his wife on the left, which are both
+said to be very lifelike. On the right-hand wall are seven scenes&mdash;six
+below, in compartments as large as the wall allows, and the last above,
+twice as broad as any of the others and bounded by the arch of the
+vaulting; and on the left-hand wall are also seven scenes from the life
+of S. John the Baptist. The first on the right-hand wall is the
+Expulsion of Joachim from the Temple, wherein patience is depicted in
+his countenance, with that contempt and hatred in the faces of the
+others which the Jews felt for those who came to the Temple without
+having children. In this scene, in the part near the window, are four
+men portrayed from life, one of whom, old, shaven, and wearing a red
+cap, is Alesso Baldovinetti, Domenico's master in painting and in
+mosaic. Another, bareheaded, who is holding one hand on his side and is
+wearing a red mantle, with a blue garment below, is Domenico himself,
+the master of the work, who portrayed himself in a mirror. The one who
+has long black locks and thick lips is Bastiano da San Gimignano, his
+disciple and brother-in-law; and the last, who has his back turned, with
+a little cap on his head, is the painter David Ghirlandajo, his brother.
+All these are said, by those who knew them, to be truly vivid and
+lifelike portraits. In the second scene is the Nativity of Our Lady,
+executed with great diligence, and, among other notable things that he
+painted therein, there is in the<span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span> building (drawn in perspective) a
+window that gives light to the room, which deceives all who see it.
+Besides this, while S. Anna is in bed, and certain ladies are visiting
+her, he painted some women washing the Madonna with great care&mdash;one is
+getting ready the water, another is preparing the swaddling-clothes, a
+third is busy with some service, a fourth with another, and, while each
+is attending to her own duty, another woman is holding the little child
+in her arms and making her laugh by smiling at her, with a womanly grace
+truly worthy of such a work; besides many other expressions that are in
+each figure. In the third, which is above the first, is the Madonna
+ascending the steps of the Temple, with a building which recedes from
+the eye correctly enough, in addition to a nude figure that brought him
+praise at that time, when few were to be seen, although it had not that
+complete perfection which is shown by those painted in our own day, for
+those masters were not as excellent as ours. Next to this is the
+Marriage of Our Lady, wherein he represented the unbridled rage of those
+who are breaking their rods because they do not blossom like that of
+Joseph; and this scene has an abundance of figures in an appropriate
+building. In the fifth are seen the Magi arriving in Bethlehem with a
+great number of men, horses, and dromedaries, and a variety of other
+things&mdash;a scene truly well composed. Next to this is the sixth, showing
+the impious cruelty practised by Herod against the Innocents, wherein
+there is seen a most beautiful combat between women and soldiers, with
+horses that are striking and driving them about; and in truth this is
+the best of all the stories that are to be seen by his hand, for it is
+executed with judgment, intelligence, and great art. There may be seen
+therein the impious resolution of those who, at the command of Herod,
+without regard for the mothers, are slaying those poor infants, among
+which is one, still clinging to the breast, that is dying from wounds
+received in its throat, so that it is sucking, not to say drinking, as
+much blood as milk from that breast&mdash;an effect truly natural, and, being
+wrought in such a manner as it is, able to kindle a spark of pity in the
+coldest heart. There is also a soldier who has seized a child by force,
+and while he runs off with it, pressing it against his breast to kill
+it, the mother is seen hanging from his hair in<span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span> the utmost fury, and
+forcing him to bend his back in the form of an arch, so that three very
+beautiful effects are shown among them&mdash;one in the death of the child,
+which is seen expiring; the second in the impious rage of the soldier,
+who, feeling himself drawn backwards so strangely, is shown in the act
+of avenging himself on the child; and the third is that the mother,
+seeing the death of her babe, is seeking with fury, grief, and disdain
+to prevent the villain from going off scathless; and the whole is truly
+more the work of a philosopher admirable in judgment than of a painter.
+There are many other emotions depicted, which will demonstrate to him
+who studies them that this man was without doubt an excellent master in
+his time. Above this, in the seventh scene, which embraces the space of
+two, and is bounded by the arch of the vaulting, are the Death and the
+Assumption of Our Lady, with an infinite number of angels, and
+innumerable figures, landscapes, and other ornaments, of which he used
+to paint an abundance in his facile and practised manner.</p>
+
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-339" id="illus-339"></a>
+<img src="images/illus-339-tb.jpg" width="600" height="424" alt="THE BIRTH OF S. JOHN THE BAPTIST" title="" />
+<span class="caption">THE BIRTH OF S. JOHN THE BAPTIST<br />(<i>After the fresco by</i> Domenico Ghirlandajo. <i>Florence: S. Maria
+Novella</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-339.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>On the other wall are stories of S. John, and in the first is Zacharias
+sacrificing in the Temple, when the Angel appears to him and makes him
+dumb for his unbelief. In this scene, showing how sacrifices in temples
+are ever attended by a throng of the most distinguished men, and wishing
+to make it as honourable as he was able, he portrayed a good number of
+the Florentine citizens who then governed that State, particularly all
+those of the house of Tornabuoni, both young and old. Besides this, in
+order to show that his age was rich in every sort of talent, above all
+in learning, he made a group of four half-length figures conversing
+together at the foot of the scene, representing the most learned men
+then to be found in Florence. The first of these, who is wearing the
+dress of a Canon, is Messer Marsilio Ficino; the second, in a red
+mantle, with a black band round his neck, is Cristofano Landino; the
+figure turning towards him is Demetrius the Greek; and he who is
+standing between them, with one hand slightly raised, is Messer Angelo
+Poliziano; and all are very lifelike and vivacious. In the second scene,
+next to this, there follows the Visitation of Our Lady to S. Elizabeth,
+with a company of many women dressed in costumes of those times, among
+whom is a portrait of Ginevra de' Benci, then a most beautiful maiden.
+In the<span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span> third, above the first, is the birth of S. John, wherein there
+is a very beautiful scene, for while S. Elizabeth is lying in bed, and
+certain neighbours come to see her, and the nurse is seated suckling the
+infant, one woman is joyfully demanding it from her, that she may show
+to the others what an unexampled feat the mistress of the house has
+performed in her old age. Finally, there is a woman, who is very
+beautiful, bringing fruits and flasks from the country, according to the
+Florentine custom. In the fourth scene, next to this, is Zacharias,
+still dumb, marvelling&mdash;but with undaunted heart&mdash;that this child should
+have been born to him; and while they keep asking him about the name, he
+is writing on his knee, with his eyes fixed on his son, whom a woman who
+has knelt down before him is holding reverently in her arms, and he is
+tracing with his pen on the paper, "John shall be his name," to the no
+little marvel of many other figures, who appear to be in doubt whether
+the thing be true or not. There follows in the fifth his preaching to
+the multitude, in which scene there is shown that attention which the
+populace ever gives when hearing new things, particularly in the heads
+of the Scribes, who, while listening to John, appear from a certain
+expression of countenance to be deriding his law, and even to hate it;
+and there are seen many men and women, variously attired, both standing
+and seated. In the sixth S. John is seen baptizing Christ, in whose
+reverent expression Domenico showed very clearly the faith that should
+be placed in such a Sacrament. And since this did not fail to achieve a
+very great effect, he depicted many already naked and barefooted,
+waiting to be baptized, and revealing faith and willingness carved in
+their faces; and one among them, who is taking off his shoe, personifies
+readiness itself. In the last, which is in the arch next to the
+vaulting, are the sumptuous Feast of Herod and the Dance of Herodias,
+with an infinite number of servants performing various services in that
+scene; not to mention the grandeur of an edifice drawn in perspective,
+which proves the talent of Domenico no less clearly than do the other
+pictures.</p>
+
+<p>The panel, which stands by itself, he executed in distemper, as he did
+the other figures in the six pictures. Besides the Madonna, who is
+seated in the sky with the Child in her arms, and the other saints<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> who
+are round her, there are S. Laurence and S. Stephen, who are absolutely
+alive, with S. Vincent and S. Peter Martyr, who lack nothing save
+speech. It is true that a part of this panel remained unfinished in
+consequence of his death; but he had carried it so far on that there was
+nothing left to complete save certain figures on the back, where there
+is the Resurrection of Christ, with three figures in the other pictures,
+and the whole was afterwards finished by Benedetto and David
+Ghirlandajo, his brothers. This chapel was held to be a very beautiful
+work, grand, ornate, and lovely, through the vivacity of the colours,
+through the masterly finish in their application on the walls, and
+because very little retouching was done on the dry, not to mention the
+invention and the composition of the subjects. And in truth Domenico
+deserves the greatest praise on all accounts, particularly for the
+liveliness of the heads, which, being portrayed from nature, present to
+every eye most lifelike effigies of many distinguished persons.</p>
+
+<p>For the same Giovanni Tornabuoni, at his Villa of Casso Maccherelli,
+which stands on the River Terzolle at no great distance from the city,
+he painted a chapel which has since been half destroyed through being
+too near to the river; but the paintings, although they have been
+uncovered for many years, continually washed by rain and scorched by the
+sun, have remained so fresh that one might think they had been
+covered&mdash;so great is the value of working in fresco, when the work is
+done with care and judgment and not retouched on the dry. He also made
+many figures of Florentine Saints, with most beautiful adornments, in
+that hall of the Palace of the Signoria which contains the marvellous
+clock of Lorenzo della Volpaia. And so great was his love of working and
+of giving satisfaction to all, that he commanded his lads to accept any
+work that might be brought to his shop, even hoops for women's baskets,
+saying that if they would not do them he would paint them himself, to
+the end that none might leave the shop unsatisfied. But when household
+cares fell upon him he was troubled, and he therefore laid the charge of
+all expenditure on his brother David, saying to him, "Leave me to work,
+and do thou provide, for now that I have begun to understand the methods
+of this art, it grieves me that they will not commission<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span> me to paint
+the whole circuit of the walls of the city of Florence with stories";
+thus revealing a spirit absolutely invincible and resolute in every
+action.</p>
+
+<p>For S. Martino in Lucca he painted S. Peter and S. Paul on a panel. In
+the Abbey of Settimo, without Florence, he painted the wall of the
+principal chapel in fresco, with two panels in distemper in the
+tramezzo<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> of the church. In Florence, also, he executed many
+pictures, round, square, and of other kinds, which can only be seen in
+the houses of individual citizens. In Pisa he painted the recess behind
+the high-altar of the Duomo, and he worked in many parts of that city,
+painting, for example, on the front wall of the Office of Works, a scene
+of King Charles, portrayed from life, making supplication for Pisa; and
+two panels in distemper, that of the high-altar and another, for the
+Frati Gesuati in S. Girolamo. In that place there is also a picture of
+S. Rocco and S. Sebastian by the hand of the same man, which was given
+by one or other of the Medici to those fathers, who have therefore added
+to it the arms of Pope Leo X.</p>
+
+<p>He is said to have been so accurate in draughtsmanship, that, when
+making drawings of the antiquities of Rome, such as arches, baths,
+columns, colossea, obelisks, amphitheatres, and aqueducts, he would work
+with the eye alone, without rule, compasses, or measurements; and after
+he had made them, on being measured, they were found absolutely correct,
+as if he had used measurements. He drew the Colosseum by the eye,
+placing at the foot of it a figure standing upright, from the
+proportions of which the whole edifice could be measured; this was tried
+by some masters after his death, and found quite correct.</p>
+
+<p>Over a door of the cemetery of S. Maria Nuova he painted a S. Michael in
+fresco, clad in armour which reflects the light most beautifully&mdash;a
+thing seldom done before his day. At the Abbey of Passignano, a seat of
+the Monks of Vallombrosa, he wrought certain works in company with his
+brother David and Bastiano da San Gimignano. Here the two others,
+finding themselves poorly fed by the monks before the arrival of
+Domenico, complained to the Abbot, praying him to have them better<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span>
+served, since it was not right that they should be treated like
+bricklayers' labourers. This the Abbot promised to do, saying in excuse
+that it was due more to the ignorance of the monks who looked after
+strangers than to malice. Domenico arrived, but everything continued
+just the same; whereupon David, seeking out the Abbot once again,
+declared with due apologies that he was not doing this for his own sake
+but on account of the merits and talents of his brother. But the Abbot,
+like the ignorant man that he was, made no other answer. That evening,
+then, when they had sat down to supper, up came the stranger's steward
+with a board covered with bowls and messes only fit for a hangman,
+exactly the same as before. Thereupon David, flying into a rage, upset
+the soup over the friar, and, seizing the loaf that was on the table,
+fell upon him with it and belaboured him in such a manner that he was
+carried away to his cell more dead than alive. The Abbot, who was
+already in bed, got up and ran to the noise, believing that the
+monastery was tumbling down; and finding the friar in a sorry plight, he
+began to upbraid David. Enraged by this, David bade him be gone out of
+his sight, saying that the talent of Domenico was worth more than all
+the pigs of Abbots like him that had ever lived in that monastery.
+Whereupon the Abbot, seeing himself in the wrong, did his utmost from
+that time onwards to treat them like the important men that they were.</p>
+
+<p>This work finished, Domenico returned to Florence, where he painted a
+panel for Signor di Carpi, sending another to Rimini for Signor Carlo
+Malatesta, who had it placed in his chapel in S. Domenico. The latter
+panel was in distemper, with three very beautiful figures, and with
+little scenes below; and behind were figures painted to look like
+bronze, with very great design and art. Besides these, he painted two
+panels for the Abbey of S. Giusto, a seat of the Order of Camaldoli,
+without Volterra; these panels, which are wondrously beautiful, he
+executed at the order of the Magnificent Lorenzo de' Medici, for the
+reason that the abbey was then held "in commendam" by his son Cardinal
+Giovanni de' Medici, who was afterwards Pope Leo. This abbey was
+restored not many years ago by the Very Reverend Messer Giovan Batista
+Bava of Volterra, who likewise held it "in commendam," to the said
+Congregation of Camaldoli.<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span></p>
+
+<p>Being then summoned to Siena through the agency of the Magnificent
+Lorenzo de' Medici, Domenico undertook to adorn the fa&ccedil;ade of the Duomo
+with mosaics, Lorenzo acting as surety for him in this work to the
+extent of 20,000 ducats. And he began the work with much confidence and
+a better manner, but, being overtaken by death, he left it unfinished;
+even as, by reason of the death of the aforesaid Magnificent Lorenzo,
+there remained unfinished at Florence the Chapel of S. Zanobi, on which
+Domenico had begun to work in mosaic in company with the illuminator
+Gherardo. By the hand of Domenico is a very beautiful Annunciation in
+mosaic that is to be seen over that side-door of S. Maria del Fiore
+which leads to the Servi; and nothing better than this has yet been seen
+among the works of our modern masters of mosaic. Domenico used to say
+that painting was mere drawing, and that the true painting for eternity
+was mosaic.</p>
+
+<p>A pupil of his, who lived with him in order to learn, was Bastiano
+Mainardi da San Gimignano, who became a very able master of his manner
+in fresco; wherefore he went with Domenico to San Gimignano, where they
+painted in company the Chapel of S. Fina, which is a beautiful work. Now
+the faithful and willing service of Bastiano, who acquitted himself very
+well, induced Domenico to judge him worthy to have a sister of his own
+for wife; and so their friendship was changed into relationship&mdash;a proof
+of liberality worthy of a loving master, who was pleased to reward the
+proficiency that his disciple had acquired by labouring at his art.
+Domenico caused the said Bastiano to paint a Madonna ascending into
+Heaven in the Chapel of the Baroncelli and Bandini in S. Croce (although
+he made the cartoon himself), with S. Thomas below receiving the
+Girdle&mdash;a beautiful work in fresco. In Siena, in an apartment of the
+Palace of the Spannocchi, Domenico and Bastiano together painted many
+scenes in distemper, with little figures; and in Pisa, in addition to
+the aforesaid recess in the Duomo, they filled the whole arch of that
+chapel with angels, besides painting the folding doors that close the
+organ, and beginning to overlay the ceiling with gold. Afterwards, just
+when Domenico was about to put his hand to some very great works both in
+Pisa and in Siena, he fell sick of a most<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span> grievous putrid fever,
+which cut short his life in five days. As he lay ill, the Tornabuoni
+sent him a hundred ducats of gold as a gift, proving their regard and
+particular friendship for Domenico in return for his unceasing labours
+in the service of Giovanni and of his house. Domenico lived forty-four
+years, and he was buried with beautiful obsequies in S. Maria Novella by
+his brothers David and Benedetto and his son Ridolfo, amid much weeping
+and sorrowful regrets. The loss of so great a man was a great grief to
+his friends; and many excellent foreign painters, hearing that he was
+dead, wrote to his relatives lamenting his most untimely death. The
+disciples that he left were David and Benedetto Ghirlandajo, Bastiano
+Mainardi da San Gimignano, the Florentine Michelagnolo Buonarroti,
+Francesco Granaccio, Niccol&ograve; Cieco, Jacopo del Tedesco, Jacopo dell'
+Indaco, Baldino Baldinelli, and other masters, all Florentines. He died
+in 1495.</p>
+
+<div class="figcenter" style="width: 448px;">
+<a name="illus-347" id="illus-347"></a>
+<img src="images/illus-347-tb.jpg" width="448" height="600" alt="THE MADONNA GIVING THE GIRDLE TO S. THOMAS" title="" />
+<span class="caption">THE MADONNA GIVING THE GIRDLE TO S. THOMAS<br />
+(<i>After the panel by</i> Bastiano Mainardi. <i>Florence: S. Croce</i>)<br /><i>Brogi</i></span>
+<br /><span class="link"><a href="images/illus-347.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span></p>
+
+<p>Domenico enriched the art of painting by working in mosaic with a manner
+more modern than was shown by any of the innumerable Tuscans who essayed
+it, as is proved by the works that he wrought, few though they may be.
+Wherefore he has deserved to be held in honour and esteem for such rich
+and undying benefits to art, and to be celebrated with extraordinary
+praises after his death.<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span></p><p><br /><span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span></p>
+<h2><br /><br />ANTONIO AND PIERO POLLAIUOLO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIVES_OF_ANTONIO_AND_PIERO_POLLAIUOLO" id="LIVES_OF_ANTONIO_AND_PIERO_POLLAIUOLO"></a>LIVES OF ANTONIO AND PIERO POLLAIUOLO</h2>
+
+<h3>PAINTERS AND SCULPTORS OF FLORENCE</h3>
+
+
+<p>Many men begin in a humble spirit with unimportant works, who, gaining
+courage from proficiency, grow also in power and ability, in such a
+manner that they aspire to greater undertakings and almost reach Heaven
+with their beautiful thoughts. Raised by fortune, they very often chance
+upon some liberal Prince, who, finding himself well served by them, is
+forced to remunerate their labours so richly that their descendants
+derive great benefits and advantages from them. Wherefore such men walk
+through this life to the end with so much glory, that they leave
+marvellous memorials of themselves to the world, as did Antonio and
+Piero del Pollaiuolo, who were greatly esteemed in their day for the
+rare acquirements that they had made with their industry and labour.</p>
+
+<p>These men were born in the city of Florence, one no long time after the
+other, from a father of humble station and no great wealth, who,
+recognizing by many signs the good and acute intelligence of his sons,
+but not having the means to educate them in letters, apprenticed Antonio
+to the goldsmith's art under Bartoluccio Ghiberti, a very excellent
+master in that calling at that time; and Piero he placed under Andrea
+dal Castagno, who was then the best painter in Florence, to learn
+painting. Antonio, then, being pushed on by Bartoluccio, not only learnt
+to set jewels and to fire enamels on silver, but was also held the best
+master of the tools of that art. Wherefore Lorenzo Ghiberti, who was
+then working on the doors of S. Giovanni, having observed the manner of
+Antonio, called him into that work in company with many other young men,
+and set him to labour on one of the festoons which he then had in hand.</p>
+
+<p>On this Antonio made a quail which is still in existence, so beautiful
+and<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span> so perfect that it lacks nothing but the power of flight. Antonio,
+therefore, had not spent many weeks over this work before he was known
+as the best, both in design and in patient execution, of all those who
+were working there, and as more gifted and more diligent than any other.
+Whereupon, growing ever both in ability and in fame, he left Bartoluccio
+and Lorenzo, and opened a fine and magnificent goldsmith's shop for
+himself in the Mercato Nuovo in that city. And for many years he
+followed that art, never ceasing to make new designs, and executing in
+relief wax candles and other things of fancy, which in a short time
+caused him to be held&mdash;as he was&mdash;the first master of his calling.</p>
+
+<p>There lived at the same time another goldsmith called Maso Finiguerra,
+who had an extraordinary fame, and deservedly, since there had never
+been seen any master of engraving and of niello who could make so great
+a number of figures as he could, whether in a small or in a large space;
+as is still proved by certain paxes in the Church of S. Giovanni in
+Florence, wrought by him with most minutely elaborated stories from the
+Passion of Christ. This man drew very well and in abundance, and in our
+book are many of his drawings of figures, both draped and nude, and
+scenes done in water-colour. In competition with him Antonio executed
+certain scenes, in which he equalled him in diligence and surpassed him
+in design; wherefore the Consuls of the Guild of Merchants, seeing the
+excellence of Antonio, and remembering that there were certain scenes in
+silver to be wrought for the altar of S. Giovanni, such as it had ever
+been the custom for various masters to make at different times,
+determined among themselves that Antonio also should make some. This
+came to pass; and his works turned out so excellent, that they are
+recognized as the best among them all. These were the Feast of Herod and
+the Dance of Herodias; but more beautiful than anything else was the S.
+John that is in the middle of the altar, a work wrought wholly with the
+chasing-tool, and much extolled. For this reason he was commissioned by
+the said Consuls to make the candelabra of silver, each three braccia in
+height, and the Cross in proportion; which work he brought to such
+perfection, with such an abundance of carving, that it has ever been
+esteemed a marvellous thing both by foreigners and by his countrymen.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-355" id="illus-355"></a>
+<img src="images/illus-355-tb.jpg" width="600" height="589" alt="SS. EUSTACE, JAMES, AND VINCENT" title="" />
+<span class="caption">SS. EUSTACE, JAMES, AND VINCENT<br />(<i>After the panel by</i> Piero Pollaiuolo. <i>Florence: Uffizi, 1301</i>)<br />
+<i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-355.jpg">View larger image</a></span>
+</div>
+
+
+<p><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span></p>
+
+<p>In this calling he took infinite pains, both with the works that he
+executed in gold and with those in enamel and silver. Among these are
+some very beautiful paxes in S. Giovanni, coloured by the action of
+fire, which are such that they could be scarcely improved with the
+brush; and some of his marvellous enamels may be seen in other churches
+in Florence, Rome, and other parts of Italy.</p>
+
+<p>He taught this art to the Florentine Mazzingo and to Giuliano del
+Facchino, both passing good masters, and to Giovanni Turini of Siena,
+who surpassed these his companions considerably in that profession, in
+which, from Antonio di Salvi&mdash;who made many good works, such as a large
+silver Cross for the Badia of Florence, and other things&mdash;to our own
+day, there has been nothing done than can be held in particular account.
+But of his works and of those of the Pollaiuoli many have been destroyed
+and melted down to meet the necessities of the city in times of war.</p>
+
+<p>For this reason, recognizing that this art gave no long life to the
+labours of its craftsmen, and desiring to gain a more lasting memory,
+Antonio resolved to pursue it no longer. And so, his brother Piero being
+a painter, he associated himself with him in order to learn the methods
+of handling and using colours; but it appeared to him an art so
+different from the goldsmith's, that, if he had not been so hasty in
+resolving to abandon his own art entirely, it might well have been that
+he would never have brought himself to turn to the other. However,
+spurred by fear of shame rather than by hope of profit, in a few months
+he acquired a practical knowledge of colouring and became an excellent
+master. He associated himself entirely with Piero, and they made many
+pictures in company; among others, since they took great delight in
+colour, a panel in oil in S. Miniato al Monte without Florence, for the
+Cardinal of Portugal. On this panel, which was placed on the altar of
+his chapel, they painted S. James the Apostle, S. Eustace, and S.
+Vincent, which have been much extolled. Piero, in particular, painted
+certain prophets on the wall in oil (a method that he had learnt from
+Andrea dal Castagno), in the corners of the angles below the architrave,
+where the lunettes of the arches run; and in one of the lunettes he
+painted the Virgin receiving<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span> the Annunciation, with three figures. For
+the Capitani di Parte he painted a Madonna with the Child in her arms in
+a lunette, with a frieze of seraphim all round, also wrought in oil.
+They also painted in oil, on canvas, on a pilaster of S. Michele in
+Orto, an Angel Raphael with Tobias; and they made certain Virtues in the
+Mercatanzia of Florence, in the very place where that Tribunal holds its
+sittings. In the Proconsulate Antonio made portraits from life of Messer
+Poggio, Secretary to the Signoria of Florence, who continued the History
+of Florence after Messer Leonardo d'Arezzo, and of Messer Giannozzo
+Manetti, a man of no small learning and repute, in the same place where
+other masters some time before had made portraits of Zanobi da Strada, a
+poet of Florence, Donato Acciaiuoli, and others. In the Chapel of the
+Pucci, in S. Sebastiano de' Servi, he painted the panel of the altar,
+which is a rare and excellent work, containing marvellous horses, nudes,
+and very beautiful figures in foreshortening, and S. Sebastian himself
+portrayed from life&mdash;namely, from Gino di Lodovico Capponi. This work
+received greater praise than any other that Antonio ever made, since,
+seeking to imitate nature to the utmost of his power, he showed in one
+of the archers, who is resting his cross-bow against his chest and
+bending down to the ground in order to load it, all the force that a man
+of strong arm can exert in loading that weapon, for we see his veins and
+muscles swelling, and the man himself holding his breath in order to
+gain more strength. Nor is this the only figure wrought with careful
+consideration, for all the others in their various attitudes also
+demonstrate clearly enough the thought and the intelligence that he put
+into this work, which was certainly appreciated by Antonio Pucci, who
+gave him 300 crowns for it, declaring that he was barely paying him for
+the colours. It was finished in the year 1475.</p>
+
+
+<div class="figcenter" style="width: 417px;">
+<a name="illus-359" id="illus-359"></a>
+<img src="images/illus-359-tb.jpg" width="417" height="600" alt="ANTONIO POLLAIUOLO: DAVID VICTOR" title="" />
+<span class="caption">ANTONIO POLLAIUOLO: DAVID VICTOR<br />(<i>Berlin: Kaiser Friedrich Museum, 73A. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-359.jpg">View larger image</a></span>
+</div>
+
+<p>Gaining courage from this, therefore, he painted at S. Miniato fra le
+Torri, without the Gate, a S. Cristopher ten braccia in height, a very
+beautiful work executed in a modern manner, the figure being better
+proportioned than any other of that size that had been made up to that
+time. He then made a Crucifix with S. Antonino, on canvas, which was
+placed in the<span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span> chapel of that Saint in S. Marco. In the Palace of the
+Signoria of Florence, at the Porta della Catena, he made a S. John the
+Baptist; and in the house of the Medici he painted for the elder Lorenzo
+three figures of Hercules in three pictures, each five braccia in
+height. The first of these, which is slaying Antaeus, is a very
+beautiful figure, in which the strength of Hercules as he crushes the
+other is seen most vividly, for the muscles and nerves of that figure
+are all strained in the struggle to destroy Antaeus. The head of
+Hercules shows the gnashing of the teeth so well in harmony with the
+other parts, that even the toes of his feet are raised in the effort.
+Nor did he take less pains with Antaeus, who, crushed in the arms of
+Hercules, is seen sinking and losing all his strength, and giving up his
+breath through his open mouth. The second Hercules, who is slaying the
+Lion, has the left knee pressed against its chest, and, setting his
+teeth and extending his arms, and grasping the Lion's jaws with both his
+hands, he is opening them and rending them asunder by main force,
+although the beast is tearing his arms grievously with its claws in
+self-defence. The third picture, wherein Hercules is slaying the Hydra,
+is something truly marvellous, particularly the serpent, which he made
+so lively and so natural in colouring that nothing could be made more
+life-like. In that beast are seen venom, fire, ferocity, rage, and such
+vivacity, that he deserves to be celebrated and to be closely imitated
+in this by all good craftsmen.</p>
+
+<p>For the Company of S. Angelo in Arezzo he executed an oil-painting on
+cloth, with a Crucifix on one side, and on the other S. Michael in
+combat with the Dragon, as beautiful as any work that there is to be
+seen by his hand; for the figure of S. Michael, who is bravely
+confronting the Dragon, setting his teeth and knitting his brows, truly
+seems to have descended from Heaven in order to effect the vengeance of
+God against the pride of Lucifer, and it is indeed a marvellous work. He
+had a more modern grasp of the nude than the masters before his day, and
+he dissected many bodies in order to study their anatomy. He was the
+first to demonstrate the method of searching out the muscles, in order
+that they might have their due form and place in his figures, and he
+engraved on copper a battle of nude figures all girt round with a chain;
+and after this one he<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> made other engravings, with much better
+workmanship than had been shown by the other masters who had lived
+before him.</p>
+
+<p>For these reasons, then, he became famous among craftsmen, and after the
+death of Pope Sixtus IV he was summoned by his successor, Pope Innocent,
+to Rome, where he made a tomb of metal for the said Innocent, wherein he
+portrayed him from nature, seated in the attitude of giving the
+Benediction; and this was placed in S. Pietro. That of the said Pope
+Sixtus, which was finished at very great cost, was placed in the chapel
+that is called by the name of that Pontiff. It stands quite by itself,
+with very rich adornments, and on it there lies an excellent figure of
+the Pope; and the tomb of Innocent stands in S. Pietro, beside the
+chapel that contains the Lance of Christ. It is said that the same man
+designed the Palace of the Belvedere for the said Pope Innocent,
+although, since he had little experience of building, it was erected by
+others. Finally, after becoming rich, these two brothers died almost at
+the same time in 1498, and were buried by their relatives in S. Pietro
+in Vincula; and in memory of them, beside the middle door, on the left
+as one enters into the church, there were placed two medallions of
+marble with their portraits and with the following epitaph:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">ANTONIUS PULLARIUS PATRIA FLORENTINUS, PICTOR INSIGNIS, QUI</span><br />
+<span style="margin-left: 1.5em;">DUORUM PONTIF. XISTI ET INNOCENTII &AElig;REA MONIMENTA MIRO OPIFIC.</span><br />
+<span style="margin-left: 1.5em;">EXPRESSIT, RE FAMIL. COMPOSITA EX TEST. HIC SE CUM PETRO FRATRE</span><br />
+<span style="margin-left: 1.5em;">CONDI VOLUIT. VIX. AN. LXXII. OBIIT ANNO SAL. MIID.</span><br />
+</p>
+
+<p>The same man made a very beautiful battle of nude figures in low-relief
+and of metal, which went to Spain; of this every craftsman in Florence
+has a plaster cast. And after his death there were found the design and
+model that he had made at the command of Lodovico Sforza for the
+equestrian statue of Francesco Sforza, Duke of Milan, of which design
+there are two forms in our book; in one the Duke has Verona beneath him,
+and in the other he is on a pedestal covered with battle pieces, in full
+armour, and forcing his horse to leap on a man in armour. But the reason
+why he did not put these designs into execution I have not yet been able
+to discover. The same man made some very beautiful medals; among others,
+one representing the conspiracy of the Pazzi,<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span> containing on one
+side the heads of Lorenzo and Giuliano de' Medici, and on the reverse
+the choir of S. Maria del Fiore, with the whole event exactly as it
+happened. He also made the medals of certain Pontiffs, and many other
+things that are known to craftsmen.</p>
+
+<div class="figcenter" style="width: 428px;">
+<a name="illus-363" id="illus-363"></a>
+<img src="images/illus-363-tb.jpg" width="428" height="600" alt="THE MARTYRDOM OF S. SEBASTIAN" title="" />
+<span class="caption">THE MARTYRDOM OF S. SEBASTIAN<br />(<i>After the panel by</i> Antonio Pollaiuolo. <i>London: National Gallery,
+292</i>)<br />
+<i>Mansell</i></span>
+<br /><span class="link"><a href="images/illus-363.jpg">View larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="illus-365" id="illus-365"></a>
+<img src="images/illus-365-tb.jpg" width="650" height="380" alt="TOMB OF POPE SIXTUS IV" title="" />
+<span class="caption">TOMB OF POPE SIXTUS IV<br />(<i>After</i> Antonio Pollaiuolo. <i>Rome: S. Peter's</i>)<br />
+<i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-365.jpg">View larger image</a></span>
+</div>
+
+
+<p>Antonio was seventy-two years of age when he died, and Piero sixty-five.
+The former left many disciples, among whom was Andrea Sansovino. Antonio
+had a most fortunate life in his day, finding rich Pontiffs, and his own
+city at the height of its greatness and delighting in talent, wherefore
+he was much esteemed; whereas, if he had chanced to live in an
+unfavourable age, he would not have produced such fruits as he did,
+since troublous times are deadly enemies to the sciences in which men
+labour and take delight.</p>
+<p><span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span></p>
+<p>For S. Giovanni in Florence, after the design of this man, there were
+made two dalmatics, a chasuble, and a cope, of double brocade, all woven
+in one piece without a single seam; and for these, as borders and
+ornaments, there were embroidered the stories of the life of S. John,
+with most delicate workmanship and art, by Paolo da Verona, a divine
+master of that profession and rare in intelligence beyond all others,
+who executed the figures no less well with the needle than Antonio would
+have done them with his brush; wherefore we owe no small obligation to
+the one for his design and to the other for his patience in embroidering
+it. This work took twenty-six years to complete; but of these
+embroideries, which, being made with the close stitch, are not only more
+durable but also seem like a real painting done with the brush, the good
+method is now all but lost, since we now use a more open stitch, which
+is less durable and less lovely to the eye.<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span></p><p><br /><span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span></p>
+<h2><br /><br />SANDRO BOTTICELLI<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_SANDRO_BOTTICELLI" id="LIFE_OF_SANDRO_BOTTICELLI"></a>LIFE OF SANDRO BOTTICELLI</h2>
+
+<h3>[<i>ALESSANDRO FILIPEPI OR SANDRO DI BOTTICELLO</i>]</h3>
+
+<h3>PAINTER OF FLORENCE</h3>
+
+
+<p>At the same time with the elder Lorenzo de' Medici, the Magnificent,
+which was truly a golden age for men of intellect, there also flourished
+one Alessandro, called Sandro after our custom, and surnamed Di
+Botticello for a reason that we shall see below. This man was the son of
+Mariano Filipepi, a citizen of Florence, who brought him up with care,
+and had him instructed in all those things that are usually taught to
+children before they are old enough to be apprenticed to some calling.
+But although he found it easy to learn whatever he wished, nevertheless
+he was ever restless, nor was he contented with any form of learning,
+whether reading, writing, or arithmetic, insomuch that his father, weary
+of the vagaries of his son's brain, in despair apprenticed him as a
+goldsmith with a boon-companion of his own, called Botticello, no mean
+master of that art in his day.</p>
+
+<p>Now in that age there was a very close connection&mdash;nay, almost a
+constant intercourse&mdash;between the goldsmiths and the painters; wherefore
+Sandro, who was a ready fellow and had devoted himself wholly to design,
+became enamoured of painting, and determined to devote himself to that.
+For this reason he spoke out his mind freely to his father, who,
+recognizing the inclination of his brain, took him to Fra Filippo of the
+Carmine, a most excellent painter of that time, with whom he placed him
+to learn the art, according to Sandro's own desire. Thereupon, devoting
+himself heart and soul to that art, Sandro followed and imitated his
+master so well that Fra Filippo, growing to love him, taught him very
+thoroughly, so that he soon rose to such a rank as none would have
+expected for him.<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span></p>
+
+<p>While still quite young, he painted a figure of Fortitude in the
+Mercatanzia of Florence, among the pictures of Virtues that were wrought
+by Antonio and Piero del Pollaiuolo. For the Chapel of the Bardi in S.
+Spirito at Florence he painted a panel, wrought with diligence and
+brought to a fine completion, which contains certain olive-trees and
+palms executed with consummate lovingness. He painted a panel for the
+Convertite Nuns, and another for those of S. Barnaba. In the
+tramezzo<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> of the Ognissanti, by the door that leads into the choir,
+he painted for the Vespucci a S. Augustine in fresco, with which he took
+very great pains, seeking to surpass all the painters of his time, and
+particularly Domenico Ghirlandajo, who had made a S. Jerome on the other
+side; and this work won very great praise, for in the head of that Saint
+he depicted the profound meditation and acute subtlety that are found in
+men of wisdom who are ever concentrated on the investigation of the
+highest and most difficult matters. This picture, as was said in the
+Life of Ghirlandajo, has this year (1564) been removed safe and sound
+from its original position.</p>
+
+<p>Having thus come into credit and reputation, he was commissioned by the
+Guild of Porta Santa Maria to paint in S. Marco a panel with the
+Coronation of Our Lady and a choir of angels, which he designed and
+executed very well. He made many works in the house of the Medici for
+the elder Lorenzo, particularly a Pallas on a device of great branches,
+which spouted forth fire: this he painted of the size of life, as he did
+a S. Sebastian. In S. Maria Maggiore in Florence, beside the Chapel of
+the Panciatichi, there is a very beautiful Piet&agrave; with little figures.
+For various houses throughout the city he painted round pictures, and
+many female nudes, of which there are still two at Castello, a villa of
+Duke Cosimo's; one representing the birth of Venus, with those Winds and
+Zephyrs that bring her to the earth, with the Cupids; and likewise
+another Venus, whom the Graces are covering with flowers, as a symbol of
+spring; and all this he is seen to have expressed very gracefully. Round
+an apartment of the house of Giovanni Vespucci, now belonging to Piero
+Salviati, in the Via de' Servi, he made many pictures which were<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span>
+enclosed by frames of walnut-wood, by way of ornament and panelling,
+with many most lively and beautiful figures. In the house of the Pucci,
+likewise, he painted with little figures Boccaccio's tale of Nastagio
+degli Onesti in four square pictures of most charming and beautiful
+workmanship, and the Epiphany in a round picture. For a chapel in the
+Monastery of Cestello he painted an Annunciation on a panel. Near the
+side-door of S. Pietro Maggiore, for Matteo Palmieri, he painted a panel
+with an infinite number of figures&mdash;namely, the Assumption of Our Lady,
+with the zones of Heaven as they are represented, and the Patriarchs,
+the Prophets, the Apostles, the Evangelists, the Martyrs, the
+Confessors, the Doctors, the Virgins, and the Hierarchies; all from the
+design given to him by Matteo, who was a learned and able man. This work
+he painted with mastery and consummate diligence; and at the foot is a
+portrait of Matteo on his knees, with that of his wife. But for all that
+the work is most beautiful, and should have silenced envy, nevertheless
+there were certain malignant slanderers who, not being able to do it any
+other damage, said that both Matteo and Sandro had committed therein the
+grievous sin of heresy. As to whether this be true or false, I cannot be
+expected to judge; it is enough that the figures painted therein by
+Sandro are truly worthy of praise, by reason of the pains that he took
+in drawing the zones of Heaven and in the distribution of figures,
+angels, foreshortenings, and views, all varied in diverse ways, the
+whole being executed with good design.</p>
+
+<div class="figcenter" style="width: 421px;">
+<a name="illus-373" id="illus-373"></a>
+<img src="images/illus-373-tb.jpg" width="421" height="600" alt="SANDRO BOTTICELLI: PALLAS AND THE CENTAUR" title="" />
+<span class="caption">SANDRO BOTTICELLI: PALLAS AND THE CENTAUR<br />(<i>Florence: Pitti Palace, Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-373.jpg">View larger image</a></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-375" id="illus-375"></a>
+<img src="images/illus-375-tb.jpg" width="600" height="428" alt="SANDRO BOTTICELLI: GIOVANNA TORNABUONI AND THE GRACES" title="" />
+<span class="caption">SANDRO BOTTICELLI: GIOVANNA TORNABUONI AND THE GRACES<br />(<i>Paris: Louvre, 1297. Fresco</i>)</span>
+<br /><span class="link"><a href="images/illus-375.jpg">View larger image</a></span>
+</div>
+
+
+<p>At this time Sandro was commissioned to paint a little panel with
+figures three-quarters of a braccio in length, which was placed between
+two doors in the principal fa&ccedil;ade of S. Maria Novella, on the left as
+one enters the church by the door in the centre. It contains the
+Adoration of the Magi, and wonderful feeling is seen in the first old
+man, who, kissing the foot of Our Lord, and melting with tenderness,
+shows very clearly that he has achieved the end of his long journey. The
+figure of this King is an actual portrait of the elder Cosimo de'
+Medici, the most lifelike and most natural that is to be found of him in
+our own day. The second, who is Giuliano de' Medici, father of Pope
+Clement VII, is seen devoutly doing reverence to the Child with a most
+intent expression, and presenting<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> Him with his offering. The third,
+also on his knees, appears to be adoring Him and giving Him thanks,
+while confessing that He is the true Messiah; this is Giovanni, son of
+Cosimo.</p>
+
+<p>It is not possible to describe the beauty that Sandro depicted in the
+heads that are therein seen, which are drawn in various attitudes, some
+in full face, some in profile, some in three-quarter face, others
+bending down, and others, again, in various manners; with different
+expressions for the young and the old, and with all the bizarre effects
+that reveal to us the perfection of his skill; and he distinguished the
+Courts of the three Kings one from another, insomuch that one can see
+which are the retainers of each. This is truly a most admirable work,
+and executed so beautifully, whether in colouring, drawing, or
+composition, that every craftsman at the present day stands in a marvel
+thereat. And at that time it brought him such great fame, both in
+Florence and abroad, that Pope Sixtus IV, having accomplished the
+building of the chapel of his palace in Rome, and wishing to have it
+painted, ordained that he should be made head of that work; whereupon he
+painted therein with his own hand the following scenes&mdash;namely, the
+Temptation of Christ by the Devil, Moses slaying the Egyptian, Moses
+receiving drink from the daughters of Jethro the Midianite, and likewise
+fire descending from Heaven on the sacrifice of the sons of Aaron, with
+certain Sanctified Popes in the niches above the scenes. Having
+therefore acquired still greater fame and reputation among the great
+number of competitors who worked with him, both Florentines and men of
+other cities, he received from the Pope a good sum of money, the whole
+of which he consumed and squandered in a moment during his residence in
+Rome, where he lived in haphazard fashion, as was his wont.</p>
+
+<p>Having at the same time finished and unveiled the part that had been
+assigned to him, he returned immediately to Florence, where, being a man
+of inquiring mind, he made a commentary on part of Dante, illustrated
+the Inferno, and printed it; on which he wasted much of his time,
+bringing infinite disorder into his life by neglecting his work. He also
+printed many of the drawings that he had made, but in a bad manner, for
+the engraving was poorly done. The best of these that is to be seen<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span>
+by his hand is the Triumph of the Faith effected by Fra Girolamo
+Savonarola of Ferrara, of whose sect he was so ardent a partisan that he
+was thereby induced to desert his painting, and, having no income to
+live on, fell into very great distress. For this reason, persisting in
+his attachment to that party, and becoming a Piagnone<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> (as the
+members of the sect were then called), he abandoned his work; wherefore
+he ended in his old age by finding himself so poor, that, if Lorenzo de'
+Medici, for whom, besides many other things, he had done some work at
+the little hospital in the district of Volterra, had not succoured him
+the while that he lived, as did afterwards his friends and many
+excellent men who loved him for his talent, he would have almost died of
+hunger.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-379" id="illus-379"></a>
+<img src="images/illus-379-tb.jpg" width="600" height="495" alt="THE ADORATION OF THE MAGI" title="" />
+<span class="caption">THE ADORATION OF THE MAGI<br />(<i>After the panel by</i> Sandro Botticelli. <i>Florence: Uffizi, 1286</i>)<br />
+<i>M. S.</i></span>
+<br /><span class="link"><a href="images/illus-379.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>In S. Francesco, without the Porta a San Miniato, there is a Madonna in
+a round picture by the hand of Sandro, with some angels of the size of
+life, which was held a very beautiful work. Sandro was a man of very
+pleasant humour, often playing tricks on his disciples and his friends;
+wherefore it is related that once, when a pupil of his who was called
+Biagio had made a round picture exactly like the one mentioned above, in
+order to sell it, Sandro sold it for six florins of gold to a citizen;
+then, finding Biagio, he said to him, "At last I have sold this thy
+picture; so this evening it must be hung on high, where it will be seen
+better, and in the morning thou must go to the house of the citizen who
+has bought it, and bring him here, that he may see it in a good light in
+its proper place; and then he will pay thee the money." "O, my master,"
+said Biagio, "how well you have done." Then, going into the shop, he
+hung the picture at a good height, and went off. Meanwhile Sandro and
+Jacopo, who was another of his disciples, made eight caps of paper, like
+those worn by citizens, and fixed them with white wax on the heads of
+the eight angels that surrounded the Madonna in the said picture. Now,
+in the morning, up comes Biagio with his citizen, who had bought the
+picture and was in the secret. They entered the shop, and Biagio,
+looking up, saw his Madonna seated, not among his angels, but among the
+Signoria of Florence, with all those caps. Thereupon he was just about
+to begin to make an outcry and to excuse himself to the man who had
+bought it, when, seeing<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> that the other, instead of complaining, was
+actually praising the picture, he kept silent himself. Finally, going
+with the citizen to his house, Biagio received his payment of six
+florins, the price for which his master had sold the picture; and then,
+returning to the shop just as Sandro and Jacopo had removed the paper
+caps, he saw his angels as true angels, and not as citizens in their
+caps. All in a maze, and not knowing what to say, he turned at last to
+Sandro and said: "Master, I know not whether I am dreaming, or whether
+this is true. When I came here before, these angels had red caps on
+their heads, and now they have not; what does it mean?" "Thou art out of
+thy wits, Biagio," said Sandro; "this money has turned thy head. If it
+were so, thinkest thou that the citizen would have bought the picture?"
+"It is true," replied Biagio, "that he said nothing to me about it, but
+for all that it seemed to me strange." Finally, all the other lads
+gathered round him and wrought on him to believe that it had been a fit
+of giddiness.</p>
+
+<p>Another time a cloth-weaver came to live in a house next to Sandro's,
+and erected no less than eight looms, which, when at work, not only
+deafened poor Sandro with the noise of the treadles and the movement of
+the frames, but shook his whole house, the walls of which were no
+stronger than they should be, so that what with the one thing and the
+other he could not work or even stay at home. Time after time he
+besought his neighbour to put an end to this annoyance, but the other
+said that he both would and could do what he pleased in his own house;
+whereupon Sandro, in disdain, balanced on the top of his own wall, which
+was higher than his neighbour's and not very strong, an enormous stone,
+more than enough to fill a wagon, which threatened to fall at the
+slightest shaking of the wall and to shatter the roof, ceilings, webs,
+and looms of his neighbour, who, terrified by this danger, ran to
+Sandro, but was answered in his very own words&mdash;namely, that he both
+could and would do whatever he pleased in his own house. Nor could he
+get any other answer out of him, so that he was forced to come to a
+reasonable agreement and to be a good neighbour to Sandro.</p>
+
+<div class="figcenter" style="width: 538px;">
+<a name="illus-383" id="illus-383"></a>
+<img src="images/illus-383-tb.jpg" width="538" height="550" alt="SANDRO BOTTICELLI: THE MADONNA OF THE POMEGRANATE" title="" />
+<span class="caption">SANDRO BOTTICELLI: THE MADONNA OF THE POMEGRANATE<br />(<i>Florence: Uffizi, 1289. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-383.jpg">View larger image</a></span>
+</div>
+
+
+<p>It is also related that Sandro, for a jest, accused a friend of his own
+of heresy before his vicar, and the friend, on appearing, asked who
+the<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span> accuser was and what the accusation; and having been told that it
+was Sandro, who had charged him with holding the opinion of the
+Epicureans, and believing that the soul dies with the body, he insisted
+on being confronted with the accuser before the judge. Sandro therefore
+appeared, and the other said: "It is true that I hold this opinion with
+regard to this man's soul, for he is an animal. Nay, does it not seem to
+you that he is the heretic, since without a scrap of learning, and
+scarcely knowing how to read, he plays the commentator to Dante and
+takes his name in vain?"</p>
+
+<p>It is also said that he had a surpassing love for all whom he saw to be
+zealous students of art; and that he earned much, but wasted everything
+through negligence and lack of management. Finally, having grown old and
+useless, and being forced to walk with crutches, without which he could
+not stand upright, he died, infirm and decrepit, at the age of
+seventy-eight, and was buried in Ognissanti at Florence in the year
+1515.</p>
+
+<p>In the guardaroba of the Lord Duke Cosimo there are two very beautiful
+heads of women in profile by his hand, one of which is said to be the
+mistress of Giuliano de' Medici, brother of Lorenzo, and the other
+Madonna Lucrezia de' Tornabuoni, wife of the said Lorenzo. In the same
+place, likewise by the hand of Sandro, is a Bacchus who is raising a
+cask with both his hands, and putting it to his mouth&mdash;a very graceful
+figure. And in the Duomo of Pisa he began an Assumption, with a choir of
+angels, in the Chapel of the Impagliata; but afterwards, being
+displeased with it, he left it unfinished. In S. Francesco at
+Montevarchi he painted the panel of the high-altar; and in the Pieve of
+Empoli, on the same side as the S. Sebastian of Rossellino, he made two
+angels. He was among the first to discover the method of decorating
+standards and other sorts of hangings with the so-called inlaid work, to
+the end that the colours might not fade and might show the tint of the
+cloth on either side. By his hand, and made thus, is the baldacchino of
+Orsanmichele, covered with beautiful and varied figures of Our Lady;
+which proves how much better such a method preserves the cloth than does
+the use of mordants, which eat it away and make its life but short,<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span>
+although, being less costly, mordants are now used more than anything
+else.</p>
+
+<p>Sandro's drawings were extraordinarily good, and so many, that for some
+time after his death all the craftsmen strove to obtain some of them;
+and we have some in our book, made with great mastery and judgment. His
+scenes abounded with figures, as may be seen from the embroidered border
+of the Cross that the Friars of S. Maria Novella carry in processions,
+all made from his design. Great was the praise, then, that Sandro
+deserved for all the pictures that he chose to make with diligence and
+love, as he did the aforesaid panel of the Magi in S. Maria Novella,
+which is marvellous. Very beautiful, too, is a little round picture by
+his hand that is seen in the apartment of the Prior of the Angeli in
+Florence, in which the figures are small but very graceful and wrought
+with beautiful consideration. Of the same size as the aforesaid panel of
+the Magi, and by the same man's hand, is a picture in the possession of
+Messer Fabio Segni, a gentlemen of Florence, in which there is painted
+the Calumny of Apelles, as beautiful as any picture could be. Under this
+panel, which Sandro himself presented to Antonio Segni, who was much his
+friend, there may now be read the following verses, written by the said
+Messer Fabio:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">INDICIO QUEMQUAM NE FALSO L&AElig;DERE TENTENT</span><br />
+<span style="margin-left: 3.5em;">TERRARUM REGES, PARVA TABELLA MONET.</span><br />
+<span style="margin-left: 1.5em;">HUIC SIMILEM &AElig;GYPTI REGI DONAVIT APELLES;</span><br />
+<span style="margin-left: 3.5em;">REX FUIT ET DIGNUS MUNERE, MUNUS EO.</span><br />
+</p>
+
+
+<div class="figcenter" style="width: 650px;">
+<a name="illus-387" id="illus-387"></a>
+<img src="images/illus-387-tb.jpg" width="650" height="434" alt="THE CALUMNY OF APELLES" title="" />
+<span class="caption">THE CALUMNY OF APELLES<br />(<i>After the panel by</i> Sandro Botticelli. <i>Florence: Uffizi, 1182</i>)<br />
+<i>M. S.</i></span>
+<br /><span class="link"><a href="images/illus-387.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span></p><p><br /><span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span></p>
+<h2><br /><br />BENEDETTO DA MAIANO<br /><br /></h2>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_BENEDETTO_DA_MAIANO" id="LIFE_OF_BENEDETTO_DA_MAIANO"></a>LIFE OF BENEDETTO DA MAIANO</h2>
+
+<h3>SCULPTOR AND ARCHITECT</h3>
+
+
+<p>Benedetto da Maiano, a sculptor of Florence, who was in his earliest
+years a wood-carver, was held the most able master of all who were then
+handling the tools of that profession; and he was particularly excellent
+as a craftsman in that form of work which, as has been said elsewhere,
+was introduced at the time of Filippo Brunelleschi and Paolo
+Uccello&mdash;namely, the inlaying of pieces of wood tinted with various
+colours, in order to make views in perspective, foliage, and many other
+diverse things of fancy. In this craft, then, Benedetto da Maiano was in
+his youth the best master that there was to be found, as is clearly
+demonstrated by many works of his that are to be seen in various parts
+of Florence, particularly by all the presses in the Sacristy of S. Maria
+del Fiore, the greater part of which he finished after the death of his
+uncle Giuliano; these are full of figures executed in inlaid work,
+foliage, and other devices, all wrought with great expense and
+craftsmanship. Having gained a very great name through the novelty of
+this art, he made many works, which were sent to diverse places and to
+various Princes; and among others King Alfonso of Naples had the
+furniture for a study, made under the direction of Giuliano, uncle of
+Benedetto, who was serving that King as architect. Benedetto himself
+went to join him there; but, being displeased with the position, he
+returned to Florence, where, no long time after, he made for Matthias
+Corvinus, King of Hungary, who had many Florentines in his Court and
+took delight in all rare works, a pair of coffers inlaid in wood with
+difficult and most beautiful craftsmanship. He then determined, being
+invited with great favour by that King, to consent to go thither at all
+costs; and so, having<span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span> packed up his coffers and embarked with them on
+board ship, he set off for Hungary. There, after doing obeisance to that
+King, by whom he was received most graciously, he sent for the said
+coffers and had them unpacked in the presence of the monarch, who was
+very eager to see them; whereupon he saw that the damp from the water
+and the exhalations from the sea had so softened the glue, that, on the
+opening of the waxed cloths, almost all the pieces which had been
+attached to the coffers fell to the ground. Whether Benedetto,
+therefore, in the presence of so many nobles, stood in dumb amazement,
+everyone may judge for himself. However, putting the work together as
+well as he was able, he contrived to leave the King well enough
+satisfied; but in spite of this he took an aversion to that craft and
+could no longer endure it, through the shame that it had brought upon
+him.</p>
+
+<p>And so, casting off all timidity, he devoted himself to sculpture, in
+which art he had already worked at Loreto while living with his uncle
+Giuliano, making a lavatory with certain angels of marble for the
+sacristy. Labouring at this art, before he left Hungary he gave that
+King to know that if he had been put to shame at the beginning, the
+fault had lain with that craft, which was a mean one, and not with his
+intellect, which was rare and exalted. Having therefore made in those
+parts certain works both in clay and in marble, which gave great
+pleasure to that King, he returned to Florence; and he had no sooner
+arrived there than he was commissioned by the Signori to make the marble
+ornament for the door of their Audience Chamber. For this he made some
+boys supporting with their arms certain festoons, all very beautiful;
+but the most beautiful part of the work was the figure in the middle,
+two braccia in height, of a young S. John, which is held to be a thing
+of rare excellence. And to the end that the whole work might be by his
+own hand, he made by himself the wood-work that closes the said door,
+and executed a figure with inlaid woods on either part of it, that is,
+Dante on one and Petrarca on the other; which two figures are enough to
+show to any man who may have seen no other work of that kind by the hand
+of Benedetto, how rare and excellent a master he was of that craft. This
+Audience Chamber has been painted in our own day by Francesco Salviati
+at<span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> the command of the Lord Duke Cosimo, as will be told in the proper
+place.</p>
+
+
+<div class="figcenter" style="width: 426px;">
+<a name="illus-393" id="illus-393"></a>
+<img src="images/illus-393-tb.jpg" width="426" height="550" alt="PULPIT IN S. CROCE, FLORENCE" title="" />
+<span class="caption">PULPIT IN S. CROCE, FLORENCE<br />(<i>After</i> Benedetto da Maiano. <i>Florence</i>)<br />
+<i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-393.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>In S. Maria Novella at Florence, where Filippino painted the chapel,
+Benedetto afterwards made a tomb of black marble, with a Madonna and
+certain angels in a medallion, with much diligence, for the elder
+Filippo Strozzi, whose portrait, which he made there in marble, is now
+in the Strozzi Palace. The same Benedetto was commissioned by the elder
+Lorenzo de' Medici to make in S. Maria del Fiore a portrait of the
+Florentine painter Giotto, which he placed over the epitaph, of which
+enough has been said above in the Life of Giotto himself. This piece of
+marble sculpture is held to be passing good. Having afterwards gone to
+Naples by reason of the death of his uncle Giuliano, whose heir he was,
+Benedetto, besides certain works that he executed for that King, made a
+marble panel for the Count of Terranuova in the Monastery of the Monks
+of Monte Oliveto, containing an Annunciation with certain saints, and
+surrounded by very beautiful boys, who are supporting some festoons; and
+in the predella of the said work he made many low-reliefs in a good
+manner. In Faenza he made a very beautiful tomb of marble for the body
+of S. Savino, and on this he wrought six scenes in low-relief from the
+life of that Saint, with much invention and design both in the buildings
+and in the figures; insomuch that both from this work and from others by
+his hand he was recognized as a man excellent in sculpture. Wherefore,
+before he left Romagna, he was commissioned to make a portrait of
+Galeotto Malatesta. He also made one, I know not whether before this or
+after, of Henry VII, King of England, after a drawing on paper that he
+had received from some Florentine merchants. The studies for these two
+portraits, together with many other things, were found in his house
+after his death.</p>
+
+<p>Having finally returned to Florence, he made in S. Croce, for Pietro
+Mellini, a citizen of Florence and a very rich merchant at that time,
+the marble pulpit that is seen there, which is held to be a very rare
+thing and more beautiful than any other that has ever been executed in
+that manner, since the marble figures that are to be seen therein, in
+the stories of S. Francis, are wrought with so great excellence and
+diligence<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span> that nothing more could be looked for in marble. For with
+great art Benedetto carved there trees, rocks, houses, views in
+perspective, and certain things in marvellously bold relief; not to
+mention a projection on the ground below the said pulpit, which serves
+as a tombstone, wrought with so much design that it is not possible to
+praise it enough. It is said that in making this work he had some
+difficulty with the Wardens of Works of S. Croce, because, while he
+wished to erect the said pulpit against a column that sustains some of
+the arches which support the roof, and to perforate that column in order
+to accommodate the steps and the entrance to the pulpit, they would not
+consent, fearing lest it might be so weakened by the hollow required for
+the steps as to collapse under the weight above, with great damage to a
+part of that church. But Mellini having guaranteed that the work would
+be finished without any injury to the church, they finally consented.
+Having, therefore, bound the outer side of the column with bands of
+bronze (the part, namely, from the pulpit downwards, which is covered
+with hard stone), Benedetto made within it the steps for ascending to
+the pulpit, and in proportion as he hollowed it out within, so did he
+strengthen the outer side with the said hard stone, in the manner that
+is still to be seen. And he brought this work to perfection to the
+amazement of all who see it, showing in each part and in the whole
+together the utmost excellence that could be desired in such a work.</p>
+
+<p>Many declare that the elder Filippo Strozzi, when intending to build his
+palace, sought the advice of Benedetto, who made him a model, according
+to which it was begun, although it was afterwards carried on and
+finished by Cronaca on the death of Benedetto. The latter, having
+acquired enough to live upon, would do no more works in marble after
+those described above, save that he finished in S. Trinita the S. Mary
+Magdalene begun by Desiderio da Settignano, and made the Crucifix that
+is over the altar of S. Maria del Fiore, with certain others like it.</p>
+
+<p>As for architecture, although he put his hand to but few works, yet in
+these he showed no less judgment than in sculpture; particularly in
+three ceilings which were made at very great expense, under his guidance
+and direction, in the Palace of the Signoria at Florence. The<span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span> first of
+these was the ceiling of the hall that is now called the Sala de'
+Dugento, over which it was proposed to make, not a similar hall, but two
+apartments, that is, a hall and an audience chamber, so that it was
+necessary to make a wall, and no light one either, containing a marble
+door of reasonable thickness; wherefore, for the execution of such a
+work, there was need of intelligence and judgment no less than those
+possessed by Benedetto.</p>
+
+<p>Benedetto, then, in order not to diminish the said hall and yet divide
+the space above into two, went to work in the following manner. On a
+beam one braccio in thickness, and as long as the whole breadth of the
+hall, he laid another consisting of two pieces, in such a manner that it
+projected with its thickness to the height of two-thirds of a braccio.
+At the ends, these two beams, bound and secured together very firmly,
+gave a height of two braccia at the edge of the wall on each side; and
+the said two ends were grooved with a claw-shaped cut, in such a way
+that there could be laid upon them an arch of half a braccio in
+thickness, made of two layers of bricks, with its flanks resting on the
+principal walls. These two beams, then, were dove-tailed together with
+tenon and mortise, and so firmly bound and united with good bands of
+iron, that out of two there was made one single beam. Besides this,
+having made the said arch, and wishing that these timbers of the ceiling
+should have nothing more to sustain than the wall under the arch, and
+that the arch itself should sustain the rest, he also attached to this
+arch two great supports of iron, which, being firmly bolted to the said
+beams below, upheld and still uphold them; while, even if they were not
+to suffice by themselves, the arch would be able&mdash;by means of the said
+supports which encircle the beams, one on one side of the marble door
+and one on the other&mdash;to support a weight much greater than that of the
+partition wall, which is made of bricks and half a braccio in thickness.
+What is more, he had the bricks in the said wall laid on edge and in the
+manner of an arch, so that the pressure came against the solid part, at
+the corners, and the whole was thus more stable. In this manner, by
+means of the good judgment of Benedetto, the said Sala de' Dugento
+remained as large as before, and over the same space, with a partition
+wall between,<span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span> were made the hall that is called the Sala dell'
+Orivolo<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> and the Audience Chamber wherein is the Triumph of Camillus,
+painted by the hand of Salviati. The soffit of this ceiling was richly
+wrought and carved by Marco del Tasso and his brothers, Domenico and
+Giuliano, who likewise executed that of the Sala dell' Orivolo and that
+of the Audience Chamber. And since the said marble door had been made
+double by Benedetto, on the arch of the inner door&mdash;we have already
+spoken of the outer one&mdash;he wrought a seated figure of Justice in
+marble, with the globe of the world in one hand and a sword in the
+other; and round the arch run the following words:</p>
+
+<p class="center">
+DILIGITE JUSTITIAM QUI JUDICATIS TERRAM.
+</p>
+
+<p>The whole of this work was executed with marvellous diligence and art.</p>
+
+<p>For the Church of the Madonna delle Grazie, which is a little distance
+without the city of Arezzo, the same man made a portico with a flight of
+steps in front of the door. In making the portico he placed the arches
+on the columns, and right round alongside the roof he made an
+architrave, frieze, and great cornice; and in the latter, by way of
+drip, he placed a garland of rosettes carved in grey-stone, which jut
+out to the extent of one braccio and a third, insomuch that between the
+projection of the front of the cyma above to the dentils and ovoli below
+the drip there is a space of two braccia and a half, which, with the
+half braccio added by the tiles, makes a projecting roof all round of
+three braccia in width, beautiful, rich, useful, and ingenious. In this
+work there is a contrivance worthy to be well considered by craftsmen,
+for, wishing to give this roof all that projection without modillions or
+corbels to support it, he made the slabs, on which the rosettes are
+carved, so large that only the half of their length projected, and the
+other half was built into the solid wall; wherefore, being thus
+counterpoised, they were able to support the rest and all that was laid
+upon them, as they have done up to the present day, without any danger
+to that building. And since he did not wish this roof to appear to be
+made, as it was, of pieces, he surrounded it all, piece by piece, with a
+moulding made of sections<span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span> well dove-tailed and let into one another,
+which served as a ground to the garland of rosettes; and this united the
+whole work together in such a manner that all who see it judge it to be
+of one piece. In the same place he had a flat ceiling made of gilded
+rosettes, which is much extolled.</p>
+
+<p>Now Benedetto had bought a farm without Prato, on the road from the
+Porta Fiorentina in the direction of Florence, and no more than half a
+mile from that place. On the main road, beside the gate, he built a most
+beautiful little chapel, with a niche wherein he placed a Madonna with
+the Child in her arms, so well wrought in terra-cotta, that even as it
+is, with no other colour, it is as beautiful as if it were of marble. So
+are two angels that are above by way of ornament, each with a
+candelabrum in his hand. On the predella of the altar there is a Piet&agrave;
+with Our Lady and S. John, made of marble and very beautiful. At his
+death he left in his house many things begun both in clay and in marble.
+Benedetto was a very good draughtsman, as may be seen in certain
+drawings in our book. Finally he died in 1498, at the age of fifty-four,
+and was honourably buried in S. Lorenzo; and he left directions that all
+his property, after the death of certain of his relatives, should go to
+the Company of the Bigallo.</p>
+
+<p>While Benedetto in his youth was working as a joiner and at the inlaying
+of wood, he had among his rivals Baccio Cellini, piper to the Signoria
+of Florence, who made many very beautiful inlaid works in ivory, and
+among others an octagon of figures in ivory, outlined in black and
+marvellously beautiful, which is in the guardaroba of the Duke. In like
+manner, Girolamo della Cecca, a pupil of Baccio and likewise piper to
+the Signoria, also executed many inlaid works at that same time. A
+contemporary of these was David Pistoiese, who made a S. John the
+Evangelist of inlaid work at the entrance to the choir of S. Giovanni
+Evangelista in Pistoia&mdash;a work more notable for great diligence in
+execution than for any great design. There was also Geri Aretino, who
+wrought the choir and the pulpit of S. Agostino at Arezzo with figures
+and views in perspective, likewise of inlaid wood. This Geri was a very
+fanciful man, and he made with wooden pipes an organ<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> most perfect in
+sweetness and softness, which is still at the present day over the door
+of the Sacristy of the Vescovado at Arezzo, with its original goodness
+as sound as ever&mdash;a work worthy of marvel, and first put into execution
+by him. But not one of these men, nor any other, was as excellent by a
+great measure as was Benedetto; wherefore he deserves to be ever
+numbered with praise among the best craftsmen of his professions.<span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span></p>
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span></p>
+<h2><br />ANDREA VERROCCHIO</h2>
+
+
+<div class="figcenter" style="width: 390px;">
+<a name="illus-403" id="illus-403"></a>
+<img src="images/illus-403-tb.jpg" width="390" height="600" alt="DAVID" title="" />
+<span class="caption">DAVID<br />(<i>After the bronze by</i> Andrea Verrocchio. <i>Florence: Bargello</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-403.jpg">View larger image</a></span>
+</div>
+
+<p><span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_ANDREA_VERROCCHIO" id="LIFE_OF_ANDREA_VERROCCHIO"></a>LIFE OF ANDREA VERROCCHIO</h2>
+
+<h3>PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE</h3>
+
+
+<p>Andrea del Verrocchio, a Florentine, was in his day a goldsmith, a
+master of perspective, a sculptor, a wood-carver, a painter, and a
+musician; but in the arts of sculpture and painting, to tell the truth,
+he had a manner somewhat hard and crude, as one who acquired it rather
+by infinite study than by the facility of a natural gift. Even if he had
+been as poor in this facility as he was rich in the study and diligence
+that exalted him, he would have been most excellent in those arts,
+which, for their highest perfection, require a union of study and
+natural power. If either of these is wanting, a man rarely attains to
+the first rank; but study will do a great deal, and thus Andrea, who had
+it in greater abundance than any other craftsman whatsoever, is counted
+among the rare and excellent masters of our arts.</p>
+
+<p>In his youth he applied himself to the sciences, particularly to
+geometry. Among many other things that he made while working at the
+goldsmith's art were certain buttons for copes, which are in S. Maria
+del Fiore at Florence; and he also made larger works, particularly a
+cup, full of animals, foliage, and other bizarre fancies, which is known
+to all goldsmiths, and casts are taken of it; and likewise another, on
+which there is a very beautiful dance of little children. Having given a
+proof of his powers in these two works, he was commissioned by the Guild
+of Merchants to make two scenes in silver for the ends of the altar of
+S. Giovanni, from which, when put into execution, he acquired very great
+praise and fame.</p>
+
+<p>There were wanting at this time in Rome some of those large figures<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> of
+the Apostles which generally stood on the altar of the Chapel of the
+Pope, as well as certain other works in silver that had been destroyed;
+wherefore Pope Sixtus sent for Andrea and with great favour commissioned
+him to do all that was necessary in this matter, and he brought the
+whole to perfection with much diligence and judgment. Meanwhile,
+perceiving that the many antique statues and other things that were
+being found in Rome were held in very great esteem, insomuch that the
+famous bronze horse was set up by the Pope at S. Giovanni Laterano, and
+that even the fragments&mdash;not to speak of complete works&mdash;which were
+being discovered every day, were prized, Andrea determined to devote
+himself to sculpture. And so, completely abandoning the goldsmith's art,
+he set himself to cast some little figures in bronze, which were greatly
+extolled. Thereupon, growing in courage, he began to work in marble. Now
+in those days the wife of Francesco Tornabuoni had died in childbirth,
+and her husband, who had loved her much, and wished to honour her in
+death to the utmost of his power, entrusted the making of a tomb for her
+to Andrea, who carved on a slab over a sarcophagus of marble the lady
+herself, her delivery, and her passing to the other life; and beside
+this he made three figures of Virtues, which were held very beautiful,
+for the first work that he had executed in marble; and this tomb was set
+up in the Minerva.</p>
+
+<p>Having then returned to Florence with money, fame, and honour, he was
+commissioned to make a David of bronze, two braccia and a half in
+height, which, when finished, was placed in the Palace, with great
+credit to himself, at the head of the staircase, where the Catena was.
+The while that he was executing the said statue, he also made that
+Madonna of marble which is over the tomb of Messer Lionardo Bruni of
+Arezzo in S. Croce; this he wrought, when still quite young, for
+Bernardo Rossellino, architect and sculptor, who executed the whole of
+that work in marble, as has been said. The same Andrea made a
+half-length Madonna in half-relief, with the Child in her arms, in a
+marble panel, which was formerly in the house of the Medici, and is now
+placed, as a very beautiful thing, over a door in the apartment of the
+Duchess of Florence. He also made two heads of metal, likewise<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span> in
+half-relief; one of Alexander the Great, in profile, and the other a
+fanciful portrait of Darius; each being a separate work by itself, with
+variety in the crests, armour, and everything else. Both these heads
+were sent to Hungary by the elder Lorenzo de' Medici, the Magnificent,
+to King Matthias Corvinus, together with many other things, as will be
+told in the proper place.</p>
+
+<p>Having acquired the name of an excellent master by means of these works,
+above all through many works in metal, in which he took much delight, he
+made a tomb of bronze in S. Lorenzo, wholly in the round, for Giovanni
+and Pietro di Cosimo de' Medici, with a sarcophagus of porphyry
+supported by four corner-pieces of bronze, with twisted foliage very
+well wrought and finished with the greatest diligence. This tomb stands
+between the Chapel of the Sacrament and the Sacristy, and no work could
+be better done, whether wrought in bronze or cast; above all since at
+the same time he showed therein his talent in architecture, for he
+placed the said tomb within the embrasure of a window which is about
+five braccia in breadth and ten in height, and set it on a base that
+divides the said Chapel of the Sacrament from the old Sacristy. And over
+the sarcophagus, to fill up the embrasure right up to the vaulting, he
+made a grating of bronze ropes in a pattern of mandorle, most natural,
+and adorned in certain places with festoons and other beautiful things
+of fancy, all remarkable and executed with much mastery, judgment, and
+invention.</p>
+
+<p>Now Donatello had made for the Tribunal of Six of the Mercanzia that
+marble shrine which is now opposite to S. Michael, in the Oratory of
+Orsanmichele, and for this there was to have been made a S. Thomas in
+bronze, feeling for the wound in the side of Christ; but at that time
+nothing more was done, for some of the men who had the charge of this
+wished to have it made by Donatello, and others favoured Lorenzo
+Ghiberti. Matters stood thus as long as Donatello and Ghiberti were
+alive; but finally the said two statues were entrusted to Andrea, who,
+having made the models and moulds, cast them; and they came out so
+solid, complete, and well made, that it was a most beautiful casting.
+Thereupon, setting himself to polish and finish them, he brought them
+to<span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span> that perfection which is seen at the present day, which could not be
+greater than it is, for in S. Thomas we see incredulity and a too great
+anxiety to assure himself of the truth, and at the same time the love
+that makes him lay his hand in a most beautiful manner on the side of
+Christ; and in Christ Himself, who is raising one arm and opening His
+raiment with a most spontaneous gesture, and dispelling the doubts of
+His incredulous disciple, there are all the grace and divinity, so to
+speak, that art can give to any figure. Andrea clothed both these
+figures in most beautiful and well-arranged draperies, which give us to
+know that he understood that art no less than did Donato, Lorenzo, and
+the others who had lived before him; wherefore this work well deserved
+to be set up in a shrine made by Donatello, and to be ever afterwards
+held in the greatest price and esteem.</p>
+
+<p>Now the fame of Andrea could not go further or grow greater in that
+profession, and he, as a man who was not content with being excellent in
+one thing only, but desired to become the same in others as well by
+means of study, turned his mind to painting, and so made the cartoons
+for a battle of nude figures, very well drawn with the pen, to be
+afterwards painted in colours on a wall. He also made the cartoons for
+some historical pictures, and afterwards began to put them into
+execution in colours; but for some reason, whatever it may have been,
+they remained unfinished. There are some drawings by his hand in our
+book, made with much patience and very great judgment, among which are
+certain heads of women, beautiful in expression and in the adornment of
+the hair, which Leonardo da Vinci was ever imitating for their beauty.
+In our book, also, are two horses with the due measures and protractors
+for reproducing them on a larger scale from a smaller, so that there may
+be no errors in their proportions; and there is in my possession a
+horse's head of terra-cotta in relief, copied from the antique, which is
+a rare work. The Very Reverend Don Vincenzio Borghini has some of his
+drawings in his book, of which we have spoken above; among others, a
+design for a tomb made by him in Venice for a Doge, a scene of the
+Adoration of Christ by the Magi, and the head of a woman painted on
+paper with the utmost delicacy. He also made for Lorenzo de' Medici,<span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span>
+for the fountain of his Villa at Careggi, a boy of bronze squeezing a
+fish, which the Lord Duke Cosimo has caused to be placed, as may be seen
+at the present day, on the fountain that is in the courtyard of his
+Palace; which boy is truly marvellous.</p>
+
+
+<div class="figcenter" style="width: 459px;">
+<a name="illus-409" id="illus-409"></a>
+
+<img src="images/illus-409-tb.jpg" width="459" height="600" alt="CORNER AND FOOT OF THE MEDICI SARCOPHAGUS" title="" />
+<span class="caption">CORNER AND FOOT OF THE MEDICI SARCOPHAGUS<br />
+(<i>Detail, after</i> Andrea Verrocchio. <i>Florence: S. Lorenzo</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-409.jpg">View larger image</a></span>
+</div>
+
+<p>Afterwards, the building of the Cupola of S. Maria del Fiore having been
+finished, it was resolved, after much discussion, that there should be
+made the copper ball which, according to the instructions left by
+Filippo Brunelleschi, was to be placed on the summit of that edifice.
+Whereupon the task was given to Andrea, who made the ball four braccia
+high, and, placing it on a knob, secured it in such a manner that
+afterwards the cross could be safely erected upon it; and the whole
+work, when finished, was put into position with very great rejoicing and
+delight among the people. Truly great were the ingenuity and diligence
+that had to be used in making it, to the end that it might be possible,
+as it is, to enter it from below, and also in securing it with good
+fastenings, lest the winds might do it damage.</p>
+
+<p>Andrea was never at rest, but was ever labouring at some work either in
+painting or in sculpture; and sometimes he would change from one to
+another, in order to avoid growing weary of working always at the same
+thing, as many do. Wherefore, although he did not put the aforesaid
+cartoons into execution, yet he did paint certain pictures; among
+others, a panel for the Nuns of S. Domenico in Florence, wherein it
+appeared to him that he had acquitted himself very well; whence, no long
+time after, he painted another in S. Salvi for the Monks of Vallombrosa,
+containing the Baptism of Christ by S. John. In this work he was
+assisted by Leonardo da Vinci, his disciple, then quite young, who
+painted therein an angel with his own hand, which was much better than
+the other parts of the work; and for that reason Andrea resolved never
+again to touch a brush, since Leonardo, young as he was, had acquitted
+himself in that art much better than he had done.</p>
+
+<p>Now Cosimo de' Medici, having received many antiquities from Rome, had
+caused to be set up within the door of his garden, or rather, courtyard,
+which opens on the Via de' Ginori, a very beautiful Marsyas of white
+marble, bound to a tree-trunk and ready to be flayed; and his grandson<span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span>
+Lorenzo, into whose hands there had come the torso and head of another
+Marsyas, made of red stone, very ancient, and much more beautiful than
+the first, wished to set it beside the other, but could not, because it
+was so imperfect. Thereupon he gave it to Andrea to be restored and
+completed, and he made the legs, thighs, and arms that were lacking in
+this figure out of pieces of red marble, so well that Lorenzo was highly
+satisfied and had it placed opposite to the other, on the other side of
+the door. This ancient torso, made to represent a flayed Marsyas, was
+wrought with such care and judgment that certain delicate white veins,
+which were in the red stone, were carved by the craftsman exactly in the
+right places, so as to appear to be little nerves, such as are seen in
+real bodies when they have been flayed; which must have given to that
+work, when it had its original finish, a most life-like appearance.</p>
+
+<p>The Venetians, meanwhile, wishing to honour the great valour of
+Bartolommeo da Bergamo, thanks to whom they had gained many victories,
+in order to encourage others, and having heard the fame of Andrea,
+summoned him to Venice, where he was commissioned to make an equestrian
+statue of that captain in bronze, to be placed on the Piazza di SS.
+Giovanni e Polo. Andrea, then, having made the model of the horse, had
+already begun to get it ready for casting in bronze, when, thanks to the
+favour of certain gentlemen, it was determined that Vellano da Padova
+should make the figure and Andrea the horse. Having heard this, Andrea
+broke the legs and head of his model and returned in great disdain to
+Florence, without saying a word. The Signoria, receiving news of this,
+gave him to understand that he should never be bold enough to return to
+Venice, for they would cut his head off; to which he wrote in answer
+that he would take good care not to, because, once they had cut a man's
+head off, it was not in their power to put it on again, and certainly
+not one like his own, whereas he could have replaced the head that he
+had knocked off his horse with one even more beautiful. After this
+answer, which did not displease those Signori, his payment was doubled
+and he was persuaded to return to Venice, where he restored his first
+model and cast it in bronze; but even then he did not finish it
+entirely, for he caught a chill by overheating himself during the
+casting,<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span> and died in that city within a few days; leaving unfinished
+not only that work (although there was only a little polishing to be
+done), which was set up in the place for which it was destined, but also
+another which he was making in Pistoia, that is, the tomb of Cardinal
+Forteguerra, with the three Theological Virtues, and a God the Father
+above; which work was afterwards finished by Lorenzetto, a sculptor of
+Florence.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="illus-413" id="illus-413"></a>
+<img src="images/illus-413-tb.jpg" width="600" height="447" alt="STATUE OF BARTOLOMMEO COLLEONI" title="" />
+<span class="caption">STATUE OF BARTOLOMMEO COLLEONI<br />(<i>After the bronze by</i> Andrea Verrocchio. <i>Venice: Campo SS. Giovanni e
+Paolo</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-413.jpg">View larger image</a></span>
+</div>
+
+
+
+<p>Andrea was fifty-six years of age when he died. His death caused
+infinite grief to his friends and to his disciples, who were not few;
+above all to the sculptor Nanni Grosso, a most eccentric person both in
+his art and in his life. This man, it is said, would not have worked
+outside his shop, particularly for monks or friars, if he had not had
+free access to the door of the vault, or rather, wine-cellar, so that he
+might go and drink whenever he pleased, without having to ask leave. It
+is also told of him that once, having returned from S. Maria Nuova
+completely cured of some sickness, I know not what, he was visited by
+his friends, who asked him how it went with him. "Ill," he answered.
+"But thou art cured," they replied. "That is why it goes ill with me,"
+said he, "for I would dearly love a little fever, so that I might lie
+there in the hospital, well attended and at my ease." As he lay dying,
+again in the hospital, there was placed before him a wooden Crucifix,
+very rude and clumsily wrought; whereupon he prayed them to take it out
+of his sight and to bring him one by the hand of Donato, declaring that
+if they did not take it away he would die in misery, so greatly did he
+detest badly wrought works in his own art.</p>
+
+<p>Disciples of the same Andrea were Pietro Perugino and Leonardo da Vinci,
+of whom we will speak in the proper place, and Francesco di Simone of
+Florence, who made a tomb of marble in the Church of S. Domenico in
+Bologna, with many little figures, which appear from the manner to be by
+the hand of Andrea, for Messer Alessandro Tartaglia, a doctor of Imola,
+and another in S. Pancrazio at Florence, facing the sacristy and one of
+the chapels of the church, for the Chevalier Messer Pietro Minerbetti.
+Another pupil of Andrea was Agnolo di Polo, who worked with great
+mastery in clay, filling the city with works by his hand; and if he had
+deigned to apply himself properly to his art,<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span> he would have made very
+beautiful things. But the one whom he loved more than all the others was
+Lorenzo di Credi, who brought his remains from Venice and laid them in
+the Church of S. Ambrogio, in the tomb of Ser Michele di Cione, on the
+stone of which there are carved the following words:</p>
+
+<p class="center">
+SER MICH&AElig;LIS DE CIONIS, ET SUORUM.
+</p>
+
+<p>And beside them:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">HIC OSSA JACENT ANDRE&AElig; VERROCHII, QUI OBIIT</span><br />
+<span style="margin-left: 1.5em;">VENETIIS, MCCCCLXXXVIII.</span><br />
+</p>
+
+<p>Andrea took much delight in casting in a kind of plaster which would set
+hard&mdash;that is, the kind that is made of a soft stone which is quarried
+in the districts of Volterra and of Siena and in many other parts of
+Italy. This stone, when burnt in the fire, and then pounded and mixed
+with tepid water, becomes so soft that men can make whatever they please
+with it; but afterwards it solidifies and becomes so hard, that it can
+be used for moulds for casting whole figures. Andrea, then, was wont to
+cast in moulds of this material such natural objects as hands, feet,
+knees, legs, arms, and torsi, in order to have them before him and
+imitate them with greater convenience. Afterwards, in his time, men
+began to cast the heads of those who died&mdash;a cheap method; wherefore
+there are seen in every house in Florence, over the chimney-pieces,
+doors, windows, and cornices, infinite numbers of such portraits, so
+well made and so natural that they appear alive. And from that time up
+to the present the said custom has been continued, and it still
+continues, with great convenience to ourselves, for it has given us
+portraits of many who have been included in the stories in the Palace of
+Duke Cosimo. And for this we should certainly acknowledge a very great
+obligation to the talent of Andrea, who was one of the first to begin to
+bring the custom into use.</p>
+
+<p>From this men came to make more perfect images, not only in Florence,
+but in all the places in which there is devoutness, and to which people
+flock to offer votive images, or, as they are called, "miracoli," in
+return for some favour received. For whereas they were previously<span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> made
+small and of silver, or only in the form of little panels, or rather of
+wax, and very clumsy, in the time of Andrea they began to be made in a
+much better manner, since Andrea, having a very strait friendship with
+Orsino, a Florentine worker in wax, who had no little judgment in that
+art, began to show him how he could become excellent therein. Now the
+due occasion arrived in the form of the death of Giuliano de' Medici and
+the danger incurred by his brother Lorenzo, who was wounded in S. Maria
+del Fiore, when it was ordained by the friends and relatives of Lorenzo
+that images of him should be set up in many places, to render thanks to
+God for his deliverance. Wherefore Orsino, among others that he made,
+executed three life-size figures of wax with the aid and direction of
+Andrea, making the skeleton within of wood, after the method described
+elsewhere, interwoven with split reeds, which were then covered with
+waxed cloths folded and arranged so beautifully that nothing better or
+more true to nature could be seen. Then he made the heads, hands, and
+feet with wax of greater thickness, but hollow within, portrayed from
+life, and painted in oils with all the ornaments of hair and everything
+else that was necessary, so lifelike and so well wrought that they
+seemed no mere images of wax, but actual living men, as may be seen in
+each of the said three, one of which is in the Church of the Nuns of
+Chiarito in the Via di S. Gallo, opposite to the Crucifix that works
+miracles. This figure is clothed exactly as Lorenzo was, when, with his
+wounded throat bandaged, he showed himself at the window of his house
+before the eyes of the people, who had flocked thither to see whether he
+were alive, as they hoped, or to avenge him if he were dead. The second
+figure of the same man is in the lucco, the gown peculiar to the
+citizens of Florence; and it stands in the Servite Church of the
+Nunziata, over the lesser door, which is beside the counter where
+candles are sold. The third was sent to S. Maria degli Angeli at Assisi,
+and set up before the Madonna of that place, where the same Lorenzo de'
+Medici, as has been already related, caused the road to be paved with
+bricks all the way from S. Maria to that gate of Assisi which leads to
+S. Francesco, besides restoring the fountains that his grandfather
+Cosimo had caused to be made in that place. But to return to<span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span> the images
+of wax: all those in the said Servite Church are by the hand of Orsino,
+which have a large O in the base as a mark, with an R within it and a
+cross above; and they are all so beautiful that there are few since his
+day who have equalled him. This art, although it has remained alive up
+to our own time, is nevertheless rather on the decline than otherwise,
+either because men's devoutness has diminished, or for some other
+reason, whatever it may be.</p>
+
+<p>And to return to Verrocchio; besides the aforesaid works, he made
+Crucifixes of wood, with certain things of clay, in which he was
+excellent, as may be seen from the models for the scenes that he
+executed for the altar of S. Giovanni, from certain very beautiful boys,
+and from a head of S. Jerome, which is held to be marvellous. By the
+hand of the same man is the boy on the clock of the Mercato Nuovo, who
+has his arms working free, in such a manner that he can raise them to
+strike the hours with a hammer that he holds in his hands; which was
+held in those times to be something very beautiful and fanciful. And let
+this be the end of the Life of that most excellent sculptor, Andrea
+Verrocchio.</p>
+
+<p>There lived in the time of Andrea one Benedetto Buglioni, who received
+the secret of glazed terra-cotta work from a woman related to the house
+of Andrea della Robbia; wherefore he made many works in that manner both
+in Florence and abroad, particularly a Christ rising from the dead, with
+certain angels, which, for a work in glazed terra-cotta, is beautiful
+enough, in the Church of the Servi, near the Chapel of S. Barbara. He
+made a Dead Christ in a chapel in S. Pancrazio, and the lunette that is
+seen over the principal door of the Church of S. Pietro Maggiore. From
+Benedetto the secret descended to Santi Buglioni, the only man who now
+knows how to work at this sort of sculpture.<span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span></p>
+
+
+
+<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span></p>
+<h2><br />ANDREA MANTEGNA</h2>
+
+<div class="figcenter" style="width: 506px;">
+<a name="illus-421" id="illus-421"></a>
+<img src="images/illus-421-tb.jpg" width="506" height="650" alt="THE MARTYRDOM OF S. JAMES" title="" />
+<span class="caption">THE MARTYRDOM OF S. JAMES<br />
+(<i>After the fresco by</i> Andrea Mantegna. <i>Padua: Eremitani</i>)<br /><i>Anderson</i></span>
+<br /><span class="link"><a href="images/illus-421.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIFE_OF_ANDREA_MANTEGNA" id="LIFE_OF_ANDREA_MANTEGNA"></a>LIFE OF ANDREA MANTEGNA</h2>
+
+<h3>PAINTER OF MANTUA</h3>
+
+
+<p>How great is the effect of reward on talent is known to him who labours
+valiantly and receives a certain measure of recompense, for he feels
+neither discomfort, nor hardship, nor fatigue, when he expects honour
+and reward for them; nay, what is more, they render his talent every day
+more renowned and illustrious. It is true, indeed, that there is not
+always found one to recognize, esteem, and remunerate it as that of
+Andrea Mantegna was recognized. This man was born from very humble stock
+in the district of Mantua; and, although as a boy he was occupied in
+grazing herds, he was so greatly exalted by destiny and by his merit
+that he attained to the honourable rank of Chevalier, as will be told in
+the proper place. When almost full grown he was taken to the city, where
+he applied himself to painting under Jacopo Squarcione, a painter of
+Padua, who&mdash;as it is written in a Latin letter from Messer Girolamo
+Campagnola to Messer Leonico Timeo, a Greek philosopher, wherein he
+gives him information about certain old painters who served the family
+of Carrara, Lords of Padua&mdash;took him into his house, and a little time
+afterwards, having recognized the beauty of his intelligence, adopted
+him as his son. Now this Squarcione knew that he himself was not the
+most able painter in the world; wherefore, to the end that Andrea might
+learn more than he himself knew, he made him practise much on casts
+taken from ancient statues and on pictures painted upon canvas which he
+caused to be brought from diverse places, particularly from Tuscany and
+from Rome. By these and other methods, therefore, Andrea learnt not a
+little in his youth; and the competition of Marco<span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span> Zoppo of Bologna,
+Darlo da Treviso, and Niccol&ograve; Pizzolo of Padua, disciples of his master
+and adoptive father, was of no small assistance to him, and a stimulus
+to his studies.</p>
+
+<p>Now after Andrea, who was then no more than seventeen years of age, had
+painted the panel of the high-altar of S. Sofia in Padua, which appears
+wrought by a mature and well-practised master, and not by a youth,
+Squarcione was commissioned to paint the Chapel of S. Cristofano, which
+is in the Church of the Eremite Friars of S. Agostino in Padua; and he
+gave the work to the said Niccol&ograve; Pizzolo and to Andrea. Niccol&ograve; made
+therein a God the Father seated in Majesty between the Doctors of the
+Church, and these paintings were afterwards held to be in no way
+inferior to those that Andrea executed there. And in truth, if Niccol&ograve;,
+whose works were few, but all good, had taken as much delight in
+painting as he did in arms, he would have become excellent, and might
+perchance have lived much longer than he did; for he was ever under arms
+and had many enemies, and one day, when returning from work, he was
+attacked and slain by treachery. Niccol&ograve; left no other works that I know
+of, save another God the Father in the Chapel of Urbano Perfetto.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p>
+
+
+<div class="figcenter" style="width: 441px;">
+<a name="illus-425" id="illus-425"></a>
+<img src="images/illus-425-tb.jpg" width="441" height="600" alt="ANDREA MANTEGNA: THE MADONNA OF THE ROCKS" title="" />
+<span class="caption">ANDREA MANTEGNA: THE MADONNA OF THE ROCKS<br />(<i>Florence: Uffizi, 1025. Panel</i>)</span>
+<br /><span class="link"><a href="images/illus-425.jpg">View larger image</a></span>
+</div>
+
+
+<p>Andrea, thus left alone in the said chapel, painted the four
+Evangelists, which were held very beautiful. By reason of this and other
+works Andrea began to be watched with great expectation, and with hopes
+that he would attain to that success to which he actually did attain;
+wherefore Jacopo Bellini, the Venetian painter, father of Gentile and
+Giovanni, and rival of Squarcione, contrived to get him to marry his
+daughter, the sister of Gentile. Hearing this, Squarcione fell into such
+disdain against Andrea that they were enemies ever afterwards; and in
+proportion as Squarcione had formerly been ever praising the works of
+Andrea, so from that day onward did he ever decry them in public. Above
+all did he censure without reserve the pictures that Andrea had made in
+the said Chapel of S. Cristofano, saying that they were worthless,
+because in making them he had imitated the ancient works in marble, from
+which it is not possible to learn painting perfectly, for the reason
+that stone is ever from its very essence hard, and never has that<span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span>
+tender softness that is found in flesh and in things of nature, which
+are pliant and move in various ways; adding that Andrea would have made
+those figures much better, and that they would have been more perfect,
+if he had given them the colour of marble and not such a quantity of
+colours, because his pictures resembled not living figures but ancient
+statues of marble or other suchlike things. This censure piqued the mind
+of Andrea; but, on the other hand, it was of great service to him, for,
+recognizing that Squarcione was in great measure speaking the truth, he
+set himself to portray living people, and made so much progress in this
+art, that, in a scene which still remained to be painted in the said
+chapel, he showed that he could wrest the good from living and natural
+objects no less than from those wrought by art. But for all this Andrea
+was ever of the opinion that the good ancient statues were more perfect
+and had greater beauty in their various parts than is shown by nature,
+since, as he judged and seemed to see from those statues, the excellent
+masters of old had wrested from living people all the perfection of
+nature, which rarely assembles and unites all possible beauty into one
+single body, so that it is necessary to take one part from one body and
+another part from another. In addition to this, it appeared to him that
+the statues were more complete and more thorough in the muscles, veins,
+nerves, and other particulars, which nature, covering their sharpness
+somewhat with the tenderness and softness of flesh, sometimes makes less
+evident, save perchance in the body of an old man or in one greatly
+emaciated; but such bodies, for other reasons, are avoided by craftsmen.
+And that he was greatly enamoured of this opinion is recognized from his
+works, in which, in truth, the manner is seen to be somewhat hard and
+sometimes suggesting stone rather than living flesh. Be this as it may,
+in this last scene, which gave infinite satisfaction, Andrea portrayed
+Squarcione in an ugly and corpulent figure, lance and sword in hand. In
+the same work he portrayed the Florentine Noferi, son of Messer Palla
+Strozzi, Messer Girolamo della Valle, a most excellent physician, Messer
+Bonifazio Fuzimeliga, Doctor of Laws, Niccol&ograve;, goldsmith to Pope
+Innocent VIII, and Baldassarre da Leccio, all very much his friends,
+whom he represented clad in white armour, burnished and<span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span> resplendent, as
+real armour is, and truly with a beautiful manner. He also portrayed
+there the Chevalier Messer Bonramino, and a certain Bishop of Hungary, a
+man wholly witless, who would wander about Rome all day, and then at
+night would lie down to sleep like a beast in a stable; and he made a
+portrait of Marsilio Pazzo in the person of the executioner who is
+cutting off the head of S. James, together with one of himself. This
+work, in short, by reason of its excellence, brought him a very great
+name.</p>
+
+<p>The while that he was working on this chapel, he also painted a panel,
+which was placed on the altar of S. Luca in S. Justina, and afterwards
+he wrought in fresco the arch that is over the door of S. Antonino, on
+which he wrote his name. In Verona he painted a panel for the altar of
+S. Cristofano and S. Antonio, and he made some figures at the corner of
+the Piazza della Pagl&iacute;a. In S. Maria in Organo, for the Monks of Monte
+Oliveto, he painted the panel of the high-altar, which is most
+beautiful, and likewise that of S. Zeno. And among other things that he
+wrought while living in Verona and sent to various places, one, which
+came into the hands of an Abbot of the Abbey of Fiesole, his friend and
+relative, was a picture containing a half-length Madonna with the Child
+in her arms, and certain heads of angels singing, wrought with admirable
+grace; which picture, now to be seen in the library of that place, has
+been held from that time to our own to be a rare thing.</p>
+
+<p>Now, the while that he lived in Mantua, he had laboured much in the
+service of the Marquis Lodovico Gonzaga, and that lord, who always
+showed no little esteem and favour towards the talent of Andrea, caused
+him to paint a little panel for the Chapel of the Castle of Mantua; in
+which panel there are scenes with figures not very large but most
+beautiful. In the same place are many figures foreshortened from below
+upwards, which are greatly extolled, for although his treatment of the
+draperies was somewhat hard and precise, and his manner rather dry, yet
+everything there is seen to have been wrought with much art and
+diligence. For the same Marquis, in a hall of the Palace of S.
+Sebastiano in Mantua, he painted the Triumph of C&aelig;sar, which is the best
+thing that he ever executed. In this work we see, grouped with most
+beauti<span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span>ful design in the triumph, the ornate and lovely car, the man
+who is vituperating the triumphant C&aelig;sar, and the relatives, the
+perfumes, the incense, the sacrifices, the priests, the bulls crowned
+for the sacrifice, the prisoners, the booty won by the soldiers, the
+ranks of the squadrons, the elephants, the spoils, the victories, the
+cities and fortresses counterfeited in various cars, with an infinity of
+trophies borne on spears, and a variety of helmets and body-armour,
+head-dresses, and ornaments and vases innumerable; and in the multitude
+of spectators is a woman holding the hand of a boy, who, having pierced
+his foot with a thorn, is showing it, weeping, to his mother, in a
+graceful and very lifelike manner. Andrea, as I may have pointed out
+elsewhere, had a good and beautiful idea in this scene, for, having set
+the plane on which the figures stood higher than the level of the eye,
+he placed the feet of the foremost on the outer edge and outline of that
+plane, making the others recede inwards little by little, so that their
+feet and legs were lost to sight in the proportion required by the point
+of view; and so, too, with the spoils, vases, and other instruments and
+ornaments, of which he showed only the lower part, concealing the upper,
+as was required by the rules of perspective; which same consideration
+was also observed with much diligence by Andrea degli Impiccati<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> in
+the Last Supper, which is in the Refectory of S. Maria Nuova. Wherefore
+it is seen that in that age these able masters set about investigating
+with much subtlety, and imitating with great labour, the true properties
+of natural objects. And this whole work, to put it briefly, is as
+beautiful and as well wrought as it could be; so that if the Marquis
+loved Andrea before, he loved and honoured him much more ever
+afterwards.</p>
+
+<div class="figcenter" style="width: 467px;">
+<a name="illus-429" id="illus-429"></a>
+<img src="images/illus-429-tb.jpg" width="467" height="600" alt="MADONNA AND ANGELS" title="" />
+<span class="caption">MADONNA AND ANGELS<br />(<i>After the panel by</i> Andrea Mantegna. <i>Milan: Brera, 198</i>)<br /><i>Alinari</i></span>
+<br /><span class="link"><a href="images/illus-429.jpg">View larger image</a></span>
+</div>
+
+
+<p>What is more, he became so famous thereby that Pope Innocent VIII,
+hearing of his excellence in painting and of the other good qualities
+wherewith he was so marvellously endowed, sent for him, even as he was
+sending for many others, to the end that he might adorn with his
+pictures the walls of the Belvedere, the building of which had just been
+finished. Having gone to Rome, then, greatly favoured and recommended by
+the Marquis, who made him a Chevalier in order to<span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span> honour him the more,
+he was received lovingly by that Pontiff and straightway commissioned to
+paint a little chapel that is in the said place. This he executed with
+diligence and love, and with such minuteness that the vaulting and the
+walls appear rather illuminated than painted; and the largest figures
+that are therein, which he painted in fresco like the others, are over
+the altar, representing the Baptism of Christ by S. John, with many
+people around, who are showing by taking off their clothes that they
+wish to be baptized. Among these is one who, seeking to draw off a
+stocking that has stuck to his leg through sweat, has crossed that leg
+over the other and is drawing the stocking off inside out, with such
+great effort and difficulty, that both are seen clearly in his face;
+which bizarre fancy caused marvel to all who saw it in those times. It
+is said that this Pope, by reason of his many affairs, did not pay
+Mantegna as often as he would have liked, and that therefore, while
+painting certain Virtues in terretta in that work, he made a figure of
+Discretion among the rest, whereupon the Pope, having gone one day to
+see the work, asked Andrea what figure that was; to which Andrea
+answered that it was Discretion; and the Pope added: "If thou wouldst
+have her suitably accompanied, put Patience beside her." The painter
+understood what the meaning of the Holy Father was, and he never said
+another word. The work finished, the Pope sent him back to the Duke with
+much favour and honourable rewards.</p>
+
+<p>The while that Andrea was working in Rome, he painted, besides the said
+chapel, a little picture of the Madonna with the Child sleeping in her
+arms; and within certain caverns in the landscape, which is a mountain,
+he made some stone-cutters quarrying stone for various purposes, all
+wrought with such delicacy and such great patience, that it does not
+seem possible for such good work to be done with the thin point of a
+brush. This picture is now in the possession of the most Illustrious
+Lord, Don Francesco Medici, Prince of Florence, who holds it among his
+dearest treasures.</p>
+
+<p>In our book is a drawing by the hand of Andrea on a half-sheet of royal
+folio, finished in chiaroscuro, wherein is a Judith who is putting the
+head of Holofernes into the wallet of her Moorish slave-girl; which<span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span>
+chiaroscuro is executed in a manner no longer used, for he left the
+paper white to serve for the light in place of white lead, and that so
+delicately that the separate hairs and other minute details are seen
+therein, no less than if they had been wrought with much diligence by
+the brush; wherefore in a certain sense this may be called rather a work
+in colour than a drawing. The same man, like Pollaiuolo, delighted in
+engraving on copper; and, among other things, he made engravings of his
+own Triumphs, which were then held in great account, since nothing
+better had been seen.</p>
+
+<p>One of the last works that he executed was a panel-picture for S. Maria
+della Vittoria, a church built after the direction and design of Andrea
+by the Marquis Francesco, in memory of the victory that he gained on the
+River Taro, when he was General of the Venetian forces against the
+French. In this panel, which was wrought in distemper and placed on the
+high-altar, there is painted the Madonna with the Child seated on a
+pedestal; and below are S. Michelagnolo, S. Anna, and Joachim, who are
+presenting the Marquis&mdash;who is portrayed from life so well that he
+appears alive&mdash;to the Madonna, who is offering him her hand. Which
+picture, even as it gave and still continues to give universal pleasure,
+also satisfied the Marquis so well that he rewarded most liberally the
+talent and labour of Andrea, who, having been remunerated by Princes for
+all his works, was able to maintain his rank of Chevalier most
+honourably up to the end of his life.</p>
+
+<p>Andrea had competitors in Lorenzo da Lendinara&mdash;who was held in Padua to
+be an excellent painter, and who also wrought some things in terra-cotta
+for the Church of S. Antonio&mdash;and in certain others of no great worth.
+He was ever the friend of Dario da Treviso and Marco Zoppo of Bologna,
+since he had been brought up with them under the discipline of
+Squarcione. For the Friars Minor of Padua this Marco painted a loggia
+which serves as their chapter-house; and at Pesaro he painted a panel
+that is now in the new Church of S. Giovanni Evangelista; besides
+portraying in a picture Guidobaldo da Montefeltro, at the time when he
+was Captain of the Florentines. A friend of Mantegna's, likewise, was
+Stefano, a painter of Ferrara, whose works were few but passing<span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span> good;
+and by his hand is the adornment of the sarcophagus of S. Anthony to be
+seen in Padua, with the Virgin Mary, that is called the Vergine del
+Pilastro.</p>
+
+<p>But to return to Andrea himself; he built a very beautiful house in
+Mantua for his own use, which he adorned with paintings and enjoyed
+while he lived. Finally he died in 1517, at the age of sixty-six, and
+was buried with honourable obsequies in S. Andrea; and on his tomb, over
+which stands his portrait in bronze, there was placed the following
+epitaph:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">ESSE PAREM HUNC NORIS, SI NON PR&AElig;PONIS, APELLI;</span><br />
+<span style="margin-left: 1.5em;">&AElig;NEA MANTINE&AElig; QUI SIMULACRA VIDES.</span><br />
+</p>
+
+<p>Andrea was so kindly and praiseworthy in all his actions, that his
+memory will ever live, not only in his own country, but in the whole
+world; wherefore he well deserved, no less for the sweetness of his ways
+than for his excellence in painting, to be celebrated by Ariosto at the
+beginning of his thirty-third canto, where he numbers him among the most
+illustrious painters of his time, saying:</p>
+
+<p class="center">
+<span style="margin-left: 1.5em;">Leonardo, Andrea Mantegna, Gian Bellino.</span><br />
+</p>
+
+<p>This master showed painters a much better method of foreshortening
+figures from below upwards, which was truly a difficult and ingenious
+invention; and he also took delight, as has been said, in engraving
+figures on copper for printing, a method of truly rare value, by means
+of which the world has been able to see not only the Bacchanalia, the
+Battle of Marine Monsters, the Deposition from the Cross, the Burial of
+Christ, and His Resurrection, with Longinus and S. Andrew, works by
+Mantegna himself, but also the manners of all the craftsmen who have
+ever lived.</p>
+
+<div class="figcenter" style="width: 458px;">
+<a name="illus-435" id="illus-435"></a>
+<img src="images/illus-435-tb.jpg" width="458" height="600" alt="JUDITH WITH THE HEAD OF HOLOFERNES" title="" />
+<span class="caption">JUDITH WITH THE HEAD OF HOLOFERNES<br />
+(<i>After the painting by</i> Andrea Mantegna. <i>Dublin: National Gallery</i>)<br /><i>Mansell</i></span>
+<br /><span class="link"><a href="images/illus-435.jpg">View larger image</a></span>
+</div>
+
+
+
+<p><span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX_OF_NAMES_OF_THE_CRAFTSMEN_MENTIONED_IN_VOLUME_III" id="INDEX_OF_NAMES_OF_THE_CRAFTSMEN_MENTIONED_IN_VOLUME_III"></a>INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME III</h2>
+
+<ul class="none">
+<li><span style="margin-left: 1.5em;">Abbot of S. Clemente (Don Bartolommeo della Gatta), <i>Life</i>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_209'><b>209</b></a>. <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Agnolo, Baccio d', <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Agnolo di Donnino, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Agnolo di Lorenzo (Angelo di Lorentino), <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Agnolo di Polo, <a href='#Page_273'><b>273</b></a>, <a href='#Page_274'><b>274</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Alberti, Leon Batista, <i>Life</i>, <a href='#Page_43'><b>43</b></a>-<a href='#Page_48'><b>48</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Albrecht D&uuml;rer, <a href='#Page_214'><b>214</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), <i>Life</i>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a>. <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Alesso Baldovinetti, <i>Life</i>, <a href='#Page_67'><b>67</b></a>-<a href='#Page_70'><b>70</b></a>. <a href='#Page_59'><b>59</b></a>, <a href='#Page_67'><b>67</b></a>-<a href='#Page_70'><b>70</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_225'><b>225</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea dal Castagno (Andrea degli' Impiccati), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_109'><b>109</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_239'><b>239</b></a>, <a href='#Page_283'><b>283</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea della Robbia, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea di Cione Orcagna, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea di Cosimo, <a href='#Page_189'><b>189</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Mantegna, <i>Life</i>, <a href='#Page_279'><b>279</b></a>-<a href='#Page_286'><b>286</b></a>. <a href='#Page_162'><b>162</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Riccio, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Tafi, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Andrea Verrocchio, <i>Life</i>, <a href='#Page_267'><b>267</b></a>-<a href='#Page_276'><b>276</b></a>. <a href='#Page_75'><b>75</b></a>, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Angelico, Fra (Fra Giovanni da Fiesole), <i>Life</i>, <a href='#Page_27'><b>27</b></a>-<a href='#Page_39'><b>39</b></a>. <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Angelo, Lorentino d'. <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Angelo di Lorentino (Agnolo di Lorenzo), <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonello da Messina, <i>Life</i>, <a href='#Page_59'><b>59</b></a>-<a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio di Salvi, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio Filarete, <i>Life</i>, <a href='#Page_3'><b>3</b></a>-<a href='#Page_7'><b>7</b></a>. <a href='#Page_47'><b>47</b></a>, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio (or Vittore) Pisanello, <i>Life</i>, <a href='#Page_109'><b>109</b></a>-<a href='#Page_113'><b>113</b></a>. <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio Pollaiuolo, <i>Life</i>, <a href='#Page_237'><b>237</b></a>-<a href='#Page_243'><b>243</b></a>. <a href='#Page_248'><b>248</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio Rossellino (Rossellino dal Proconsolo), <i>Life</i>, <a href='#Page_139'><b>139</b></a>-<a href='#Page_144'><b>144</b></a>. <a href='#Page_44'><b>44</b></a>, <a href='#Page_253'><b>253</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Antonio Viniziano, <a href='#Page_176'><b>176</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Apelles, <a href='#Page_36'><b>36</b></a>, <a href='#Page_254'><b>254</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Aretino, Geri, <a href='#Page_263'><b>263</b></a>, <a href='#Page_264'><b>264</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Attavante (or Vante), <a href='#Page_36'><b>36</b></a>-<a href='#Page_39'><b>39</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ausse (Hans Memling), <a href='#Page_61'><b>61</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Baccio Cellini, <a href='#Page_92'><b>92</b></a>, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Baccio d' Agnolo, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Baccio da Montelupo, <a href='#Page_148'><b>148</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Baccio Pintelli, <a href='#Page_93'><b>93</b></a>-<a href='#Page_94'><b>94</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Baldinelli, Baldino, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Baldovinetti, Alesso, <i>Life</i>, <a href='#Page_67'><b>67</b></a>-<a href='#Page_70'><b>70</b></a>. <a href='#Page_59'><b>59</b></a>, <a href='#Page_67'><b>67</b></a>-<a href='#Page_70'><b>70</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_225'><b>225</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Banco, Nanni d' Antonio di, <a href='#Page_28'><b>28</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bartolommeo Coda, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bartolommeo della Gatta, Don (Abbot of S. Clemente), <i>Life</i>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_209'><b>209</b></a>. <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bartoluccio Ghiberti, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bastiano Mainardi (Bastiano da San Gimignano), <a href='#Page_225'><b>225</b></a>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Batista del Cervelliera, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bellini, Gentile, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_184'><b>184</b></a>. <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bellini, Giovanni, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_184'><b>184</b></a>. <a href='#Page_280'><b>280</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bellini, Jacopo, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_175'><b>175</b></a>. <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Benedetto Buglioni, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Benedetto Coda, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Benedetto da Maiano, <i>Life</i>, <a href='#Page_257'><b>257</b></a>-<a href='#Page_264'><b>264</b></a>. <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_149'><b>149</b></a>. <a href='#Page_257'><b>257</b></a>-<a href='#Page_264'><b>264</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Benedetto Ghirlandajo, <a href='#Page_222'><b>222</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Benozzo Gozzoli, <i>Life</i>, <a href='#Page_121'><b>121</b></a>-<a href='#Page_125'><b>125</b></a>. <a href='#Page_35'><b>35</b></a>, <a href='#Page_161'><b>161</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bernardo Ciuffagni, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bernardo Rossellino, <i>Life</i>, <a href='#Page_139'><b>139</b></a>-<a href='#Page_144'><b>144</b></a>. <a href='#Page_44'><b>44</b></a>, <a href='#Page_268'><b>268</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bernardo Vasari, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Berto Linaiuolo, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Biagio (pupil of Botticelli), <a href='#Page_251'><b>251</b></a>, <a href='#Page_252'><b>252</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bicci, Lorenzo di, <a href='#Page_20'><b>20</b></a>, <a href='#Page_213'><b>213</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Boccardino, the elder, <a href='#Page_215'><b>215</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bolognese, Guido, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Borghese, Piero (Piero della Francesca, or Piero dal Borgo a San Sepolcro), <i>Life</i>, <a href='#Page_17'><b>17</b></a>-<a href='#Page_23'><b>23</b></a>. <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_135'><b>135</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), <i>Life</i>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a>. <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Botticello, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bramante da Milano, <a href='#Page_18'><b>18</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bramante da Urbino, <a href='#Page_155'><b>155</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bramantino, <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Brini, Francesco, <a href='#Page_214'><b>214</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bruges, Johann of (Jan van Eyck), <a href='#Page_60'><b>60</b></a>-<a href='#Page_62'><b>62</b></a>, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Bruges, Roger of (Roger van der Weyden), <a href='#Page_61'><b>61</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Brunelleschi, Filippo (Filippo di Ser Brunellesco), <a href='#Page_3'><b>3</b></a>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_196'><b>196</b></a>, <a href='#Page_257'><b>257</b></a>, <a href='#Page_271'><b>271</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Buglioni, Benedetto, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Buglioni, Santi, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Buonarroti, Michelagnolo, <a href='#Page_86'><b>86</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_140'><b>140</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Cadore, Tiziano da (Tiziano Vecelli), <a href='#Page_179'><b>179</b></a>, <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Callicrates, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Camicia, Chimenti, <i>Life</i>, <a href='#Page_92'><b>92</b></a>-<a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Campagnola, Girolamo, <a href='#Page_279'><b>279</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Capanna (of Siena), <a href='#Page_208'><b>208</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Castagno, Andrea dal (Andrea degl' Impiccati), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_109'><b>109</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_239'><b>239</b></a>, <a href='#Page_283'><b>283</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Castel della Pieve, Pietro da (Pietro Perugino, or Pietro Vannucci), <a href='#Page_23'><b>23</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Castelfranco, Giorgione da, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cecca, <i>Life</i>, <a href='#Page_193'><b>193</b></a>-<a href='#Page_200'><b>200</b></a>. <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cecca, Girolamo della, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cellini, Baccio, <a href='#Page_92'><b>92</b></a>, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cervelliera, Batista del, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Chimenti Camicia, <i>Life</i>, <a href='#Page_92'><b>92</b></a>-<a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cieco, Niccol&ograve;, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cimabue, Giovanni, <a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ciuffagni, Bernardo, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Coda, Bartolommeo, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Coda, Benedetto, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Corso, Jacopo del, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cortona, Luca da (Luca Signorelli), <a href='#Page_20'><b>20</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cosimo, Andrea di, <a href='#Page_189'><b>189</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cosimo, Piero di, <a href='#Page_189'><b>189</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cosimo Rosselli, <i>Life</i>, <a href='#Page_187'><b>187</b></a>-<a href='#Page_190'><b>190</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cosm&egrave;, <a href='#Page_136'><b>136</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Costa, Lorenzo, <i>Life</i>, <a href='#Page_161'><b>161</b></a>-<a href='#Page_164'><b>164</b></a>. <a href='#Page_167'><b>167</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cozzerello, Jacopo, <a href='#Page_130'><b>130</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Credi, Lorenzo di, <a href='#Page_274'><b>274</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Cronaca, Il, <a href='#Page_260'><b>260</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Dario da Treviso, <a href='#Page_280'><b>280</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">David Ghirlandajo, <a href='#Page_222'><b>222</b></a>, <a href='#Page_225'><b>225</b></a>, <a href='#Page_229'><b>229</b></a>-<a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">David Pistoiese, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Desiderio da Settignano, <i>Life</i>, <a href='#Page_147'><b>147</b></a>-<a href='#Page_149'><b>149</b></a>. <a href='#Page_154'><b>154</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_260'><b>260</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Diamante, Fra, <a href='#Page_83'><b>83</b></a>, <a href='#Page_85'><b>85</b></a>-<a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico del Tasso, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico di Mariotto, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico di Michelino, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico Ghirlandajo, <i>Life</i>, <a href='#Page_219'><b>219</b></a>-<a href='#Page_233'><b>233</b></a>. <a href='#Page_69'><b>69</b></a>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_219'><b>219</b></a>-<a href='#Page_233'><b>233</b></a>, <a href='#Page_248'><b>248</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico Pecori, <a href='#Page_207'><b>207</b></a>-<a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Domenico Viniziano (Domenico da Venezia), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_19'><b>19</b></a>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Don Bartolommeo della Gatta (Abbot of S. Clemente), <i>Life</i>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_209'><b>209</b></a>. <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Don Lorenzo Monaco, <a href='#Page_203'><b>203</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Donato (Donatello), <a href='#Page_3'><b>3</b></a>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_131'><b>131</b></a>, <a href='#Page_144'><b>144</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_269'><b>269</b></a>, <a href='#Page_270'><b>270</b></a>, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Donnino, Agnolo di, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Donzello, Piero del, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Donzello, Polito del, <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Dosso, the elder (Dosso Dossi), <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Duca Tagliapietra, <a href='#Page_169'><b>169</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Duccio, <a href='#Page_6'><b>6</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">D&uuml;rer, Albrecht, <a href='#Page_214'><b>214</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Ercole Ferrarese (Ercole da Ferrara), Life, <a href='#Page_167'><b>167</b></a>-<a href='#Page_170'><b>170</b></a>. <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Eyck, Jan van (Johann of Bruges), <a href='#Page_60'><b>60</b></a>-<a href='#Page_62'><b>62</b></a>, <a href='#Page_64'><b>64</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Fabiano Sassoli, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fabriano, Gentile da, <i>Life</i>, <a href='#Page_109'><b>109</b></a>-<a href='#Page_113'><b>113</b></a>. <a href='#Page_35'><b>35</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Facchino, Giuliano del, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fancelli, Luca, <a href='#Page_47'><b>47</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fancelli, Salvestro, <a href='#Page_47'><b>47</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fermo Ghisoni, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ferrara, Ercole da (Ercole Ferrarese), <i>Life</i>, <a href='#Page_167'><b>167</b></a>-<a href='#Page_170'><b>170</b></a>. <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ferrara, Stefano da, <a href='#Page_285'><b>285</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ferrarese, Ercole (Ercole da Ferrara), <i>Life</i>, <a href='#Page_167'><b>167</b></a>-<a href='#Page_170'><b>170</b></a>. <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ferrarese, Galasso (Galasse Galassi), <i>Life</i> <a href='#Page_135'><b>135</b></a>-<a href='#Page_136'><b>136</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fiesole, Fra Giovanni da (Fra Angelico), <i>Life</i>, <a href='#Page_27'><b>27</b></a>-<a href='#Page_39'><b>39</b></a>. <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fiesole, Mino da (Mino di Giovanni), <i>Life</i>, <a href='#Page_153'><b>153</b></a>-<a href='#Page_157'><b>157</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filarete, Antonio, <i>Life</i>, <a href='#Page_3'><b>3</b></a>-<a href='#Page_7'><b>7</b></a>. <a href='#Page_47'><b>47</b></a>, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), <i>Life</i>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a>. <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filippino Lippi (Filippo Lippi), <a href='#Page_83'><b>83</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filippo Brunelleschi (Filippo di Ser Brunellesco), <a href='#Page_3'><b>3</b></a>, <a href='#Page_12'><b>12</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_196'><b>196</b></a>, <a href='#Page_257'><b>257</b></a>, <a href='#Page_271'><b>271</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filippo Lippi (Filippino Lippi), <a href='#Page_83'><b>83</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Filippo Lippi, Fra, <i>Life</i>, <a href='#Page_79'><b>79</b></a>-<a href='#Page_88'><b>88</b></a>. <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Finiguerra, Maso, <a href='#Page_238'><b>238</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Foccora, Giovanni, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fonte, Jacopo della (Jacopo della Quercia), <a href='#Page_131'><b>131</b></a>, <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Forl&igrave;, Melozzo da, <a href='#Page_124'><b>124</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fra Angelico (Fra Giovanni da Fiesole), <i>Life</i>, <a href='#Page_27'><b>27</b></a>-<a href='#Page_39'><b>39</b></a>. <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fra Diamante, <a href='#Page_83'><b>83</b></a>, <a href='#Page_85'><b>85</b></a>-<a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fra Filippo Lippi, <i>Life</i>, <a href='#Page_79'><b>79</b></a>-<a href='#Page_88'><b>88</b></a>. <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Fra Giovanni da Fiesole (Fra Angelico), <i>Life</i>, <a href='#Page_27'><b>27</b></a>-<a href='#Page_39'><b>39</b></a>. <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesca, Piero della (Piero Borghese, or Piero dal Borgo a San Sepolcro), <i>Life</i>, <a href='#Page_17'><b>17</b></a>-<a href='#Page_23'><b>23</b></a>. <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_135'><b>135</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco Brini, <a href='#Page_214'><b>214</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco di Giorgio, <i>Life</i>, <a href='#Page_129'><b>129</b></a>-<a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco di Monsignore, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco di Simone, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco Granacci (Il Granaccio), <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco Peselli (Francesco di Pesello, or Pesellino), <i>Life</i>, <a href='#Page_117'><b>117</b></a>-<a href='#Page_118'><b>118</b></a>. <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Francesco Salviati, <a href='#Page_258'><b>258</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Galasso Ferrarese (Galasso Galassi), <i>Life</i>, <a href='#Page_135'><b>135</b></a>-<a href='#Page_136'><b>136</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gatta, Don Bartolommeo della (Abbot of S. Clemente), <i>Life</i>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_209'><b>209</b></a>. <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gentile Bellini, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_184'><b>184</b></a>. <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gentile da Fabriano, <i>Life</i>, <a href='#Page_109'><b>109</b></a>-<a href='#Page_113'><b>113</b></a>. <a href='#Page_35'><b>35</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Geri Aretino, <a href='#Page_263'><b>263</b></a>, <a href='#Page_264'><b>264</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gherardo, <i>Life</i>, <a href='#Page_213'><b>213</b></a>-<a href='#Page_215'><b>215</b></a>. <a href='#Page_209'><b>209</b></a>, <a href='#Page_232'><b>232</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghiberti, Bartoluccio, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghiberti, Lorenzo (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), <a href='#Page_3'><b>3</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_269'><b>269</b></a>, <a href='#Page_270'><b>270</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghirlandajo, Benedetto, <a href='#Page_222'><b>222</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghirlandajo, David, <a href='#Page_222'><b>222</b></a>, <a href='#Page_225'><b>225</b></a>, <a href='#Page_229'><b>229</b></a>-<a href='#Page_231'><b>231</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghirlandajo, Domenico, <i>Life</i>, <a href='#Page_219'><b>219</b></a>-<a href='#Page_233'><b>233</b></a>. <a href='#Page_69'><b>69</b></a>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_213'><b>213</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_219'><b>219</b></a>-<a href='#Page_233'><b>233</b></a>, <a href='#Page_248'><b>248</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghirlandajo, Ridolfo, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghirlandajo, Tommaso, <a href='#Page_219'><b>219</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ghisoni, Fermo, <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giacomo Marzone, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gian Cristoforo, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giorgio, Francesco di, <i>Life</i>, <a href='#Page_129'><b>129</b></a>-<a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giorgio Vasari, see Vasari (Giorgio)</span></li>
+
+<li><span style="margin-left: 1.5em;">Giorgio Vasari (son of Lazzaro Vasari, the elder), <a href='#Page_52'><b>52</b></a>, <a href='#Page_54'><b>54</b></a>-<a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giorgione da Castelfranco, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giotto, <a href='#Page_59'><b>59</b></a>, <a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni, Mino di (Mino da Fiesole), <i>Life</i>, <a href='#Page_153'><b>153</b></a>-<a href='#Page_157'><b>157</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni Bellini, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_184'><b>184</b></a>. <a href='#Page_280'><b>280</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni Cimabue, <a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni da Rovezzano, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni Foccora, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giovanni Turini, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Girolamo Campagnola, <a href='#Page_279'><b>279</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Girolamo della Cecca, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Girolamo Moretto (or Mocetto), <a href='#Page_180'><b>180</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Girolamo Padovano, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giuliano da Maiano, <i>Life</i>, <a href='#Page_11'><b>11</b></a>-<a href='#Page_14'><b>14</b></a>. <a href='#Page_74'><b>74</b></a>, <a href='#Page_257'><b>257</b></a>-<a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giuliano del Facchino, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giuliano del Tasso, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giulio Romano, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Giusto, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Gozzoli, Benozzo, <i>Life</i>, <a href='#Page_121'><b>121</b></a>-<a href='#Page_125'><b>125</b></a>. <a href='#Page_35'><b>35</b></a>, <a href='#Page_161'><b>161</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Graffione, <a href='#Page_70'><b>70</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Granacci, Francesco (Il Granaccio), <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Grosso, Nanni, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Guardia, Niccol&ograve; della, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Guglielmo da Marcilla (Guillaume de Marcillac, or the French Prior), <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Guido Bolognese, <a href='#Page_170'><b>170</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Guido del Servellino, <a href='#Page_12'><b>12</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Hans Memling (Ausse), <a href='#Page_61'><b>61</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Il Cronaca, <a href='#Page_260'><b>260</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Il Granaccio (Francesco Granacci), <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Impiccati, Andrea degl' (Andrea dal Castagno), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_109'><b>109</b></a>, <a href='#Page_117'><b>117</b></a>, <a href='#Page_173'><b>173</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_239'><b>239</b></a>, <a href='#Page_283'><b>283</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Indaco, Jacopo dell', <a href='#Page_233'><b>233</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Jacopo (pupil of Botticelli), <a href='#Page_251'><b>251</b></a>, <a href='#Page_252'><b>252</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo Bellini, <i>Life</i>, <a href='#Page_173'><b>173</b></a>-<a href='#Page_175'><b>175</b></a>. <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo Cozzerello, <a href='#Page_130'><b>130</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo da Montagna, <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo del Corso, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo del Sellaio, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo del Tedesco, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo della Quercia (Jacopo della Fonte), <a href='#Page_131'><b>131</b></a>, <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo dell' Indaco, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Jacopo Squarcione, <a href='#Page_279'><b>279</b></a>-<a href='#Page_281'><b>281</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Johann of Bruges (Jan van Eyck), <a href='#Page_60'><b>60</b></a>-<a href='#Page_62'><b>62</b></a>, <a href='#Page_64'><b>64</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Lappoli, Matteo, <a href='#Page_206'><b>206</b></a>, <a href='#Page_207'><b>207</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Laurati, Pietro (Pietro Lorenzetti), <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lazzaro Vasari (the elder), <i>Life</i>, <a href='#Page_51'><b>51</b></a>-<a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lazzaro Vasari (the younger), <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lendinara, Lorenzo da, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Leon Batista Alberti, <i>Life</i>, <a href='#Page_43'><b>43</b></a>-<a href='#Page_48'><b>48</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Leonardo da Vinci, <a href='#Page_270'><b>270</b></a>, <a href='#Page_271'><b>271</b></a>, <a href='#Page_273'><b>273</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Linaiuolo, Berto, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lippi, Filippo (Filippino Lippi), <a href='#Page_83'><b>83</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lippi, Fra Filippo, <i>Life</i>, <a href='#Page_79'><b>79</b></a>-<a href='#Page_88'><b>88</b></a>. <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_247'><b>247</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lodovico Malino (Lodovico Mazzolini), <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorentino, Angelo di (Agnolo di Lorenzo), <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorentino d'Angelo, <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzetti, Pietro (Pietro Laurati), <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzetto, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo, Agnolo di (Angelo di Lorentino), <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo Costa, <i>Life</i>, <a href='#Page_161'><b>161</b></a>-<a href='#Page_164'><b>164</b></a>. <a href='#Page_167'><b>167</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo da Lendinara, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo di Bicci, <a href='#Page_20'><b>20</b></a>, <a href='#Page_213'><b>213</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo di Credi, <a href='#Page_274'><b>274</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo Ghiberti (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), <a href='#Page_3'><b>3</b></a>, <a href='#Page_237'><b>237</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_269'><b>269</b></a>, <a href='#Page_270'><b>270</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo Monaco, Don, <a href='#Page_203'><b>203</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Lorenzo Vecchietto, <i>Life</i>, <a href='#Page_129'><b>129</b></a>-<a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Luca Fancelli, <a href='#Page_47'><b>47</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Luca Signorelli (Luca da Cortona), <a href='#Page_20'><b>20</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Luigi Vivarino, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Macchiavelli, Zanobi, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maestro Mino (Mino del Regno, or Mino del Reame). <i>Life</i>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_92'><b>92</b></a>. <a href='#Page_155'><b>155</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maiano, Benedetto da, <i>Life</i>, <a href='#Page_257'><b>257</b></a>-<a href='#Page_264'><b>264</b></a>. <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_149'><b>149</b></a>, <a href='#Page_257'><b>257</b></a>-<a href='#Page_264'><b>264</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maiano, Giuliano da, <i>Life</i>, <a href='#Page_11'><b>11</b></a>-<a href='#Page_14'><b>14</b></a>. <a href='#Page_74'><b>74</b></a>, <a href='#Page_257'><b>257</b></a>-<a href='#Page_259'><b>259</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mainardi, Bastiano (Bastiano da San Gimignano), <a href='#Page_225'><b>225</b></a>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Malino, Lodovico (Lodovico Mazzolini), <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mantegna, Andrea, <i>Life</i>, <a href='#Page_279'><b>279</b></a>-<a href='#Page_286'><b>286</b></a>. <a href='#Page_162'><b>162</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marchino, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marcilla, Guglielmo da (Guillaume de Marcillac, or the French Prior), <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marco del Tasso, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marco Zoppo, <a href='#Page_279'><b>279</b></a>, <a href='#Page_280'><b>280</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mariotto, Domenico di, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Martin Schongauer, <a href='#Page_214'><b>214</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Martini, Simone (Simone Sanese or Memmi), <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Marzone, Giacomo, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Masaccio, <a href='#Page_79'><b>79</b></a>, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Maso Finiguerra, <a href='#Page_238'><b>238</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Matteo Lappoli, <a href='#Page_206'><b>206</b></a>, <a href='#Page_207'><b>207</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mazzingo, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mazzolini, Lodovico (Lodovico Malino), <a href='#Page_164'><b>164</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Melozzo da Forl&igrave;, <a href='#Page_124'><b>124</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Memling, Hans (Ausse), <a href='#Page_61'><b>61</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Memmi, Simone (Simone Sanese or Martini), <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Messina, Antonello da, <i>Life</i>, <a href='#Page_59'><b>59</b></a>-<a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Michelagnolo Buonarroti, <a href='#Page_86'><b>86</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_140'><b>140</b></a>, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Michele San Michele, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Michelino, Domenico di, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Milano, Bramante da, <a href='#Page_18'><b>18</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mino, Maestro (Mino del Regno, or Mino del Reame), <i>Life</i>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_92'><b>92</b></a>. <a href='#Page_155'><b>155</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Mino da Fiesole (Mino di Giovanni), <i>Life</i>, <a href='#Page_153'><b>153</b></a>-<a href='#Page_157'><b>157</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Minore, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Modanino da Modena, <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Monaco, Don Lorenzo, <a href='#Page_203'><b>203</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Monsignore, Francesco di, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montagna, Jacopo da, <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montelupo, Baccio da, <a href='#Page_148'><b>148</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Montepulciano, Pasquino da, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Moretto (or Mocetto), Girolamo, <a href='#Page_180'><b>180</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Myrmecides, <a href='#Page_55'><b>55</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Nanni d' Antonio di Banco, <a href='#Page_28'><b>28</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Nanni Grosso, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Niccol&ograve; (goldsmith to Pope Innocent VIII), <a href='#Page_281'><b>281</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Niccol&ograve; (of Florence), <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Niccol&ograve; Cieco, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Niccol&ograve; della Guardia, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Niccol&ograve; Pizzolo, <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Nicon, <a href='#Page_209'><b>209</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Orcagna, Andrea di Cione, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Orsino, <a href='#Page_275'><b>275</b></a>, <a href='#Page_276'><b>276</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Padova, Vellano da, <i>Life</i>, <a href='#Page_73'><b>73</b></a>-<a href='#Page_75'><b>75</b></a>. <a href='#Page_272'><b>272</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Padovano, Girolamo, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Paolo da Verona, <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Paolo Romano, <i>Life</i>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Paolo Uccello, <a href='#Page_257'><b>257</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Parri Spinelli, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pasquino da Montepulciano, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pecori, Domenico, <a href='#Page_207'><b>207</b></a>-<a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), <a href='#Page_23'><b>23</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pesellino (Francesco Peselli, or Francesco di Pesello), <i>Life</i>, <a href='#Page_117'><b>117</b></a>-<a href='#Page_118'><b>118</b></a>. <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pesello, <i>Life</i>, <a href='#Page_117'><b>117</b></a>-<a href='#Page_118'><b>118</b></a>. <a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Piero del Donzello, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Piero della Francesca (Piero Borghese, or Piero dal Borgo a San Sepolcro), <i>Life</i>, <a href='#Page_17'><b>17</b></a>-<a href='#Page_23'><b>23</b></a>. <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_135'><b>135</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Piero di Cosimo, <a href='#Page_189'><b>189</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Piero Pollaiuolo, <i>Life</i>, <a href='#Page_237'><b>237</b></a>-<a href='#Page_243'><b>243</b></a>. <a href='#Page_105'><b>105</b></a>, <a href='#Page_248'><b>248</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pietro Laurati (Pietro Lorenzetti), <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pietro Paolo da Todi, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), <a href='#Page_23'><b>23</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pintelli, Baccio, <a href='#Page_93'><b>93</b></a>-<a href='#Page_94'><b>94</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pisanello, Vittore (or Antonio), <i>Life</i>, <a href='#Page_109'><b>109</b></a>-<a href='#Page_113'><b>113</b></a>. <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pistoiese, David, <a href='#Page_263'><b>263</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pizzolo, Niccol&ograve;, <a href='#Page_280'><b>280</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Polito del Donzello, <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pollaiuolo, Antonio, <i>Life</i>, <a href='#Page_237'><b>237</b></a>-<a href='#Page_243'><b>243</b></a>. <a href='#Page_248'><b>248</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Pollaiuolo, Piero, <i>Life</i>, <a href='#Page_237'><b>237</b></a>-<a href='#Page_243'><b>243</b></a>. <a href='#Page_105'><b>105</b></a>, <a href='#Page_248'><b>248</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Polo, Agnolo di, <a href='#Page_273'><b>273</b></a>, <a href='#Page_274'><b>274</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Proconsolo, Rossellino dal (Antonio Rossellino), <i>Life</i>, <a href='#Page_139'><b>139</b></a>-<a href='#Page_144'><b>144</b></a>. <a href='#Page_44'><b>44</b></a>, <a href='#Page_253'><b>253</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Quercia, Jacopo della (Jacopo della Fonte), <a href='#Page_131'><b>131</b></a>, <a href='#Page_188'><b>188</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Raffaello Sanzio (Raffaello da Urbino), <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ravenna, Rondinello da, <a href='#Page_183'><b>183</b></a>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Regno, Mino del (Maestro Mino, or Mino del Reame), <i>Life</i>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_92'><b>92</b></a>. <a href='#Page_155'><b>155</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Riccio, Andrea, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Ridolfo Ghirlandajo, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Robbia, Andrea della, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Roger of Bruges (Roger van der Weyden), <a href='#Page_61'><b>61</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Romano, Giulio, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Romano, Paolo, <i>Life</i>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rondinello da Ravenna, <a href='#Page_183'><b>183</b></a>, <a href='#Page_184'><b>184</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rosselli, Cosimo, <i>Life</i>, <a href='#Page_187'><b>187</b></a>-<a href='#Page_190'><b>190</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rossellino, Antonio (Rossellino dal Proconsolo), <i>Life</i>, <a href='#Page_139'><b>139</b></a>-<a href='#Page_144'><b>144</b></a>. <a href='#Page_44'><b>44</b></a>, <a href='#Page_253'><b>253</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rossellino, Bernardo, <i>Life</i>, <a href='#Page_139'><b>139</b></a>-<a href='#Page_144'><b>144</b></a>. <a href='#Page_44'><b>44</b></a>, <a href='#Page_268'><b>268</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Rovezzano, Giovanni da, <a href='#Page_105'><b>105</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Salvestro Fancelli, <a href='#Page_47'><b>47</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Salvi, Antonio di, <a href='#Page_239'><b>239</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Salviati, Francesco, <a href='#Page_258'><b>258</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">S. Clemente, Abbot of (Don Bartolommeo della Gatta), <i>Life</i>, <a href='#Page_203'><b>203</b></a>-<a href='#Page_209'><b>209</b></a>. <a href='#Page_188'><b>188</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">San Gimignano, Bastiano da (Bastiano Mainardi), <a href='#Page_225'><b>225</b></a>, <a href='#Page_230'><b>230</b></a>-<a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sandro Botticelli (Sandro di Botticello, or Alessandro Filipepi), <i>Life</i>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a>. <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_222'><b>222</b></a>, <a href='#Page_247'><b>247</b></a>-<a href='#Page_254'><b>254</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sanese, Simone (Simone Martini or Memmi), <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino), <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Santi Buglioni, <a href='#Page_276'><b>276</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sanzio, Raffaello (Raffaello da Urbino), <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sassoli, Fabiano, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Schongauer, Martin, <a href='#Page_214'><b>214</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Sellaio, Jacopo del, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Servellino, Guido del, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Settignano, Desiderio da, <i>Life</i>, <a href='#Page_147'><b>147</b></a>-<a href='#Page_149'><b>149</b></a>. <a href='#Page_154'><b>154</b></a>, <a href='#Page_156'><b>156</b></a>, <a href='#Page_260'><b>260</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Signorelli, Luca (Luca da Cortona), <a href='#Page_20'><b>20</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_31'><b>31</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Simone (brother of Donatello), <i>Life</i>, <a href='#Page_3'><b>3</b></a>-<a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Simone, Francesco di, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Simone Sanese (Simone Martini or Memmi), <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Spinelli, Parri, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Squarcione, Jacopo, <a href='#Page_279'><b>279</b></a>-<a href='#Page_281'><b>281</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Stefano (of Florence), <a href='#Page_215'><b>215</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Stefano da Ferrara, <a href='#Page_285'><b>285</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Strozzi, Zanobi, <a href='#Page_35'><b>35</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Tafi, Andrea, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tagliapietra, Duca, <a href='#Page_169'><b>169</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tasso, Domenico del, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tasso, Giuliano del, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tasso, Marco del, <a href='#Page_200'><b>200</b></a>, <a href='#Page_262'><b>262</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tedesco, Jacopo del, <a href='#Page_233'><b>233</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tiziano Vecelli (Tiziano da Cadore), <a href='#Page_179'><b>179</b></a>, <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Todi, Pietro Paolo da, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Tommaso Ghirlandajo, <a href='#Page_219'><b>219</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Treviso, Dario da, <a href='#Page_280'><b>280</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Turini, Giovanni, <a href='#Page_239'><b>239</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Uccello, Paolo, <a href='#Page_257'><b>257</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Urbino, Bramante da, <a href='#Page_155'><b>155</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Urbino, Raffaello da (Raffaello Sanzio), <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), <a href='#Page_23'><b>23</b></a>, <a href='#Page_188'><b>188</b></a>, <a href='#Page_204'><b>204</b></a>, <a href='#Page_273'><b>273</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vante (or Attavante), <a href='#Page_36'><b>36</b></a>-<a href='#Page_39'><b>39</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Varrone (of Florence), <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vasari, Bernardo, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vasari, Giorgio&mdash;</span></li>
+<li><span style="margin-left: 2.5em;">as art-collector, <a href='#Page_12'><b>12</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_52'><b>52</b></a>, <a href='#Page_54'><b>54</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_124'><b>124</b></a>, <a href='#Page_140'><b>140</b></a>, <a href='#Page_149'><b>149</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_170'><b>170</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_198'><b>198</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_238'><b>238</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_254'><b>254</b></a>, <a href='#Page_263'><b>263</b></a>, <a href='#Page_270'><b>270</b></a>, <a href='#Page_284'><b>284</b></a></span></li>
+
+<li><span style="margin-left: 2.5em;">as author, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_34'><b>34</b></a>, <a href='#Page_36'><b>36</b></a>, <a href='#Page_39'><b>39</b></a>, <a href='#Page_48'><b>48</b></a>, <a href='#Page_51'><b>51</b></a>-<a href='#Page_56'><b>56</b></a>, <a href='#Page_59'><b>59</b></a>, <a href='#Page_64'><b>64</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_91'><b>91</b></a>-<a href='#Page_93'><b>93</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_123'><b>123</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_142'><b>142</b></a>-<a href='#Page_144'><b>144</b></a>, <a href='#Page_149'><b>149</b></a>, <a href='#Page_157'><b>157</b></a>,</span></li>
+<li><span style="margin-left: 6em;"><a href='#Page_163'><b>163</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_178'><b>178</b></a>-<a href='#Page_180'><b>180</b></a>, <a href='#Page_198'><b>198</b></a>, <a href='#Page_199'><b>199</b></a>, <a href='#Page_209'><b>209</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_225'><b>225</b></a>, <a href='#Page_242'><b>242</b></a>, <a href='#Page_249'><b>249</b></a>, <a href='#Page_259'><b>259</b></a>, <a href='#Page_262'><b>262</b></a>, <a href='#Page_273'><b>273</b></a>, <a href='#Page_280'><b>280</b></a>, <a href='#Page_283'><b>283</b></a></span></li>
+<li><span style="margin-left: 2.5em;">as painter, <a href='#Page_56'><b>56</b></a>, <a href='#Page_209'><b>209</b></a></span></li>
+<li><span style="margin-left: 2.5em;">as architect, <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vasari, Giorgio (son of Lazzaro Vasari, the elder), <a href='#Page_52'><b>52</b></a>, <a href='#Page_54'><b>54</b></a>-<a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vasari, Lazzaro (the elder), <i>Life</i>, <a href='#Page_51'><b>51</b></a>-<a href='#Page_56'><b>56</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vasari, Lazzaro (the younger), <a href='#Page_55'><b>55</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vecchietto, Lorenzo, <i>Life</i>, <a href='#Page_129'><b>129</b></a>-<a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vecelli, Tiziano (Tiziano da Cadore), <a href='#Page_179'><b>179</b></a>, <a href='#Page_183'><b>183</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vellano da Padova, <i>Life</i>, <a href='#Page_73'><b>73</b></a>-<a href='#Page_75'><b>75</b></a>. <a href='#Page_272'><b>272</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Venezia, Domenico da (Domenico Viniziano), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_19'><b>19</b></a>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Verona, Paolo da, <a href='#Page_243'><b>243</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Verrocchio, Andrea, <i>Life</i>, <a href='#Page_267'><b>267</b></a>-<a href='#Page_276'><b>276</b></a>. <a href='#Page_75'><b>75</b></a>, <a href='#Page_223'><b>223</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vincenzio di Zoppa, <a href='#Page_5'><b>5</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vinci, Leonardo da, <a href='#Page_270'><b>270</b></a>, <a href='#Page_271'><b>271</b></a>, <a href='#Page_273'><b>273</b></a>, <a href='#Page_286'><b>286</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Viniziano, Antonio, <a href='#Page_176'><b>176</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Viniziano, Domenico (Domenico da Venezia), <i>Life</i>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>. <a href='#Page_19'><b>19</b></a>, <a href='#Page_63'><b>63</b></a>, <a href='#Page_97'><b>97</b></a>-<a href='#Page_105'><b>105</b></a>, <a href='#Page_173'><b>173</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vittore (or Antonio) Pisanello, <i>Life</i>, <a href='#Page_109'><b>109</b></a>-<a href='#Page_113'><b>113</b></a>. <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Vivarino, Luigi, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Weyden, Roger van der (Roger of Bruges), <a href='#Page_61'><b>61</b></a></span></li>
+
+
+<li><span style="margin-left: 1.5em;">Zanobi Macchiavelli, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Zanobi Strozzi, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Zeuxis, <a href='#Page_209'><b>209</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Zoppa, Vincenzio di, <a href='#Page_5'><b>5</b></a></span></li>
+
+<li><span style="margin-left: 1.5em;">Zoppo, Marco, <a href='#Page_279'><b>279</b></a>, <a href='#Page_280'><b>280</b></a>, <a href='#Page_285'><b>285</b></a></span></li>
+
+</ul>
+
+
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Literally, Hospice for God's poor.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Inlaying with various kinds of coloured wood.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Luca Signorelli.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Pietro Perugino.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> This seems to be a mistake for Benedict XI.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Guglielmo da Marcilla.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> Jan van Eyck.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> It is reasonable to suppose that this stands for Hans
+(Memling).</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>I.e.</i>, hung up.</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> It has recently been shown that Pisanello's name was not
+Vittore but Antonio; see article by G. F. Hill, on p. 288, vol. xiii. of
+the <i>Burlington Magazine</i>. In the translation, however, Vittore, the
+name given by Vasari, will be kept.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> In the heading to the Life Vasari calls him simply
+Benozzo.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> The officials of the Mercanzia.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> This Life appears only in Vasari's first edition.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Poplar.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> White poplar.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The word in the Italian text is not "carro" but "cero,"
+which is obviously an error.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> The words in brackets have been added to correct an
+obvious omission in the text. The account of Attavante is to be found at
+the end of the Life of Fra Giovanni Angelico.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Garlands.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> See note on p. 57, Vol. I.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> See note on p. 57, Vol. 1.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Mourner, or Weeper.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> <i>I.e.</i>, clock.</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> This seems to be a printer's or copyist's error for
+Prefetto.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Andrea dal Castagno.</p></div>
+
+
+</div>
+
+
+<p class="center">END OF VOL. III.</p>
+
+
+
+<p class="center">
+<span style="margin-left: 1.5em;">PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI</span><br />
+<span style="margin-left: 1.5em;">OF THE CHISWICK PRESS, LONDON. THE COLOURED</span><br />
+<span style="margin-left: 1.5em;">REPRODUCTIONS ENGRAVED AND PRINTED BY</span><br />
+<span style="margin-left: 1.5em;">HENRY STONE AND SON, LTD., BANBURY</span><br />
+</p>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
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+</body>
+</html>
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@@ -0,0 +1,9240 @@
+The Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Lives of the Most Eminent Painters Sculptors and Architects
+       Vol. 3 (of 10),  Filarete and Simone to Mantegna
+
+Author: Giorgio Vasari
+
+Translator: Gaston du C. de Vere
+
+Release Date: October 9, 2008 [EBook #26860]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PAINTERS SCULPTORS AND ARCHITECTS ***
+
+
+
+
+Produced by Mark C. Orton and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+
+
+LIVES OF THE MOST EMINENT PAINTERS SCULPTORS & ARCHITECTS BY GIORGIO
+VASARI:
+
+VOLUME III. FILARETE AND SIMONE TO MANTEGNA 1912
+
+NEWLY TRANSLATED BY GASTON Du C. DE VERE. WITH FIVE HUNDRED
+ILLUSTRATIONS: IN TEN VOLUMES
+
+[Illustration: 1511-1574]
+
+PHILIP LEE WARNER, PUBLISHER TO THE MEDICI SOCIETY, LIMITED 7 GRAFTON
+ST. LONDON, W. 1912-14
+
+
+
+
+CONTENTS OF VOLUME III
+
+                                                                    PAGE
+
+   ANTONIO FILARETE AND SIMONE                                         1
+
+   GIULIANO DA MAIANO                                                  9
+
+   PIERO DELLA FRANCESCA [PIERO BORGHESE]                             15
+
+   FRA GIOVANNI DA FIESOLE [FRA ANGELICO]                             25
+
+   LEON BATISTA ALBERTI                                               41
+
+   LAZZARO VASARI                                                     49
+
+   ANTONELLO DA MESSINA                                               57
+
+   ALESSO BALDOVINETTI                                                65
+
+   VELLANO DA PADOVA                                                  71
+
+   FRA FILIPPO LIPPI                                                  77
+
+   PAOLO ROMANO, MAESTRO MINO [MINO DEL REGNO _OR_ MINO DEL
+        REAME], AND CHIMENTI CAMICIA                                  89
+
+   ANDREA DAL CASTAGNO OF MUGELLO [ANDREA DEGL' IMPICCATI]
+       AND DOMENICO VINIZIANO [DOMENICO DA VENEZIA]                   95
+
+   GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA               107
+
+   PESELLO AND FRANCESCO PESELLI [PESELLINO _OR_ FRANCESCO DI
+       PESELLO]                                                      115
+
+   BENOZZO GOZZOLI                                                   119
+
+   FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO                       127
+
+   GALASSO FERRARESE [GALASSO GALASSI]                               133
+
+   ANTONIO ROSSELLINO [ROSSELLINO DAL PROCONSOLO] AND
+       BERNARDO HIS BROTHER                                          137
+
+   DESIDERIO DA SETTIGNANO                                           145
+
+   MINO DA FIESOLE [MINO DI GIOVANNI]                                151
+
+   LORENZO COSTA                                                     159
+
+   ERCOLE FERRARESE [ERCOLE DA FERRARA]                              165
+
+   JACOPO, GIOVANNI, AND GENTILE BELLINI                             171
+
+   COSIMO ROSSELLI                                                   185
+
+   CECCA                                                             191
+
+   DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE                 201
+
+   GHERARDO                                                          211
+
+   DOMENICO GHIRLANDAJO                                              217
+
+   ANTONIO AND PIERO POLLAIUOLO                                      235
+
+   SANDRO BOTTICELLI [ALESSANDRO FILIPEPI _OR_ SANDRO DI
+       BOTTICELLO]                                                   245
+
+   BENEDETTO DA MAIANO                                               255
+
+   ANDREA VERROCCHIO                                                 265
+
+   ANDREA MANTEGNA                                                   277
+
+   INDEX OF NAMES                                                    287
+
+
+
+
+ILLUSTRATIONS TO VOLUME III
+
+PLATES IN COLOUR
+
+                                                             FACING PAGE
+
+   VINCENZIO DI ZOPPA (FOPPA)
+       Madonna and Child
+           Settignano: Berenson Collection                             6
+
+   PIERO DELLA FRANCESCA
+       Federigo da Montefeltro, Duke of Urbino, and Battista Sforza,
+       his Wife
+           Florence: Uffizi, 1300                                     18
+
+   PIERO DELLA FRANCESCA
+       The Baptism in Jordan
+           London: N. G., 665                                         22
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       The Annunciation
+           Cortona: Gesu Gallery                                      34
+
+   ANTONELLO DA MESSINA
+       Portrait of a Young Man
+           Berlin: Kaiser Friedrich Museum, 18                        62
+
+   ANTONELLO DA MESSINA
+       The Crucifixion
+           London: N. G., 1166                                        64
+
+   ALESSO BALDOVINETTI
+       Madonna and Child in a Landscape
+           Paris: Louvre, 1300B                                       68
+
+   FRA FILIPPO LIPPI
+       The Annunciation
+           London: N. G., 666                                         80
+
+   ANDREA DAL CASTAGNO
+       Dante
+           Florence: S. Apollonia                                    102
+
+   GENTILE DA FABRIANO
+       Detail from The Adoration of the Magi: Madonna and Child,
+       with Three Kings
+           Florence: Accademia, 165                                  110
+
+   VITTORE PISANELLO
+       The Vision of S. Eustace
+           London: N. G., 1436                                       112
+
+   FRANCESCO PESELLI (PESELLINO)
+       Madonna Enthroned, with Saints and Angels
+           Empoli: Gallery                                           118
+
+   BENOZZO GOZZOLI
+       Madonna and Child
+           Berlin: Kaiser Friedrich Museum, 60B                      122
+
+   FRANCESCO DI GIORGIO
+       S. Dorothy
+           London: N. G., 1682                                       128
+
+   JACOPO BELLINI
+       Madonna and Child
+           Florence: Uffizi, 1562                                    174
+
+   GIOVANNI BELLINI
+       The Doge Leonardo Loredano
+           London: N. G., 189                                        174
+
+   GIOVANNI BELLINI
+       Fortuna
+           Venice: Accademia, 595                                    178
+
+   GIOVANNI BELLINI
+       The Dead Christ
+           Milan: Poldi Pezzoli, 624                                 178
+
+   GENTILE BELLINI
+       S. Dominic
+           London: N. G., 1440                                       182
+
+   DOMENICO GHIRLANDAJO
+       The Vision of S. Fina
+           San Gimignano                                             224
+
+   ANTONIO POLLAIUOLO
+       David Victor
+           Berlin: Kaiser Friedrich Museum, 73A                      240
+
+   SANDRO BOTTICELLI
+       Pallas and the Centaur
+           Florence: Pitti Palace                                    248
+
+   SANDRO BOTTICELLI
+       Giovanna Tornabuoni and the Graces
+           Paris: Louvre, 1297                                       248
+
+   SANDRO BOTTICELLI
+       Madonna of the Pomegranate
+           Florence: Uffizi, 1289                                    252
+
+   ANDREA MANTEGNA
+       Madonna of the Rocks
+           Florence: Uffizi, 1025                                    280
+
+
+PLATES IN MONOCHROME
+
+                                                              FACING PAGE
+   ANTONIO FILARETE
+       Bronze Doors
+           Rome: S. Peter's                                            4
+
+   SIMONE
+       Tomb of Pope Martin V
+           Rome: S. Giovanni in Laterano                               8
+
+   BENEDETTO DA MAIANO
+       S. Sebastian
+           Florence: Oratorio della Misericordia                      14
+
+   PIERO DELLA FRANCESCA
+       The Resurrection
+           Borgo S. Sepolcro                                          20
+
+   PIERO DELLA FRANCESCA
+       The Vision of Constantine
+           Arezzo: S. Francesco                                       24
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       The Transfiguration
+           Florence: S. Marco                                         30
+
+   FRA GIOVANNI DA FIESOLE (FRA ANGELICO)
+       S. Stephen Preaching
+           Rome: The Vatican, Chapel of Nicholas V                    32
+
+   LEON BATISTA ALBERTI
+       Facade of S. Andrea
+           Mantua                                                     46
+
+   ALESSO BALDOVINETTI
+       The Annunciation
+           Florence: Uffizi, 56                                       66
+
+   GRAFFIONE
+       The Trinity
+           Florence: S. Spirito                                       70
+
+   VELLANO DA PADOVA
+       Jonah Cast into the Sea
+           Padua: S. Antonio                                          74
+
+   FRA FILIPPO LIPPI
+       The Virgin Adoring
+           Florence: Accademia, 79                                    82
+
+   FRA FILIPPO LIPPI
+       Madonna and Child
+           Florence: Pitti, 343                                       86
+
+   ANDREA DAL CASTAGNO
+       The Last Supper
+           Florence: S. Apollonia                                     98
+
+   DOMENICO VINIZIANO
+       Madonna and Child
+           London: N. G., 1215                                       104
+
+   VITTORE PISANELLO
+       Medals: N. Piccinino and Sigismondo Malatesta
+           London: British Museum                                    114
+
+   BENOZZO GOZZOLI
+       Detail: Procession of the Magi
+           Florence: Palazzo Riccardi                                120
+
+   BENOZZO GOZZOLI
+       The Death of S. Augustine
+           San Gimignano: S. Agostino                                124
+
+   LORENZO VECCHIETTO
+       The Risen Christ
+           Siena: S. Maria della Scala                               130
+
+   COSME (COSIMO TURA)
+       The Madonna Enthroned
+           Berlin: Kaiser Friedrich Museum, 86                       136
+
+   ANTONIO ROSSELLINO
+       Tomb of Cardinal Jacopo of Portugal
+           Florence: S. Miniato                                      142
+
+   BERNARDO ROSSELLINO
+       Tomb of Leonardo Bruni
+           Florence: S. Croce                                        144
+
+   DESIDERIO DA SETTIGNANO
+       Tomb of Carlo Marsuppini
+           Florence: S. Croce                                        148
+
+   MINO DA FIESOLE
+       Tomb of Margrave Hugo
+           Florence: La Badia                                        154
+
+   LORENZO COSTA
+       The Coronation of the Virgin
+           Bologna: S. Giovanni in Monte                             162
+
+   ERCOLE FERRARESE
+       The Israelites Gathering Manna
+           London: N. G., 1217                                       168
+
+   GENTILE BELLINI
+       The Miracle of the True Cross
+           Venice: Accademia, 568                                    176
+
+   GIOVANNI BELLINI
+       Madonna and Saints
+           Venice: S. Francesco della Vigna                          180
+
+   COSIMO ROSSELLI
+       Detail: Christ Healing the Leper
+           Rome: Sistine Chapel                                      190
+
+   DOMENICO GHIRLANDAJO
+       The Death of S. Francis
+           Florence: S. Trinita                                      222
+
+   DOMENICO GHIRLANDAJO
+       The Birth of S. John the Baptist
+           Florence: S. Maria Novella                                226
+
+   BASTIANO MAINARDI
+       The Madonna giving the Girdle to S. Thomas
+           Florence: S. Croce                                        232
+
+   PIERO POLLAIUOLO
+       SS. Eustace, James, and Vincent
+           Florence: Uffizi, 1301                                    238
+
+   ANTONIO POLLAIUOLO
+       The Martyrdom of S. Sebastian
+           London: N. G., 292                                        242
+
+   ANTONIO POLLAIUOLO
+       Tomb of Pope Sixtus IV
+           Rome: S. Peter's                                          242
+
+   SANDRO BOTTICELLI
+       The Adoration of the Magi
+           Florence: Uffizi, 1286                                    250
+
+   SANDRO BOTTICELLI
+       The Calumny of Apelles
+           Florence: Uffizi, 1182                                    254
+
+   BENEDETTO DA MAIANO
+       Pulpit
+           Florence: S. Croce                                        258
+
+   ANDREA VERROCCHIO
+       David
+           Florence: Bargello                                        266
+
+   ANDREA VERROCCHIO
+       Detail: Corner and Foot of the Medici Sarcophagus
+           Florence: S. Lorenzo                                      270
+
+   ANDREA VERROCCHIO
+       Statue of Bartolommeo Colleoni
+           Venice: Campo SS. Giovanni e Paolo                        272
+
+   ANDREA MANTEGNA
+       The Martyrdom of S. James
+           Padua: Eremitani                                          278
+
+   ANDREA MANTEGNA
+       Madonna and Angels
+           Milan: Brera, 198                                         282
+
+   ANDREA MANTEGNA
+       Judith with the Head of Holofernes
+           Dublin: N. G.                                             286
+
+
+
+
+ANTONIO FILARETE AND SIMONE
+
+
+
+
+LIVES OF ANTONIO FILARETE AND SIMONE
+
+SCULPTORS OF FLORENCE
+
+
+If Pope Eugenius IV, when he resolved to make the bronze door for S.
+Pietro in Rome, had used diligence in seeking for men of excellence to
+execute that work (and he would easily have been able to find them at
+that time, when Filippo di Ser Brunellesco, Donatello, and other rare
+craftsmen were alive), it would not have been carried out in the
+deplorable manner which it reveals to us in our own day. But perchance
+the same thing happened to him that is very often wont to happen to the
+greater number of Princes, who either have no understanding of such
+works or take very little delight in them. Now, if they were to consider
+how important it is to show preference to men of excellence in public
+works, by reason of the fame that comes from these, it is certain that
+neither they nor their ministers would be so negligent; for the reason
+that he who encumbers himself with poor and inept craftsmen ensures but
+a short life to his works or his fame, not to mention that injury is
+done to the public interest and to the age in which he was born, for it
+is firmly believed by all who come after, that, if there had been better
+masters to be found in that age, the Prince would have availed himself
+rather of them than of the inept and vulgar.
+
+Now, after being created Pontiff in the year 1431, Pope Eugenius IV,
+hearing that the Florentines were having the doors of S. Giovanni made
+by Lorenzo Ghiberti, conceived a wish to try to make one of the doors of
+S. Pietro in like manner in bronze. But since he had no knowledge of
+such works, he entrusted the matter to his ministers, with whom Antonio
+Filarete, then a youth, and Simone, the brother of Donatello, both
+sculptors of Florence, had so much interest, that the work was allotted
+to them. Putting their hands to this, therefore, they toiled for twelve
+years to complete it; and although Pope Eugenius fled from Rome and was
+much harassed by reason of the Councils, yet those who had charge of S.
+Pietro contrived to prevent that work from being abandoned. Filarete,
+then, wrought that door in low-relief, making a simple division, with
+two upright figures in each part--namely, the Saviour and the Madonna
+above, and S. Peter and S. Paul below; and at the foot of S. Peter is
+that Pope on his knees, portrayed from life. Beneath each figure,
+likewise, there is a little scene from the life of the Saint that is
+above; below S. Peter, his crucifixion, and below S. Paul, his
+beheading; and beneath the Saviour and the Madonna, also, some events
+from their lives. At the foot of the inner side of the said door, to
+amuse himself, Antonio made a little scene in bronze, wherein he
+portrayed himself and Simone and their disciples going with an ass laden
+with good cheer to take their pleasure in a vineyard. But since they
+were not always at work on the said door during the whole of those
+twelve years, they also made in S. Pietro some marble tombs for Popes
+and Cardinals, which were thrown to the ground in the building of the
+new church.
+
+[Illustration: BRONZE DOORS
+
+(_After =Antonio Filarete=. Rome: S. Peter's_)
+
+_Alinari_]
+
+After these works, Antonio was summoned to Milan by Duke Francesco
+Sforza, then Gonfalonier of Holy Church (who had seen his works in
+Rome), to the end that there might be made with his design, as it
+afterwards was, the Albergo de' poveri di Dio,[1] which is a hospital
+that serves for sick men and women, and for the innocent children born
+out of wedlock. The division for the men in this place is in the form of
+a cross, and extends 160 braccia in all directions; and that of the
+women is the same. The width is 16 braccia, and within the four square
+sides that enclose the crosses of each of these two divisions there are
+four courtyards surrounded by porticoes, loggie, and rooms for the use
+of the director, the officials, the servants, and the nurses of the
+hospital, all very commodious and useful. On one side there is a channel
+with water continually running for the service of the hospital and for
+grinding corn, with no small benefit and convenience for that place, as
+all may imagine. Between the two divisions of the hospital there is a
+cloister, 80 braccia in extent in one direction and 160 in the other,
+in the middle of which is the church, so contrived as to serve for both
+divisions. In a word, this place is so well built and designed, that I
+do not believe that there is its like in Europe. According to the
+account of Filarete himself, the first stone of this building was laid
+with a solemn procession of the whole of the clergy of Milan, in the
+presence of Duke Francesco Sforza, the Lady Bianca Maria, and all their
+children, with the Marquis of Mantua, the Ambassador of King Alfonso of
+Arragon, and many other lords. On the first stone which was laid in the
+foundations, as well as on the medals, were these words:
+
+   FRANCISCUS SFORTIA DUX IV, QUI AMISSUM PER PRAECESSORUM OBITUM
+   URBIS IMPERIUM RECUPERAVIT, HOC MUNUS CHRISTI PAUPERIBUS DEDIT
+               FUNDAVITQUE MCCCCLVII, DIE XII APRIL.
+
+These scenes were afterwards depicted on the portico by Maestro
+Vincenzio di Zoppa, a Lombard, since no better master could be found in
+those parts.
+
+A work by the same Antonio, likewise, was the principal church of
+Bergamo, which he built with no less diligence and judgment than he had
+shown in the above-named hospital. And because he also took delight in
+writing, the while that these works of his were in progress he wrote a
+book divided into three parts. In the first he treats of the
+measurements of all edifices, and of all that is necessary for the
+purpose of building. In the second he speaks of the methods of building,
+and of the manner wherein a most beautiful and most convenient city
+might be laid out. In the third he invents new forms of buildings,
+mingling the ancient with the modern. The whole work is divided into
+twenty-four books, illustrated throughout by drawings from his own hand;
+but, although there is something of the good to be found in it, it is
+nevertheless mostly ridiculous, and perhaps the most stupid book that
+was ever written. It was dedicated by him in the year 1464 to the
+Magnificent Piero di Cosimo de' Medici, and it is now in the collection
+of the most Illustrious Lord Duke Cosimo. And in truth, since he put
+himself to so great pains, the book might be commended in some sort, if
+he had at least made some records of the masters of his day and of
+their works; but as there are few to be found therein, and those few are
+scattered throughout the book without method and in the least suitable
+places, he has toiled only to beggar himself, as the saying goes, and to
+be thought a man of little judgment for meddling with something that he
+did not understand.
+
+But I have said quite enough about Filarete, and it is now time to turn
+to Simone, the brother of Donato. This man, after the work of the door,
+made the bronze tomb of Pope Martin. He likewise made some castings that
+were sent to France, of many of which the fate is not known. For the
+Church of the Ermini, in the Canto alla Macine in Florence, he wrought a
+life-size Crucifix for carrying in processions, and to render it the
+lighter he made it of cork. In S. Felicita he made a terra-cotta figure
+of S. Mary Magdalene in Penitence, three braccia and a half in height
+and beautifully proportioned, and revealing the muscles in such a manner
+as to show that he had a very good knowledge of anatomy. He also wrought
+a marble tombstone for the Company of the Nunziata in the Church of the
+Servi, inlaying it with a figure in grey and white marble in the manner
+of a painting (which was much extolled), like the work already mentioned
+as having been done by the Sienese Duccio in the Duomo of Siena. At
+Prato he made the bronze grille for the Chapel of the Girdle. At Forli,
+over the door of the Canon's house, he wrought a Madonna with two angels
+in low-relief; and he adorned the Chapel of the Trinita in S. Francesco
+with work in half-relief for Messer Giovanni da Riolo. In the Church of
+S. Francesco at Rimini, for Sigismondo Malatesti, he built the Chapel of
+S. Sigismondo, wherein there are many elephants, the device of that
+lord, carved in marble. To Messer Bartolommeo Scamisci, Canon of the
+Pieve of Arezzo, he sent a Madonna with the Child in her arms, made of
+terra-cotta, with certain angels in half-relief, very well executed;
+which Madonna is now in the said Pieve, set up against a column. For the
+baptismal font of the Vescovado of Arezzo, likewise, he wrought, in some
+scenes in low-relief, a Christ being baptized by S. John. In the Church
+of the Nunziata in Florence he made a marble tomb for Messer Orlando de'
+Medici. Finally, at the age of fifty-five, he rendered up his spirit
+to God who had given it to him. Nor was it long before Filarete, having
+returned to Rome, died at the age of sixty-nine, and was buried in the
+Minerva, where he had caused Giovanni Foccora, a painter of no small
+repute, to make a portrait of Pope Eugenius, while he was staying in
+Rome in the service of that Pontiff. The portrait of Antonio, by his own
+hand, is at the beginning of his book, where he gives instructions for
+building. His disciples were Varrone and Niccolo, both Florentines, who
+made the marble statue for Pope Pius II near Pontemolle, at the time
+when he brought the head of S. Andrew to Rome. By order of the same Pope
+they restored Tigoli almost from the foundations; and in S. Pietro they
+made the ornament of marble that is above the columns of the chapel
+wherein the said head of S. Andrew is preserved. Near that chapel is the
+tomb of the said Pope Pius, made by Pasquino da Montepulciano, a
+disciple of Filarete, and Bernardo Ciuffagni. This Bernardo wrought a
+tomb of marble for Gismondo Malatesti in S. Francesco at Rimini, making
+his portrait there from nature; and he also executed some works, so it
+is said, in Lucca and in Mantua.
+
+[Illustration: VINCENZIO DI ZOPPA (FOPPA): MADONNA AND CHILD
+
+(_Settignano: Berenson Collection. Panel_)]
+
+[Illustration: TOMB OF POPE MARTIN V
+
+(_After the bronze relief by =Simone=. Rome: S. Giovanni in Laterano_)
+
+_Anderson_]
+
+FOOTNOTE:
+
+[1] Literally, Hospice for God's poor.
+
+
+
+
+GIULIANO DA MAIANO
+
+
+
+
+LIFE OF GIULIANO DA MAIANO
+
+SCULPTOR AND ARCHITECT
+
+
+No small error do those fathers of families make who do not allow the
+minds of their children to run the natural course in their childhood,
+and do not suffer them to follow the calling that is most in accordance
+with their taste; for to try to turn them to something for which they
+have no inclination is manifestly to prevent them from ever being
+excellent in anything, because we almost always find that those who
+labour at something that they do not like make little progress in any
+occupation whatsoever. On the other hand, those who follow the instinct
+of nature generally become excellent and famous in the arts that they
+pursue; as was seen clearly in Giuliano da Maiano. The father of this
+man, after living a long time on the hill of Fiesole, in the part called
+Maiano, working at the trade of stone-cutter, finally betook himself to
+Florence, where he opened a shop for the sale of dressed stone, keeping
+it furnished with the sort of work that is apt very often to be called
+for without warning by those who are erecting some building. Living in
+Florence, then, there was born to him a son, Giuliano, whom his father,
+growing convinced in the course of time that he had a good intelligence,
+proposed to make into a notary, for it appeared to him that his own
+occupation of stone-cutting was too laborious and too unprofitable an
+exercise. But this did not come to pass, because, although Giuliano went
+to a grammar-school for a little, his thoughts were never there, and in
+consequence he made no progress; nay, he played truant very often, and
+showed that he had his mind wholly set on sculpture, although at first
+he applied himself to the calling of joiner and also gave attention to
+drawing.
+
+It is said that in company with Giusto and Minore, masters of
+tarsia,[2] he wrought the seats of the Sacristy of the Nunziata, and
+likewise those of the choir that is beside the chapel, and many things
+in the Badia of Florence and in S. Marco; and that, having acquired a
+name through these works, he was summoned to Pisa, in the Duomo of which
+he wrought the seat that is beside the high-altar, in which the priest,
+the deacon, and the sub-deacon sit when Mass is being sung; making in
+tarsia on the back of this seat, with tinted and shaded woods, the three
+prophets that are seen therein. In this work he availed himself of Guido
+del Servellino and Maestro Domenico di Mariotto, joiners of Pisa, to
+whom he taught the art so well that they afterwards wrought the greater
+part of that choir both with carvings and with tarsia-work; which choir
+has been finished in our own day, with a manner no little better, by
+Batista del Cervelliera of Pisa, a man truly ingenious and fanciful.
+
+But to return to Giuliano; he made the presses of the Sacristy of S.
+Maria del Fiore, which were held at that time to be admirable examples
+of tarsia and inlaid-work. Now, while Giuliano thus continued to devote
+himself to tarsia, to sculpture, and to architecture, Filippo di Ser
+Brunellesco died; whereupon, being chosen by the Wardens of Works to
+succeed him, he made the borders, incrusted with black and white marble,
+which are round the circular windows below the vault of the cupola; and
+at the corners he placed the marble pilasters on which Baccio d'Agnolo
+afterwards laid the architrave, frieze, and cornice, as will be told
+below. It is true that, as it appears from some designs by his hand that
+are in our book, he wished to make another arrangement of frieze,
+cornice, and gallery, with pediments on each of the eight sides of the
+cupola; but he had not time to put this into execution, for, being
+carried away by an excess of work from one day to another, he died.
+
+Before this happened, however, he went to Naples and designed the
+architecture of the magnificent Palace at Poggio Reale for King Alfonso,
+with the beautiful fountains and conduits that are in the courtyard. In
+the city, likewise, he made designs for many fountains, some for the
+houses of noblemen and some for public squares, with beautiful and
+fanciful inventions; and he had the said Palace of Poggio Reale all
+wrought with paintings by Piero del Donzello and his brother Polito.
+Working in sculpture, likewise, for the said King Alfonso, then Duke of
+Calabria, he wrought scenes in low-relief over a door (both within and
+without) in the great hall of the Castle of Naples; and he made a marble
+gate for the castle after the Corinthian Order, with an infinite number
+of figures, giving to that work the form of a triumphal arch, on which
+stories from the life of that King and some of his victories are carved
+in marble. Giuliano also wrought the decorations of the Porta Capovana,
+making therein many varied and beautiful trophies; wherefore he well
+deserved that great love should be felt for him by that King, who,
+rewarding him liberally for his labours, enriched his descendants.
+
+Giuliano had taught to his nephew Benedetto the arts of tarsia and
+architecture, and something about working in marble; and Benedetto was
+living in Florence, devoting himself to working at tarsia, because this
+brought him greater gains than the other arts did. Now Giuliano was
+summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope
+Paul II, to enter the service of that Pontiff. Having gone thither, he
+designed the loggie of travertine in the first court of the Palace of S.
+Pietro, with three ranges of columns, of which the first is on the
+lowest floor, where there are now the Signet Office and other offices;
+the second is above this, where the Datary and other prelates live; and
+the third and last is where those rooms are that look out on the court
+of S. Pietro, which he adorned with gilded ceilings and other ornaments.
+From his design, likewise, were made the marble loggie from which the
+Pope gives his benediction--a very great work, as may still be seen
+to-day. But the most stupendous and marvellous work that he made was the
+palace that he built for that Pope, together with the Church of S. Marco
+in Rome, for which there was used an infinite quantity of travertine
+blocks, said to have been excavated from certain vineyards near the Arch
+of Constantine, where they served as buttresses for the foundations of
+that part of the Colosseum which is now in ruins, perchance because of
+the weakening of that edifice.
+
+Giuliano was sent by the same Pontiff to the Madonna of Loreto, where
+he rebuilt the foundations and greatly enlarged the body of the church,
+which had formerly been small and built over piers in rustic-work. He
+did not go higher than the string-course that was there already; but he
+summoned his nephew Benedetto to that place, and he, as will be told,
+afterwards raised the cupola. Being then forced to return to Naples in
+order to finish the works that he had begun, Giuliano received a
+commission from King Alfonso for a gate near the castle, which was to
+include more than eighty figures, which Benedetto had to execute in
+Florence; but the whole remained unfinished by reason of the death of
+that King. There are still some relics of these figures in the
+Misericordia in Florence, and there were others in our own day in the
+Canto alla Macine; but I do not know where these are now to be found.
+Before the death of the King, however, Giuliano died in Naples at the
+age of seventy, and was greatly honoured with rich obsequies; for the
+King had fifty men clothed in mourning, who accompanied Giuliano to the
+grave, and then he gave orders that a marble tomb should be made for
+him.
+
+The continuation of his work was left to Polito, who completed the
+conduits for the waters of Poggio Reale. Benedetto, devoting himself
+afterwards to sculpture, surpassed his uncle Giuliano in excellence, as
+will be told; and in his youth he was the rival of a sculptor named
+Modanino da Modena, who worked in terra-cotta, and who wrought for the
+said Alfonso a Pieta with an infinite number of figures in the round,
+made of terra-cotta and coloured, which were executed with very great
+vivacity, and were placed by the King in the Church of Monte Oliveto, a
+very highly honoured monastery in the city of Naples. In this work the
+said King is portrayed on his knees, and he appears truly more than
+alive; wherefore Modanino was remunerated by him with very great
+rewards. But when the King died, as it has been said, Polito and
+Benedetto returned to Florence; where, no long time after, Polito
+followed Giuliano into eternity. The sculptures and pictures of these
+men date about the year of our salvation 1447.
+
+[Illustration: S. SEBASTIAN
+
+(_After the marble by =Benedetto da Maiano=. Florence: Oratorio della
+Misericordia_)
+
+_Alinari_]
+
+FOOTNOTE:
+
+[2] Inlaying with various kinds of coloured wood.
+
+
+
+
+PIERO DELLA FRANCESCA
+
+
+
+
+LIFE OF PIERO DELLA FRANCESCA
+
+[_PIERO BORGHESE_]
+
+PAINTER OF BORGO A SAN SEPOLCRO
+
+
+Truly unhappy are those who, labouring at their studies in order to
+benefit others and to make their own name famous, are hindered by
+infirmity and sometimes by death from carrying to perfection the works
+that they have begun. And it happens very often that, leaving them all
+but finished or in a fair way to completion, they are falsely claimed by
+the presumption of those who seek to conceal their asses' skin under the
+honourable spoils of the lion. And although time, who is called the
+father of truth, sooner or later makes manifest the real state of
+things, it is none the less true that for a certain space of time the
+true craftsman is robbed of the honour that is due to his labours; as
+happened to Piero della Francesca of Borgo a San Sepolcro. He, having
+been held a rare master of the difficulties of drawing regular bodies,
+as well as of arithmetic and geometry, was yet not able--being overtaken
+in his old age by the infirmity of blindness, and finally by the close
+of his life--to bring to light his noble labours and the many books
+written by him, which are still preserved in the Borgo, his native
+place. The very man who should have striven with all his might to
+increase the glory and fame of Piero, from whom he had learnt all that
+he knew, was impious and malignant enough to seek to blot out the name
+of his teacher, and to usurp for himself the honour that was due to the
+other, publishing under his own name, Fra Luca dal Borgo, all the
+labours of that good old man, who, besides the sciences named above, was
+excellent in painting.
+
+Piero was born in Borgo a San Sepolcro, which is now a city, although it
+was not one then; and he was called Della Francesca after the name of
+his mother, because she had been left pregnant with him at the death of
+her husband, his father, and because it was she who had brought him up
+and assisted him to attain to the rank that his good-fortune held out to
+him. Piero applied himself in his youth to mathematics, and although it
+was settled when he was fifteen years of age that he was to be a
+painter, he never abandoned this study; nay, he made marvellous progress
+therein, as well as in painting. He was employed by Guidobaldo Feltro
+the elder, Duke of Urbino, for whom he made many very beautiful pictures
+with little figures, which have been for the most part ruined on the
+many occasions when that state has been harassed by wars. Nevertheless,
+there were preserved there some of his writings on geometry and
+perspective, in which sciences he was not inferior to any man of his own
+time, or perchance even to any man of any other time; as is demonstrated
+by all his works, which are full of perspectives, and particularly by a
+vase drawn in squares and sides, in such a manner that the base and the
+mouth can be seen from the front, from behind, and from the sides; which
+is certainly a marvellous thing, for he drew the smallest details
+therein with great subtlety, and foreshortened the curves of all the
+circles with much grace. Having thus acquired credit and fame at that
+Court, he resolved to make himself known in other places; wherefore he
+went to Pesaro and Ancona, whence, in the very thick of his work, he was
+summoned by Duke Borso to Ferrara, where he painted many apartments in
+his palace, which were afterwards destroyed by Duke Ercole the elder in
+the renovation of the palace, insomuch that there is nothing by the hand
+of Piero left in that city, save a chapel wrought in fresco in S.
+Agostino; and even that has been injured by damp. Afterwards, being
+summoned to Rome, he painted two scenes for Pope Nicholas V in the upper
+rooms of his palace, in competition with Bramante da Milano; but these
+also were thrown to the ground by Pope Julius II--to the end that
+Raffaello da Urbino might paint there the Imprisonment of S. Peter and
+the Miracle of the Corporale of Bolsena--together with certain others
+that had been painted by Bramantino, an excellent painter in his day.
+
+[Illustration: PIERO DELLA FRANCESCA: BATTISTA SFORZA, WIFE OF FEDERIGO
+DA MONTEFELTRO
+
+(_Florence: Uffizi, 1300. Panel_)]
+
+Now, seeing that I cannot write the life of this man, nor particularize
+his works, because they have been ruined, I will not grudge the
+labour of making some record of him, for it seems an apt occasion. In
+the said works that were thrown to the ground, so I have heard tell, he
+had made some heads from nature, so beautiful and so well executed that
+speech alone was wanting to give them life. Of these heads not a few
+have come to light, because Raffaello da Urbino had them copied in order
+that he might have the likenesses of the subjects, who were all people
+of importance; for among them were Niccolo Fortebraccio, Charles VII,
+King of France, Antonio Colonna, Prince of Salerno, Francesco
+Carmignuola, Giovanni Vitellesco, Cardinal Bessarione, Francesco
+Spinola, and Battista da Canneto. All these portraits were given to
+Giovio by Giulio Romano, disciple and heir of Raffaello da Urbino, and
+they were placed by Giovio in his museum at Como. Over the door of S.
+Sepolcro in Milan I have seen a Dead Christ wrought in foreshortening by
+the hand of the same man, in which, although the whole picture is not
+more than one braccio in height, there is an effect of infinite length,
+executed with facility and with judgment. By his hand, also, are some
+apartments and loggie in the house of the Marchesino Ostanesia in the
+same city, wherein there are many pictures wrought by him that show
+mastery and very great power in the foreshortening of the figures. And
+without the Porta Vercellina, near the Castle, in certain stables now
+ruined and destroyed, he painted some grooms currying horses, among
+which there was one so lifelike and so well wrought, that another horse,
+thinking it a real one, lashed out at it repeatedly with its hooves.
+
+[Illustration: PIERO DELLA FRANCESCA: FEDERIGO DA MONTEFELTRO, DUKE OF
+URBINO
+
+(_Florence: Uffizi, 1300. Panel_)]
+
+But to return to Piero della Francesca; his work in Rome finished, he
+returned to the Borgo, where his mother had just died; and on the inner
+side of the central door of the Pieve he painted two saints in fresco,
+which are held to be very beautiful. In the Convent of the Friars of S.
+Augustine he painted the panel of the high-altar, which was a thing much
+extolled; and he wrought in fresco a Madonna della Misericordia for a
+company, or rather, as they call it, a confraternity; with a
+Resurrection of Christ in the Palazzo de' Conservadori, which is held
+the best of all the works that are in the said city, and the best that
+he ever made. In company with Domenico da Vinezia, he painted the
+beginning of a work on the vaulting of the Sacristy of S. Maria at
+Loreto; but they left it unfinished from fear of plague, and it was
+afterwards completed by Luca da Cortona,[3] a disciple of Piero, as will
+be told in the proper place.
+
+Going from Loreto to Arezzo, Piero painted for Luigi Bacci, a citizen of
+Arezzo, the Chapel of the High-altar of S. Francesco, belonging to that
+family, the vaulting of which had been already begun by Lorenzo di
+Bicci. In this work there are Stories of the Cross, from that wherein
+the sons of Adam are burying him and placing under his tongue the seed
+of the tree from which there came the wood for the said Cross, down to
+the Exaltation of the Cross itself performed by the Emperor Heraclius,
+who, walking barefoot and carrying it on his shoulder, is entering with
+it into Jerusalem. Here there are many beautiful conceptions and
+attitudes worthy to be extolled; such as, for example, the garments of
+the women of the Queen of Sheba, executed in a sweet and novel manner;
+many most lifelike portraits from nature of ancient persons; a row of
+Corinthian columns, divinely well proportioned; and a peasant who,
+leaning with his hands on his spade, stands listening to the words of S.
+Helena--while the three Crosses are being disinterred--with so great
+attention, that it would not be possible to improve it. Very well
+wrought, also, is the dead body that is restored to life at the touch of
+the Cross, together with the joy of S. Helena and the marvelling of the
+bystanders, who are kneeling in adoration. But above every other
+consideration, whether of imagination or of art, is his painting of
+Night, with an angel in foreshortening who is flying with his head
+downwards, bringing the sign of victory to Constantine, who is sleeping
+in a pavilion, guarded by a chamberlain and some men-at-arms who are
+seen dimly through the darkness of the night; and with his own light the
+angel illuminates the pavilion, the men-at-arms, and all the
+surroundings. This is done with very great thought, for Piero gives us
+to know in this darkness how important it is to copy things as they are
+and to ever take them from the true model; which he did so well that he
+enabled the moderns to attain, by following him, to that supreme
+perfection wherein art is seen in our own time. In this same story he
+represented most successfully in a battle fear, animosity, dexterity,
+vehemence, and all the other emotions that can be imagined in men who
+are fighting, and likewise all the incidents of battle, together with an
+almost incredible carnage, what with the wounded, the fallen, and the
+dead. In these Piero counterfeited in fresco the glittering of their
+arms, for which he deserves no less praise than he does for the flight
+and submersion of Maxentius painted on the other wall, wherein he made a
+group of horses in foreshortening, so marvellously executed that they
+can be truly called too beautiful and too excellent for those times. In
+the same story he made a man, half nude and half clothed in the dress of
+a Saracen, riding a lean horse, which reveals a very great mastery of
+anatomy, a science little known in his age. For this work, therefore, he
+well deserved to be richly rewarded by Luigi Bacci, whom he portrayed
+there in the scene of the beheading of a King, together with Carlo and
+others of his brothers and many Aretines who were then distinguished in
+letters; and to be loved and revered ever afterwards, as he was, in that
+city, which he had made so illustrious with his works.
+
+[Illustration: THE RESURRECTION
+
+(_After the fresco by =Piero della Francesca=. Borgo San Sepolchro_)
+
+_Alinari_]
+
+In the Vescovado of the same city, also, he made a S. Mary Magdalene in
+fresco beside the door of the sacristy; and for the Company of the
+Nunziata he painted the banner that is carried in processions. At the
+head of a cloister at S. Maria delle Grazie, without that district, he
+painted S. Donatus in his robes, seated in a chair drawn in perspective,
+together with certain boys; and in a niche high up on a wall of S.
+Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is
+much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati
+Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful
+Christ praying by night in the Garden.
+
+In Perugia, also, he wrought many works that are still to be seen in
+that city; as, for example, a panel in distemper in the Church of the
+Nuns of S. Anthony of Padua, containing a Madonna with the Child in her
+lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of
+Padua. Above these is a most beautiful Annunciation, with an Angel that
+seems truly to have come out of Heaven; and, what is more, a row of
+columns diminishing in perspective, which is indeed beautiful. In the
+predella there are scenes with little figures, representing S. Anthony
+restoring a boy to life; S. Elizabeth saving a child that has fallen
+into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at
+Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene
+of the Marriage of Our Lady.
+
+Piero, as it has been said, was a very zealous student of art, and gave
+no little attention to perspective; and he had a very good knowledge of
+Euclid, insomuch that he understood all the best curves drawn in regular
+bodies better than any other geometrician, and the clearest elucidations
+of these matters that we have are from his hand. Now Maestro Luca dal
+Borgo, a friar of S. Francis, who wrote about the regular geometrical
+bodies, was his pupil; and when Piero, after having written many books,
+grew old and finally died, the said Maestro Luca, claiming the
+authorship of these books, had them printed as his own, for they had
+fallen into his hands after the death of Piero.
+
+Piero was much given to making models in clay, on which he spread wet
+draperies with an infinity of folds, in order to make use of them for
+drawing.
+
+A disciple of Piero was Lorentino d'Angelo of Arezzo, who made many
+pictures in Arezzo, imitating his manner, and completed those that
+Piero, overtaken by death, left unfinished. Near the S. Donatus that
+Piero wrought in the Madonna delle Grazie, Lorentino painted in fresco
+some stories of S. Donatus, with very many works in many other places
+both in that city and in the district, partly because he would never
+stay idle, and partly to assist his family, which was then very poor. In
+the said Church of the Grazie the same man painted a scene wherein Pope
+Sixtus IV, between the Cardinal of Mantua and Cardinal Piccolomini (who
+was afterwards Pope Pius III), is granting an indulgence to that place;
+in which scene Lorentino portrayed from the life, on their knees,
+Tommaso Marzi, Piero Traditi, Donato Rosselli, and Giuliano Nardi, all
+citizens of Arezzo and Wardens of Works for that building. In the hall
+of the Palazzo de' Priori, moreover, he portrayed from the life Cardinal
+Galeotto da Pietramala, Bishop Guglielmino degli Ubertini, and Messer
+Angelo Albergotti, Doctor of Laws; and he made many other works, which
+are scattered throughout that city.
+
+[Illustration: PIERO DELLA FRANCESCA: THE BAPTISM IN JORDAN
+
+(_London: National Gallery, 665. Panel_)]
+
+It is said that once, when the Carnival was close at hand, the children
+of Lorentino kept beseeching him to kill a pig, as it is the custom to
+do in that district; and that, since he had not the means to buy one,
+they would say, "What will you do about buying a pig, father, if you
+have no money?" To which Lorentino would answer, "Some Saint will help
+us." But when he had said this many times and the season was passing by
+without any pig appearing, they had lost hope, when at length there
+arrived a peasant from the Pieve a Quarto, who wished to have a S.
+Martin painted in fulfilment of a vow, but had no means of paying for
+the picture save a pig, which was worth five lire. This man, coming to
+Lorentino, told him that he wished to have the S. Martin painted, but
+that he had no means of payment save the pig. Whereupon they came to an
+agreement, and Lorentino painted him the Saint, while the peasant
+brought him the pig; and so the Saint provided the pig for the poor
+children of this painter.
+
+Another disciple of Piero was Pietro da Castel della Pieve,[4] who
+painted an arch above S. Agostino, and a S. Urban for the Nuns of S.
+Caterina in Arezzo, which has been thrown to the ground in rebuilding
+the church. His pupil, likewise, was Luca Signorelli of Cortona, who did
+him more honour than all the others.
+
+Piero Borghese, whose pictures date about the year 1458, became blind
+through an attack of catarrh at the age of sixty, and lived thus up to
+the eighty-sixth year of his life. He left very great possessions in the
+Borgo, with some houses that he had built himself, which were burnt and
+destroyed in the strife of factions in the year 1536. He was honourably
+buried by his fellow-citizens in the principal church, which formerly
+belonged to the Order of Camaldoli, and is now the Vescovado. Piero's
+books are for the most part in the library of Frederick II, Duke of
+Urbino, and they are such that they have deservedly acquired for him the
+name of the best geometrician of his time.
+
+[Illustration: THE VISION OF CONSTANTINE
+
+(_After the fresco by =Piero della Francesca=. Arezzo: S. Francesco_)
+
+_Alinari_]
+
+FOOTNOTES:
+
+[3] Luca Signorelli.
+
+[4] Pietro Perugino.
+
+
+
+
+FRA GIOVANNI DA FIESOLE
+
+
+
+
+FRA GIOVANNI DA FIESOLE
+
+[_FRA ANGELICO_]
+
+PAINTER OF THE ORDER OF PREACHING FRIARS
+
+
+Fra Giovanni Angelico da Fiesole, who was known in the world as Guido,
+was no less excellent as painter and illuminator than he was upright as
+churchman, and for both one and the other of these reasons he deserves
+that most honourable record should be made of him. This man, although he
+could have lived in the world with the greatest comfort, and could have
+gained whatever he wished, besides what he possessed, by means of those
+arts, of which he had a very good knowledge even in his youth, yet
+resolved, for his own peace and satisfaction, being by nature serious
+and upright, and above all in order to save his soul, to take the vows
+of the Order of Preaching Friars; for the reason that, although it is
+possible to serve God in all walks of life, nevertheless it appears to
+some men that they can gain salvation in monasteries better than in the
+world. Now in proportion as this plan succeeds happily for good men, so,
+on the contrary, it has a truly miserable and unhappy issue for a man
+who takes the vows with some other end in view.
+
+There are some choral books illuminated by the hand of Fra Giovanni in
+his Convent of S. Marco in Florence, so beautiful that words are not
+able to describe them; and similar to these are some others that he left
+in S. Domenico da Fiesole, wrought with incredible diligence. It is
+true, indeed, that in making these he was assisted by an elder brother,
+who was likewise an illuminator and well practised in painting.
+
+One of the first works in painting wrought by this good father was a
+panel in the Certosa of Florence, which was placed in the principal
+chapel (belonging to Cardinal Acciaiuoli); in which panel is a Madonna
+with the Child in her arms, and with certain very beautiful angels at
+her feet, sounding instruments and singing; at the sides are S.
+Laurence, S. Mary Magdalene, S. Zanobi, and S. Benedict; and in the
+predella are little stories of these Saints, wrought in little figures
+with infinite diligence. In the cross of the said chapel are two other
+panels by the hand of the same man; one containing the Coronation of Our
+Lady, and the other a Madonna with two saints, wrought with most
+beautiful ultramarine blues. Afterwards, in the tramezzo[5] of S. Maria
+Novella, beside the door opposite to the choir, he painted in fresco S.
+Dominic, S. Catherine of Siena, and S. Peter Martyr; and some little
+scenes in the Chapel of the Coronation of Our Lady in the said tramezzo.
+On canvas, fixed to the doors that closed the old organ, he painted an
+Annunciation, which is now in the convent, opposite to the door of the
+lower dormitory, between one cloister and the other.
+
+This father was so greatly beloved for his merits by Cosimo de' Medici,
+that, after completing the construction of the Church and Convent of S.
+Marco, he caused him to paint the whole Passion of Jesus Christ on a
+wall in the chapter-house; and on one side all the Saints who have been
+heads and founders of religious bodies, mourning and weeping at the foot
+of the Cross, and on the other side S. Mark the Evangelist beside the
+Mother of the Son of God, who has swooned at the sight of the Saviour of
+the world Crucified, while round her are the Maries, all grieving and
+supporting her, with S. Cosimo and S. Damiano. It is said that in the
+figure of S. Cosimo Fra Giovanni portrayed from the life Nanni d'
+Antonio di Banco, a sculptor and his friend. Below this work, in a
+frieze above the panelling, he made a tree with S. Dominic at the foot
+of it, and, in certain medallions encircled by the branches, all the
+Popes, Cardinals, Bishops, Saints, and Masters of Theology whom his
+Order of Preaching Friars had produced up to that time. In this work he
+made many portraits from nature, being assisted by the friars, who sent
+for them to various places; and they were the following: S. Dominic in
+the middle, grasping the branches of the tree; Pope Innocent V, a
+Frenchman; the Blessed Ugone, first Cardinal of that Order; the Blessed
+Paolo, Florentine and Patriarch; S. Antonino, Archbishop of Florence;
+the Blessed Giordano, a German, and the second General of that Order;
+the Blessed Niccolo; the Blessed Remigio, a Florentine; and the martyr
+Boninsegno, a Florentine; all these are on the right hand. On the left
+are Benedict II[6] of Treviso; Giandomenico, a Florentine Cardinal;
+Pietro da Palude, Patriarch of Jerusalem; Alberto Magno, a German; the
+Blessed Raimondo di Catalonia, third General of the Order; the Blessed
+Chiaro, a Florentine, and Provincial of Rome; S. Vincenzio di Valenza;
+and the Blessed Bernardo, a Florentine. All these heads are truly
+gracious and very beautiful. Then, over certain lunettes in the first
+cloister, he made many very beautiful figures in fresco, and a Crucifix
+with S. Dominic at the foot, which is much extolled; and in the
+dormitory, besides many other things throughout the cells and on the
+surface of the walls, he painted a story from the New Testament, of a
+beauty beyond the power of words to describe. Particularly beautiful and
+marvellous is the panel of the high-altar of that church; for, besides
+the fact that the Madonna rouses all who see her to devotion by her
+simplicity, and that the Saints that surround her are like her in this,
+the predella, in which there are stories of the martyrdom of S. Cosimo,
+S. Damiano, and others, is so well painted, that one cannot imagine it
+possible ever to see a work executed with greater diligence, or little
+figures more delicate or better conceived than these are.
+
+In S. Domenico da Fiesole, likewise, he painted the panel of the
+high-altar, which has been retouched by other masters and injured,
+perchance because it appeared to be spoiling. But the predella and the
+Ciborium of the Sacrament have remained in better preservation; and the
+innumerable little figures that are to be seen there, in a Celestial
+Glory, are so beautiful, that they appear truly to belong to Paradise,
+nor can any man who approaches them ever have his fill of gazing on
+them. In a chapel of the same church is a panel by his hand, containing
+the Annunciation of Our Lady by the Angel Gabriel, with features in
+profile, so devout, so delicate, and so well executed, that they appear
+truly to have been made rather in Paradise than by the hand of man; and
+in the landscape at the back are Adam and Eve, because of whom the
+Redeemer was born from the Virgin. In the predella, also, there are some
+very beautiful little scenes.
+
+But superior to all the other works that Fra Giovanni made, and the one
+wherein he surpassed himself and gave supreme proof of his talent and of
+his knowledge of art, was a panel that is beside the door of the same
+church, on the left hand as one enters, wherein Jesus Christ is crowning
+Our Lady in the midst of a choir of angels and among an infinite
+multitude of saints, both male and female, so many in number, so well
+wrought, and with such variety in the attitudes and in the expressions
+of the heads, that incredible pleasure and sweetness are felt in gazing
+at them; nay, one is persuaded that those blessed spirits cannot look
+otherwise in Heaven, or, to speak more exactly, could not if they had
+bodies; for not only are all these saints, both male and female, full of
+life and sweet and delicate in expression, but the whole colouring of
+that work appears to be by the hand of a saint or an angel like
+themselves; wherefore it was with very good reason that this excellent
+monk was ever called Fra Giovanni Angelico. Moreover, the stories of the
+Madonna and of S. Dominic in the predella are divine in their own kind;
+and I, for one, can declare with truth that I never see this work
+without thinking it something new, and that I never leave it sated.
+
+In the Chapel of the Nunziata in Florence which Piero di Cosimo de'
+Medici caused to be built, he painted the doors of the press (in which
+the silver is kept) with little figures executed with much diligence.
+This father painted so many pictures, now to be found in the houses of
+Florentine citizens, "that I sometimes stand marvelling how one single
+man could execute so much work to such perfection, even in the space of
+many years. The Very Reverend Don Vincenzio Borghini, Director of the
+Hospital of the Innocenti, has a very beautiful little Madonna by the
+hand of this father; and Bartolommeo Gondi, as devoted a lover of these
+arts as any gentleman that one could think of, has a large picture, a
+small one, and a Crucifix, all by the same hand. The pictures that
+are in the arch over the door of S. Domenico are also by the same
+man; and in the Sacristy of S. Trinita there is a panel containing a
+Deposition from the Cross, into which he put so great diligence, that it
+can be numbered among the best works that he ever made. In S. Francesco,
+without the Porta a S. Miniato, there is an Annunciation; and in S.
+Maria Novella, besides the works already named, he painted with little
+scenes the Paschal candle and some Reliquaries which are placed on the
+altar in the most solemn ceremonies.
+
+[Illustration: THE TRANSFIGURATION
+
+(_After the fresco by =Fra Giovanni da Fiesole= [Fra Angelico]. Florence:
+S. Marco_)
+
+_Anderson_]
+
+Over a door of the cloister of the Badia in the same city he painted a
+S. Benedict, who is making a sign enjoining silence. For the
+Linen-manufacturers he painted a panel that is in the Office of their
+Guild; and in Cortona he painted a little arch over the door of the
+church of his Order, and likewise the panel of the high-altar. At
+Orvieto, on a part of the vaulting of the Chapel of the Madonna in the
+Duomo, he began certain prophets, which were finished afterwards by Luca
+da Cortona. For the Company of the Temple in Florence he painted a Dead
+Christ on a panel; and in the Church of the Monks of the Angeli he made
+a Paradise and a Hell with little figures, wherein he showed fine
+judgment by making the blessed very beautiful and full of jubilation and
+celestial gladness, and the damned all ready for the pains of Hell, in
+various most woeful attitudes, and bearing the stamp of their sins and
+unworthiness on their faces. The blessed are seen entering the gate of
+Paradise in celestial dance, and the damned are being dragged by demons
+to the eternal pains of Hell. This work is in the aforesaid church, on
+the right hand as one goes towards the high-altar, where the priest sits
+when Mass is sung. For the Nuns of S. Piero Martire--who now live in the
+Monastery of S. Felice in Piazza, which used to belong to the Order of
+Camaldoli--he painted a panel with Our Lady, S. John the Baptist, S.
+Dominic, S. Thomas, and S. Peter Martyr, and a number of little figures.
+And in the tramezzo[7] of S. Maria Nuova there may also be seen a panel
+by his hand.
+
+These many labours having made the name of Fra Giovanni illustrious
+throughout all Italy, Pope Nicholas V sent for him and caused him to
+adorn that chapel of his Palace in Rome wherein the Pope hears Mass with
+a Deposition from the Cross and some very beautiful stories of S.
+Laurence, and also to illuminate some books, which are most beautiful.
+In the Minerva he painted the panel of the high-altar, and an
+Annunciation that is now set up against a wall beside the principal
+chapel. He also painted for the said Pope in the Palace the Chapel of
+the Sacrament, which was afterwards destroyed by Paul III in the making
+of a staircase through it. In that work, which was an excellent example
+of his manner, he had wrought in fresco some scenes from the life of
+Jesus Christ, and he had made therein many portraits from life of
+distinguished persons of those times, which would probably now be lost
+if Giovio had not caused the following among them to be preserved for
+his museum--namely, Pope Nicholas V; the Emperor Frederick, who came to
+Italy at that time; Frate Antonino, who was afterwards Archbishop of
+Florence; Biondo da Forli; and Ferrante of Arragon. Now Fra Giovanni
+appeared to the Pope to be, as indeed he was, a person of most holy
+life, peaceful and modest; and, since the Archbishopric of Florence was
+at that time vacant, the Pope had judged him worthy of that rank; but
+the said friar, hearing this, implored His Holiness to find another man,
+for the reason that he did not feel himself fitted for ruling others,
+whereas his Order contained a brother most learned and well able to
+govern, a Godfearing man and a friend of the poor, on whom that dignity
+would be conferred much more fittingly than on himself. The Pope,
+hearing this and remembering that what he said was true, granted him the
+favour willingly; and thus the Archbishopric of Florence was given to
+Frate Antonino of the Order of Preaching Friars, a man truly very famous
+both for sanctity and for learning, and of such a character, in short,
+that he was deservedly canonized in our own day by Adrian VI.
+
+[Illustration: S. STEPHEN PREACHING
+
+(_After the fresco by =Fra Giovanni da Fiesole= [Fra Angelico] Rome: The
+Vatican, Chapel of Nicholas V_)
+
+_Anderson_]
+
+Great excellence was that of Fra Giovanni, and a thing truly very rare,
+to resign a dignity and honour and charge so important, offered to
+himself by a Supreme Pontiff, in favour of the man whom he, with his
+singleness of eye and sincerity of heart, judged to be much more
+worthy of it than himself. Let the churchmen of our own times learn
+from this holy man not to take upon themselves charges that they cannot
+worthily carry out, and to yield them to those who are most worthy of
+them. Would to God, to return to Fra Giovanni (and may this be said
+without offence to the upright among them), that all churchmen would
+spend their time as did this truly angelic father, seeing that he spent
+every minute of his life in the service of God and in benefiting both
+the world and his neighbour. And what can or ought to be desired more
+than to gain the kingdom of Heaven by living a life of holiness, and to
+win eternal fame in the world by labouring virtuously? And in truth a
+talent so extraordinary and so supreme as that of Fra Giovanni could not
+and should not descend on any save a man of most holy life, for the
+reason that those who work at religious and holy subjects should be
+religious and holy men; for it is seen, when such works are executed by
+persons of little faith who have little esteem for religion, that they
+often arouse in men's minds evil appetites and licentious desires;
+whence there comes blame for the evil in their works, with praise for
+the art and ability that they show. Now I would not have any man deceive
+himself by considering the rude and inept as holy, and the beautiful and
+excellent as licentious; as some do, who, seeing figures of women or of
+youths adorned with loveliness and beauty beyond the ordinary,
+straightway censure them and judge them licentious, not perceiving that
+they are very wrong to condemn the good judgment of the painter, who
+holds the Saints, both male and female, who are celestial, to be as much
+more beautiful than mortal man as Heaven is superior to earthly beauty
+and to the works of human hands; and, what is worse, they reveal the
+unsoundness and corruption of their own minds by drawing evil and impure
+desires out of works from which, if they were lovers of purity, as they
+seek by their misguided zeal to prove themselves to be, they would gain
+a desire to attain to Heaven and to make themselves acceptable to the
+Creator of all things, in whom, as most perfect and most beautiful, all
+perfection and beauty have their source. What would such men do if they
+found themselves, or rather, what are we to believe that they do when
+they actually find themselves, in places containing living beauty,
+accompanied by licentious ways, honey-sweet words, movements full of
+grace, and eyes that ravish all but the stoutest of hearts, if the very
+image of beauty, nay, its mere shadow, moves them so profoundly?
+However, I would not have any believe that I approve of those figures
+that are painted in churches in a state of almost complete nudity, for
+in these cases it is seen that the painter has not shown the
+consideration that was due to the place; because, even although a man
+has to show how much he knows, he should proceed with due regard for
+circumstances and pay respect to persons, times, and places.
+
+Fra Giovanni was a man of great simplicity, and most holy in his ways;
+and his goodness may be perceived from this, that, Pope Nicholas V
+wishing one morning to entertain him at table, he had scruples of
+conscience about eating meat without leave from his Prior, forgetting
+about the authority of the Pontiff. He shunned the affairs of the world;
+and, living a pure and holy life, he was as much the friend of the poor
+as I believe his soul to be now the friend of Heaven. He was continually
+labouring at his painting, and he would never paint anything save
+Saints. He might have been rich, but to this he gave no thought; nay, he
+used to say that true riches consist only in being content with little.
+He might have ruled many, but he would not, saying that it was less
+fatiguing and less misleading to obey others. He had the option of
+obtaining dignities both among the friars and in the world, but he
+despised them, declaring that he sought no other dignity save that of
+seeking to avoid Hell and draw near to Paradise. And what dignity, in
+truth, can be compared to that which all churchmen, nay, all men, should
+seek, and which is to be found only in God and in a life of virtue? He
+was most kindly and temperate; and he lived chastely and withdrew
+himself from the snares of the world, being wont very often to say that
+he who pursued such an art had need of quiet and of a life free from
+cares, and that he whose work is connected with Christ must ever live
+with Christ. He was never seen in anger among his fellow-friars, which
+is a very notable thing, and almost impossible, it seems to me, to
+believe; and it was his custom to admonish his friends with a simple
+smile. With incredible sweetness, if any sought for works from him, he
+would say that they had only to gain the consent of the Prior, and
+that then he would not fail them. In short, this never to be
+sufficiently extolled father was most humble and modest in all his works
+and his discourse, and facile and devout in his pictures; and the Saints
+that he painted have more the air and likeness of Saints than those of
+any other man. It was his custom never to retouch or improve any of his
+pictures, but to leave them ever in the state to which he had first
+brought them; believing, so he used to say, that this was the will of
+God. Some say that Fra Giovanni would never have taken his brushes in
+his hand without first offering a prayer. He never painted a Crucifix
+without the tears streaming down his cheeks; wherefore in the
+countenances and attitudes of his figures one can recognize the
+goodness, nobility, and sincerity of his mind towards the Christian
+religion.
+
+[Illustration: FRA GIOVANNI DA FIESOLE (FRA ANGELICO): THE ANNUNCIATION
+
+(_Cortona: Gesu Gallery. Panel_)]
+
+He died in 1455 at the age of sixty-eight, and left disciples in
+Benozzo, a Florentine, who ever imitated his manner, and Zanobi Strozzi,
+who painted pictures and panels throughout all Florence for the houses
+of citizens, and particularly a panel that is now in the tramezzo[8] of
+S. Maria Novella, beside that by Fra Giovanni, and one in S. Benedetto,
+a monastery of the Monks of Camaldoli without the Porta a Pinti, now in
+ruins. The latter panel is at present in the little Church of S. Michele
+in the Monastery of the Angeli, before one enters the principal church,
+set up against the wall on the right as one approaches the altar. There
+is also a panel in the Chapel of the Nasi in S. Lucia, and another in S.
+Romeo; and in the guardaroba of the Duke there is the portrait of
+Giovanni di Bicci de' Medici, with that of Bartolommeo Valori, in one
+and the same picture by the hand of the same man. Another disciple of
+Fra Giovanni was Gentile da Fabriano, as was also Domenico di Michelino,
+who painted the panel for the altar of S. Zanobi in S. Apollinare at
+Florence, and many other pictures.
+
+Fra Giovanni was buried by his fellow-friars in the Minerva in Rome,
+near the lateral door beside the sacristy, in a round tomb of marble,
+with himself, portrayed from nature, lying thereon. The following
+epitaph may be read, carved in the marble:
+
+   NON MIHI SIT LAUDI, QUOD ERAM VELUT ALTER APELLES,
+     SED QUOD LUCRA TUIS OMNIA, CHRISTE, DABAM;
+   ALTERA NAM TERRIS OPERA EXTANT, ALTERA C[OE]LO.
+     URBS ME JOANNEM FLOS TULIT ETRURIAE.
+
+In S. Maria del Fiore are two very large books illuminated divinely well
+by the hand of Fra Giovanni, which are held in great veneration and
+richly adorned, nor are they ever seen save on days of the highest
+solemnity.
+
+A celebrated and famous illuminator at the same time as Fra Giovanni was
+one Attavante, a Florentine, of whom I know no other name. This man,
+among many other works, illuminated a Silius Italicus, which is now in
+S. Giovanni e Polo in Venice; of which work I will not withhold certain
+particulars, both because they are worthy of the attention of craftsmen,
+and because, to my knowledge, no other work by this master is to be
+found; nor should I know even of this one, had it not been for the
+affection borne to these noble arts by the Very Reverend Maestro Cosimo
+Bartoli, a gentleman of Florence, who gave me information about it, to
+the end that the talent of Attavante might not remain, as it were,
+buried out of sight.
+
+In the said book, then, the figure of Silius has on the head a helmet
+with a crest of gold and a chaplet of laurel; he is wearing a blue
+cuirass picked out with gold in the ancient manner, while he is holding
+a book in his right hand, and the left he has on a short sword. Over the
+cuirass he has a red chlamys, fastened in front with a knot, and fringed
+with gold, which hangs down from his shoulders. The inside of this
+chlamys is seen to be of changing colours and embroidered with gold. His
+buskins are yellow, and he is standing on his right foot in a niche. The
+next figure in this work represents Scipio Africanus. He is wearing a
+yellow cuirass, and his sword-belt and sleeves, which are blue in
+colour, are all embroidered with gold. On his head he has a helmet with
+two little wings and a fish by way of crest. The young man's countenance
+is fair and very beautiful; and he is raising his right arm proudly,
+holding in that hand a naked sword, while in the left hand he has the
+scabbard, which is red and embroidered with gold. The hose are green in
+colour and plain; and the chlamys, which is blue, has a red lining with
+a fringe of gold all round, and it is fastened at the throat, leaving
+the front quite open, and falling behind with beautiful grace. This
+young man, who stands in a niche of mixed green and grey marble, with
+blue buskins embroidered with gold, is looking with indescribable
+fierceness at Hannibal, who faces him on the opposite page of the book.
+This figure of Hannibal is that of a man about thirty-six years of age;
+he is frowning, with two furrows in his brow expressive of impatience
+and anger, and he, too, is looking fixedly at Scipio. On his head he has
+a yellow helmet, with a green and yellow dragon for crest and a serpent
+for chaplet. He is standing on his left foot and raising his right arm,
+with which he holds the shaft of an ancient javelin, or rather, of a
+little partisan. His cuirass is blue, his sword-belt partly blue and
+partly yellow, his sleeves of changing blue and red, and his buskins
+yellow. His chlamys, of changing red and yellow, is fastened on the
+right shoulder and lined with green; and, holding his left hand on his
+sword, he is standing in a niche of varicoloured marbles, yellow, white,
+and changing. On another page is Pope Nicholas V, portrayed from the
+life, with a mantle of changing purple and red and all embroidered with
+gold. He is without a beard and in full profile, and he is looking
+towards the beginning of the book, which is opposite to him; and he is
+pointing to it with his right hand, as though in a marvel. The niche is
+green, white, and red. Then in the border there are certain little
+half-length figures in an ornament composed of ovals and circles, and
+other things of that kind, together with an infinite number of little
+birds and children, so well wrought that nothing more could be desired.
+Close to this, in like manner, are Hanno the Carthaginian, Hasdrubal,
+Laelius, Massinissa, C. Salinator, Nero, Sempronius, M. Marcellus, Q.
+Fabius, the other Scipio, and Vibius. At the end of the book there is
+seen a Mars in an antique chariot drawn by two reddish horses. On his
+head he has a helmet of red and gold, with two little wings; on his left
+arm he has an antique shield, which he holds before him, and in his
+right hand a naked sword. He is standing on his left foot only, holding
+the other in the air. He has a cuirass in the antique manner, all red
+and gold, as are his hose and his buskins. His chlamys is blue without,
+and within all green and embroidered with gold. The chariot is covered
+with red cloth embroidered with gold, with a border of ermine all round;
+and it stands in a verdant and flowery champaign country, surrounded by
+cliffs and rocks; while landscapes and cities are seen in the distance,
+with a sky of a most marvellous blue. On the opposite page is a young
+Neptune, whose clothing is in the shape of a long shirt, embroidered all
+round with the colour formed from terretta verde. The flesh-colour is
+very pale. In his right hand he is holding a little trident, and with
+his left he is raising his dress. He is standing with both feet on the
+chariot, which has a covering of red, embroidered with gold and fringed
+all round with sable. This chariot has four wheels, like that of Mars,
+but it is drawn by four dolphins, and accompanied by three sea-nymphs,
+two boys, and a great number of fishes, all wrought with a water-colour
+similar to the terretta, and very beautiful in expression. After these
+is seen Carthage in despair, in the form of a woman standing upright
+with dishevelled hair. Her upper garment is green, and it is open from
+the waist downwards, being lined with red cloth embroidered in gold; and
+through this opening there may be seen another garment, delicate and of
+changing purple and white colour. The sleeves are red and gold, with
+certain puffs and floating folds made by the upper garment, and she is
+stretching out her left hand towards Rome, who is opposite to her, as
+though saying, "What is thy wish? I have my answer ready;" and in her
+right hand she holds a naked sword, with an air of frenzy. Her buskins
+are blue, and she is standing on a rock in the middle of the sea,
+surrounded by a very beautiful sky. Rome is a maiden as beautiful as it
+is possible for man to imagine, with dishevelled hair and certain
+tresses wrought with infinite grace. Her clothing is pure red, with only
+an embroidered border at the foot; the lining of her robe is yellow, and
+the garment beneath, which is seen through the opening, is of changing
+purple and white. Her buskins are green; in her right hand she has a
+sceptre, in her left a globe; and she, too, is standing on a rock, in
+the midst of a sky that could not be more beautiful than it is. Now,
+although I have striven to the best of my power to show with what great
+art these figures were wrought by Attavante, let no one believe that I
+have said more than a very small part of what might be said about their
+beauty, seeing that, considering the time, there are no better examples
+of illumination to be seen, nor any work wrought with more invention,
+judgment, and design; and the colours, above all, could not be more
+beautiful or laid in their places more delicately, so perfect is their
+grace.
+
+FOOTNOTES:
+
+[5] See note on p. 57, Vol. I.
+
+[6] This seems to be a mistake for Benedict XI.
+
+[7] See note on p. 57, Vol. I.
+
+[8] See note on p. 57, Vol. I.
+
+
+
+
+LEON BATISTA ALBERTI
+
+
+
+
+LIFE OF LEON BATISTA ALBERTI
+
+ARCHITECT OF FLORENCE
+
+
+Very great is the advantage bestowed by learning, without exception, on
+all those craftsmen who take delight in it, but particularly on
+sculptors, painters, and architects, for it opens up the way to
+invention in all the works that are made; not to mention that a man
+cannot have a perfect judgment, be his natural gifts what they may, if
+he is deprived of the complemental advantage of being assisted by
+learning. For who does not know that it is necessary, in choosing sites
+for buildings, to show enlightenment in the avoidance of danger from
+pestiferous winds, insalubrious air, and the smells and vapours of
+impure and unwholesome waters? Who is ignorant that a man must be able,
+in whatever work he is seeking to carry out, to reject or adopt
+everything for himself after mature consideration, without having to
+depend on help from another man's theory? For theory, when separated
+from practice, is generally of very little use; but when the two chance
+to come together, there is nothing that is more helpful to our life,
+both because art becomes much richer and more perfect by the aid of
+science, and because the counsels and the writings of learned craftsmen
+have in themselves greater efficacy and greater credit than the words or
+works of those who know nothing but mere practice, whether they do it
+well or ill. And that all this is true is seen manifestly in Leon
+Batista Alberti, who, having studied the Latin tongue, and having given
+attention to architecture, to perspective, and to painting, left behind
+him books written in such a manner, that, since not one of our modern
+craftsmen has been able to expound these matters in writing, although
+very many of them in his own country have excelled him in working, it is
+generally believed--such is the influence of his writings over the pens
+and speech of the learned--that he was superior to all those who were
+actually superior to him in work. Wherefore, with regard to name and
+fame, it is seen from experience that writings have greater power and
+longer life than anything else; for books go everywhere with ease, and
+everywhere they command belief, if only they be truthful and not full of
+lies. It is no marvel, then, if the famous Leon Batista is known more
+for his writings than for the work of his hands.
+
+This man, born in Florence of the most noble family of the Alberti, of
+which we have spoken in another place, devoted himself not only to
+studying geography and the proportions of antiquities, but also to
+writing, to which he was much inclined, much more than to working. He
+was excellent in arithmetic and geometry, and he wrote ten books on
+architecture in the Latin tongue, which were published by him in 1481,
+and may now be read in a translation in the Florentine tongue made by
+the Reverend Maestro Cosimo Bartoli, Provost of S. Giovanni in Florence.
+He wrote three books on painting, now translated into the Tuscan tongue
+by Messer Lodovico Domenichi; he composed a treatise on traction and on
+the rules for measuring heights, as well as the books on the "Vita
+Civile," and some erotic works in prose and verse; and he was the first
+who tried to reduce Italian verse to the measure of the Latin, as is
+seen in the following epistle by his pen:
+
+   Questa per estrema miserabile pistola mando
+     A te, che spregi miseramente noi.
+
+Arriving at Rome in the time of Nicholas V, who had turned the whole of
+Rome upside down with his manner of building, Leon Batista, through the
+agency of Biondo da Forli, who was much his friend, became intimate with
+that Pope, who had previously carried out all his building after the
+advice of Bernardo Rossellino, a sculptor and architect of Florence, as
+will be told in the Life of his brother Antonio. This man, having put
+his hand to restoring the Pope's Palace and to certain works in S. Maria
+Maggiore, thenceforward, according to the will of the Pope, ever sought
+the advice of Leon Batista. Wherefore, using one of them as adviser and
+the other as executor, the Pope carried out many useful and
+praiseworthy works, such as the restoring of the conduit of the Acqua
+Vergine, which was in ruins; and there was made the fountain on the
+Piazza de' Trevi, with those marble ornaments that are seen there, on
+which are the arms of that Pontiff and of the Roman people.
+
+Afterwards, having gone to Signor Sigismondo Malatesti of Rimini, he
+made for him the model of the Church of S. Francesco, and in particular
+that of the facade, which was made of marble; and likewise the side
+facing towards the south, which was built with very great arches and
+with tombs for the illustrious men of that city. In short, he brought
+that building to such a form that in point of solidity it is one of the
+most famous temples in Italy. Within it are six most beautiful chapels,
+one of which, dedicated to S. Jerome, is very ornate; and in it are
+preserved many relics brought from Jerusalem. In the same chapel are the
+tombs of the said Signor Sigismondo and of his wife, constructed very
+richly of marble in the year 1450; on one there is the portrait of
+Sigismondo himself, and in another part of the work there is that of
+Leon Batista.
+
+After this, in the year 1457, when the very useful method of printing
+books was discovered by Johann Gutenberg the German, Leon Batista,
+working on similar lines, discovered a way of tracing natural
+perspectives and of effecting the diminution of figures by means of an
+instrument, and likewise the method of enlarging small things and
+reproducing them on a greater scale; all ingenious inventions, useful to
+art and very beautiful.
+
+In Leon Batista's time Giovanni di Paolo Rucellai wished to build the
+principal facade of S. Maria Novella entirely of marble at his own
+expense, and he spoke of this to Leon Batista, who was very much his
+friend; and having received from him not only counsel, but the actual
+model, Giovanni resolved to have the work executed at all costs, in
+order to leave it behind him as a memorial of himself. A beginning
+having been made, therefore, it was finished in the year 1477, to the
+great satisfaction of all the city, which was pleased with the whole
+work, but particularly with the door, from which it is seen that Leon
+Batista took more than ordinary pains. For Cosimo Rucellai, likewise, he
+made the design for the palace which that man built in the street which
+is called La Vigna, and that for the loggia which is opposite to it. In
+the latter, having turned his arches over columns close together, both
+in the front and at the ends, since he wished to adhere to this plan and
+not to make one single arch, he had a certain space left over on each
+side; wherefore he was forced to make certain projections at the inner
+corners. And then, when he wished to turn the arch of the inner
+vaulting, having seen that he could not give it the shape of a
+half-circle, which would have been flat and awkward, he resolved to turn
+certain small arches at the corners from one projection to another; and
+this lack of judgment in design gives us to know clearly that practice
+is necessary as well as science, for the judgment can never become
+perfect unless science attains to experience by actual work.
+
+It is said that the same man made the design for the house and garden of
+these Rucellai in the Via della Scala. This house is built with much
+judgment and very commodious, for, besides many other conveniences, it
+has two loggie, one facing south and the other west, both very
+beautiful, and made without arches on the columns, which is the true and
+proper method that the ancients used, for the reason that the
+architraves which are placed on the capitals of the columns lie level,
+whereas a four-sided thing like a curving arch cannot rest on a round
+column without the corners jutting out over space. The good method,
+therefore, demands that architraves should rest on columns, and that,
+when arches are to be turned, pilasters and not columns should be made.
+
+For the same Rucellai Leon Batista made a chapel in the same manner in
+S. Pancrazio, which rests on great architraves placed on two columns and
+two pilasters, piercing the wall of the church below; which is a
+difficult thing, but safe; wherefore this work is one of the best that
+this architect ever made. In the middle of this chapel is a tomb of
+marble, wrought very well in the form of a rather long oval, and
+similar, as may be read on it, to the Sepulchre of Jesus Christ in
+Jerusalem.
+
+[Illustration: FACADE OF S. ANDREA
+
+(_After =Leon Batista Alberti=. Mantua_)
+
+_Alinari_]
+
+About the same time Lodovico Gonzaga, Marquis of Mantua, wished to build
+the tribune and the principal chapel in the Nunziata, the Church of the
+Servi in Florence, after the design and model of Leon Batista; and
+pulling down a square chapel, old, not very large, and painted in the
+ancient manner, which stood at the head of the church, he built the
+said tribune in the bizarre and difficult form of a round temple
+surrounded by nine chapels, all curving in a round arch, and each within
+in the shape of a niche. Now, since the arches of the said chapels rest
+on the pilasters in front, the result is that the stone dressings of the
+arches, inclining towards the wall, tend to draw ever backwards in order
+to meet the said wall, which turns in the opposite direction according
+to the shape of the tribune; wherefore, when the said arches of the
+chapels are looked at from the side, it appears that they are falling
+backwards, and that they are clumsy, as indeed they are, although the
+proportions are correct, and the difficulties of the method must be
+remembered. Truly it would have been better if Leon Batista had avoided
+this method, for, although there is some credit for the difficulty of
+its execution, it is clumsy both in great things and in small, and it
+cannot have a good result. And that this is true of great things is
+proved by the great arch in front, which forms the entrance to the said
+tribune; for, although it is very beautiful on the outer side, on the
+inner side, where it has to follow the curve of the chapel, which is
+round, it appears to be falling backwards and to be extremely clumsy.
+This Leon Batista would perhaps not have done, if, in addition to
+science and theory, he had possessed practical experience in working;
+for another man would have avoided this difficulty, and would have
+rather aimed at grace and greater beauty for the edifice. The whole work
+is otherwise in itself very beautiful, bizarre, and difficult; and
+nothing save great courage could have enabled Leon Batista to vault that
+tribune in those times in the manner that he did. Being then summoned by
+the same Marquis Lodovico to Mantua, Leon Batista made for him the
+models of the Church of S. Andrea and of some other works; and on the
+road leading from Mantua to Padua there may be seen certain temples
+built after his manner. Many of the designs and models of Leon Batista
+were carried into execution by Salvestro Fancelli, a passing good
+architect and sculptor of Florence, who, according to the desire of the
+said Leon Batista, executed with judgment and extraordinary diligence
+all the works that he undertook in Florence. For those in Mantua he
+employed one Luca, a Florentine, who, living ever afterwards in that
+city and dying there, left his name--so Filarete tells us--to the
+family of the Luchi, which is still there to-day. It was no small
+good-fortune for him to have friends who understood him and were able
+and willing to serve him, because architects cannot be always standing
+over their work, and it is of the greatest use to them to have a
+faithful and loving assistant; and if any man ever knew it, I know it
+very well by long experience.
+
+In painting Leon Batista did not do great or very beautiful works, for
+the few by his hand that are to be seen do not show much perfection; nor
+is this to be wondered at, seeing that he devoted himself more to his
+studies than to draughtsmanship. Yet he could express his conceptions
+well enough in drawing, as may be seen from some sketches by his hand
+that are in our book, in which there are drawn the Bridge of S. Angelo
+and the covering that was made for it with his design in the form of a
+loggia, for protection from the sun in summer and from the rain and wind
+in winter. This work he was commissioned to execute by Pope Nicholas V,
+who had intended to carry out many similar works throughout the whole of
+Rome; but death intervened to hinder him. There is a work of Leon
+Batista's in a little Chapel of Our Lady on the abutment of the Ponte
+alla Carraja in Florence--namely, an altar-predella, containing three
+little scenes with some perspectives, which he was much more able to
+describe with the pen than to paint with the brush. In the house of the
+Palla Rucellai family, also in Florence, there is a portrait of himself
+made with a mirror; and a panel with rather large figures in
+chiaroscuro. He also made a picture of Venice in perspective, with S.
+Marco, but the figures therein were executed by other masters; and this
+is one of the best examples of his painting that there are to be seen.
+
+Leon Batista was a person of most honest and laudable ways, the friend
+of men of talent, and very open and courteous to all; and he lived
+honourably and like a gentleman--which he was--through the whole course
+of his life. Finally, having reached a mature enough age, he passed
+content and tranquil to a better life, leaving a most honourable name
+behind him.
+
+
+
+
+LAZZARO VASARI
+
+
+
+
+LIFE OF LAZZARO VASARI
+
+PAINTER OF AREZZO
+
+
+Truly great is the pleasure of those who find one of their ancestors and
+of their own family to have been distinguished and famous in some
+profession, whether that of arms, or of letters, or of painting, or any
+other noble calling whatsoever; and those men who find some honourable
+mention of one of their forefathers in history, if they gain nothing
+else thereby, have an incitement to virtue and a bridle to restrain them
+from doing anything unworthy of a family which has produced illustrious
+and very famous men. How great is this pleasure, as I said at the
+beginning, I have experienced for myself in finding that one among my
+ancestors, Lazzaro Vasari, was famous as a painter in his day not only
+in his native place, but throughout all Tuscany; and that certainly not
+without reason, as I could clearly prove, if it were permissible for me
+to speak as freely of him as I have spoken of others. But, since I was
+born of his blood, it might be readily believed that I had exceeded all
+due bounds in praising him; wherefore, leaving on one side the merits of
+the man himself and of the family, I will simply tell what I cannot and
+should not under any circumstances withhold, if I would not fall short
+of the truth, on which all history hangs.
+
+Lazzaro Vasari, then, a painter of Arezzo, was very much the friend of
+Piero della Francesca of Borgo a San Sepolcro, and ever held intercourse
+with him while Piero was working, as it has been said, in Arezzo. And,
+as it often comes to pass, this friendship brought him nothing but
+advantage, for the reason that, whereas Lazzaro had formerly devoted
+himself only to making little figures for certain works according to the
+custom of those times, he was persuaded by Piero della Francesca to set
+himself to do bigger things. His first work in fresco was a S. Vincent
+in S. Domenico at Arezzo, in the second chapel on the left as one enters
+the church; and at his feet he painted himself and his young son Giorgio
+kneeling, clothed in honourable costumes of those times, and
+recommending themselves to the Saint, because the boy had inadvertently
+cut his face with a knife. Although there is no inscription on this
+work, yet certain memories of old men belonging to our house and the
+fact that it contains the Vasari arms, enable us to attribute it to him
+without a doubt. Of this there must certainly have been some record in
+that convent, but their papers and everything else have been destroyed
+many times by soldiers, and I do not marvel at the lack of records. The
+manner of Lazzaro was so similar to that of Piero Borghese, that very
+little difference could be seen between one and the other. Now it was
+very much the custom at that time to paint various things, such as the
+quarterings of arms, on the caparisons of horses, according to the rank
+of those who bore them; and in this work Lazzaro was an excellent
+master, and the rather as it was his province to make very graceful
+little figures, which were very well suited to such caparisons. Lazzaro
+wrought for Niccolo Piccino and for his soldiers and captains many
+things full of stories and arms, which were held in great price, with so
+much profit for himself, that the gains that he drew from this work
+enabled him to recall to Arezzo many of his brothers, who were living at
+Cortona and working at the manufacture of earthenware vases. He also
+brought into his house his nephew, Luca Signorelli of Cortona, his
+sister's son, whom he placed, by reason of his good intelligence, with
+Piero Borghese, to the end that he might learn the art of painting;
+which he contrived to do very well, as will be told in the proper place.
+
+Lazzaro, then, devoting himself continually to the study of art, became
+every day more excellent, as is shown by some very good drawings by his
+hand that are in our book. And because he took much pleasure in
+depicting certain natural effects full of emotions, in which he
+expressed very well weeping, laughing, crying, fear, trembling, and the
+like, his pictures are mostly full of such inventions; as may be seen
+in a little chapel painted in fresco by his hand in S. Gimignano at
+Arezzo, wherein there is a Crucifix, with the Madonna, S. John, and the
+Magdalene at the foot of the Cross, in various attitudes, and weeping so
+naturally, that they acquired credit and fame for him among his
+fellow-citizens. For the Company of S. Antonio, in the same city, he
+painted a cloth banner that is borne in processions, on which he wrought
+Jesus Christ at the Column, naked and bound and so lifelike, that He
+appears to be trembling, and, with His shoulders all drawn together, to
+be enduring with incredible humility and patience the blows that two
+Jews are giving Him. One of these, firmly planted on his feet, is plying
+his scourge with both his hands, turning his back towards Christ in an
+attitude full of cruelty. The other is seen in profile, raising himself
+on tip-toe; and grasping the scourge with his hands, and gnashing his
+teeth, he is wielding it with so great rage that words are powerless to
+express it. Both these men Lazzaro painted with their garments torn, the
+better to reveal the nude, contenting himself with covering after a
+fashion their private and less honourable parts. This work painted on
+cloth has lasted all these years--which truly makes me marvel--right up
+to our own day; and by reason of its beauty and excellence the men of
+that Company caused a copy to be made of it by the French Prior,[9] as
+we will relate in the proper place. At Perugia, also, Lazzaro wrought
+some stories of the Madonna, with a Crucifix, in a chapel beside the
+Sacristy of the Church of the Servi. In the Pieve of Montepulciano he
+executed a predella with little figures, and at Castiglione Aretino he
+painted a panel in distemper in S. Francesco; together with many other
+works, which, for the sake of brevity, I refrain from describing, more
+particularly many chests that are in the houses of citizens, which he
+painted with little figures. In the Palace of the Guelphs in Florence,
+among the ancient arms, there may be seen some caparisons wrought very
+well by him. He also painted a banner for the Company of S. Sebastiano,
+containing the said Saint at the column, with certain angels crowning
+him; but it is now spoilt and all eaten away by time.
+
+In Lazzaro's time there was one who made glass windows in Arezzo,
+Fabiano Sassoli, a young Aretine of great excellence in that profession,
+as is proved by those of his works that are in the Vescovado, the Abbey,
+the Pieve, and other places in that city; but he knew little of design,
+and he was very far from reaching the excellence of those that Parri
+Spinelli made. Wherefore he determined that, even as he knew well how to
+fire, to put together, and to mount the glass, so he would make some
+work that should also be passing good with regard to the painting; and
+he caused Lazzaro to execute for him two cartoons of his own invention,
+in order to make two windows for the Madonna delle Grazie. Having
+obtained these from Lazzaro, who was his friend and a courteous
+craftsman, he made the said windows, which turned out so beautiful and
+so well wrought that there are not many to which they have to give
+precedence. In one there is a very beautiful Madonna; and in the other,
+which is by far the better of the two, there is the Resurrection of
+Christ, with an armed man in foreshortening in front of the Sepulchre;
+and it is a marvel, considering the small size of the window and
+consequently of the picture, how those figures can appear so large in so
+small a space. Many other things could I tell of Lazzaro, who was a very
+good draughtsman, as may be seen from certain drawings in our book; but
+I think it best for me to pass them by.
+
+Lazzaro was a pleasant person and very witty in his speech; and although
+he was much given to pleasure, nevertheless he never strayed from the
+path of right living. His life lasted seventy-two years, and he left a
+son called Giorgio, who occupied himself continually with the ancient
+Aretine vases of terra-cotta; and at the time when Messer Gentile of
+Urbino, Bishop of Arezzo, was dwelling in that city, Giorgio
+rediscovered the method of giving red and black colours to terra-cotta
+vases, such as those that the ancient Aretines made up to the time of
+King Porsena. Being a most industrious person, he made large vases with
+the potter's wheel, one braccio and a half in height, which are still to
+be seen in his house. Men say that while searching for vases in a place
+where he thought that the ancients had worked, he found three arches of
+their ancient furnaces three braccia below the surface in a field of
+clay near the bridge at Calciarella, a place called by that name; and
+round these he found some of the mixture for making the vases, and many
+broken ones, with four that were whole. These last were given by
+Giorgio, through the mediation of the Bishop, to the Magnificent Lorenzo
+de' Medici on his visiting Arezzo; wherefore they were the source and
+origin of his entering into the service of that most exalted family, in
+which he remained ever afterwards. Giorgio worked very well in relief,
+as may be seen from some heads by his hand that are in his house. He had
+five sons, who all followed the same calling; two of them, Lazzaro and
+Bernardo, were good craftsmen, of whom the latter died very young in
+Rome; and in truth, by reason of his intelligence, which is known to
+have been dexterous and ready, if death had not snatched him so
+prematurely from his house, he would have brought honour to his native
+place.
+
+The elder Lazzaro died in 1452, and his son, Giorgio, died in 1484 at
+the age of sixty-eight; and both were buried in the Pieve of Arezzo at
+the foot of their own Chapel of S. Giorgio, where the following verses
+were set up after a time in praise of Lazzaro:
+
+   ARETII EXULTET TELLUS CLARISSIMA; NAMQUE EST
+     REBUS IN ANGUSTIS, IN TENUIQUE LABOR.
+   VIX OPERUM ISTIUS PARTES COGNOSCERE POSSIS:
+     MYRMECIDES TACEAT; CALLICRATES SILEAT.
+
+Finally, the last Giorgio Vasari, writer of this history, in gratitude
+for the benefits for which he has to thank in great measure the
+excellence of his ancestors, having received the principal chapel of the
+said Pieve as a gift from his fellow-citizens and from the Wardens of
+Works and Canons, as was told in the Life of Pietro Laurati, and having
+brought it to the condition that has been described, has made a new tomb
+in the middle of the choir, which is behind the altar; and in this he
+has laid the bones of the said Lazzaro the elder and Giorgio the elder,
+having removed them from their former resting-place, and likewise those
+of all the other members of the said family, both male and female; and
+thus he has made a new burial-place for all the descendants of the house
+of Vasari. In like manner, the body of his mother (who died in Florence
+in the year 1557), after having remained for some years in S. Croce,
+has been deposited by him in the said tomb, according to her own
+desire, together with Antonio, her husband and his father, who died of
+plague at the end of the year 1527. In the predella that is below the
+panel of the said altar there are portraits from nature, made by the
+said Giorgio, of Lazzaro, of the elder Giorgio, his grandfather, of his
+father Antonio, and of his mother Monna Maddalena de' Tacci. And let
+this be the end of the Life of Lazzaro Vasari, painter of Arezzo.
+
+FOOTNOTE:
+
+[9] Guglielmo da Marcilla.
+
+
+
+
+ANTONELLO DA MESSINA
+
+
+
+
+LIFE OF ANTONELLO DA MESSINA
+
+PAINTER
+
+
+When I consider within my own mind the various qualities of the benefits
+and advantages that have been conferred on the art of painting by many
+masters who have followed the second manner, I cannot do otherwise than
+call them, by reason of their efforts, truly industrious and excellent,
+because they sought above all to bring painting to a better condition,
+without thinking of discomfort, expense, or any particular interest of
+their own. They continued, then, to employ no other method of colouring
+save that of distemper for panels and for canvases, which method had
+been introduced by Cimabue in the year 1250, when he was working with
+those Greeks, and had been afterwards followed by Giotto and by the
+others of whom we have spoken up to the present; and they were still
+adhering to the same manner of working, although the craftsmen
+recognized clearly that pictures in distemper were wanting in a certain
+softness and liveliness, which, if they could be obtained, would be
+likely to give more grace to their designs, loveliness to their
+colouring, and greater facility in blending the colours together; for
+they had ever been wont to hatch their works merely with the point of
+the brush. But although many had made investigations and sought for
+something of the sort, yet no one had found any good method, either by
+the use of liquid varnish or by the mixture of other kinds of colours
+with the distemper. Among many who made trial of these and other similar
+expedients, but all in vain, were Alesso Baldovinetti, Pesello, and many
+others, not one of whom succeeded in giving to his works the beauty and
+excellence that he had imagined. And even if they had found what they
+were seeking, they still lacked the method of making their figures on
+panel adhere as well as those painted on walls, and also that of making
+them so that they could be washed without destroying the colours, and
+would endure any shock in handling. These matters a great number of
+craftsmen had discussed many times in common, but without result.
+
+This same desire was felt by many lofty minds that were devoted to
+painting beyond the bounds of Italy--namely, by all the painters of
+France, Spain, Germany, and other countries. Now, while matters stood
+thus, it came to pass that, while working in Flanders, Johann[10] of
+Bruges, a painter much esteemed in those parts by reason of the great
+mastery that he had acquired in his profession, set himself to make
+trial of various sorts of colours, and, as one who took delight in
+alchemy, to prepare many kinds of oil for making varnishes and other
+things dear to men of inventive brain, such as he was. Now, on one
+occasion, having taken very great pains with the painting of a panel,
+and having brought it to completion with much diligence, he gave it the
+varnish and put it to dry in the sun, as is the custom. But, either
+because the heat was too violent, or perchance because the wood was
+badly joined together or not seasoned well enough, the said panel opened
+out at the joinings in a ruinous fashion. Whereupon Johann, seeing the
+harm that the heat of the sun had done to it, determined to bring it
+about that the sun should never again do such great damage to his works.
+And so, being disgusted no less with his varnish than with working in
+distemper, he began to look for a method of making a varnish that should
+dry in the shade, without putting his pictures in the sun. Wherefore,
+after he had made many experiments with substances both pure and mixed
+together, he found at length that linseed oil and oil of nuts dried more
+readily than all the others that he had tried. These, then, boiled
+together with other mixtures of his, gave him the varnish that he--nay,
+all the painters in the world--had long desired. Afterwards, having made
+experiments with many other substances, he saw that mixing the colours
+with those oils gave them a very solid consistency, not only securing
+the work, when dried, from all danger from water, but also making the
+colour so brilliant as to give it lustre by itself without varnish; and
+what appeared most marvellous to him was this, that it could be blended
+infinitely better than distemper. Rejoicing greatly over such a
+discovery, as was only reasonable, Johann made a beginning with many
+works and filled all those parts with them, with incredible pleasure for
+others and very great profit for himself; and, assisted by experience
+from day to day, he kept on ever making greater and better works.
+
+No long time passed before the fame of his invention, spreading not only
+throughout Flanders but through Italy and many other parts of the world,
+awakened in all craftsmen a very great desire to know by what method he
+gave so great a perfection to his works. These craftsmen, seeing his
+works and not knowing what means he employed, were forced to extol him
+and to give him immortal praise, and at the same time to envy him with a
+blameless envy, the rather as he refused for some time to allow himself
+to be seen at work by anyone, or to reveal his secret to any man. At
+length, however, having grown old, he imparted it to Roger of Bruges,
+his pupil, who passed it on to his disciple Ausse[11] and to the others
+whom we have mentioned in speaking of colouring in oil with regard to
+painting. But with all this, although merchants did a great business in
+his pictures and sent them all over the world to Princes and other great
+persons, to their own great profit, yet the knowledge did not spread
+beyond Flanders; and although these pictures had a very pungent odour,
+given to them by the mixture of colours and oils, particularly when they
+were new, so that it seemed possible for the secret to be found out, yet
+for many years it was not discovered. But certain Florentines, who
+traded between Flanders and Naples, sent to King Alfonso I of Naples a
+panel with many figures painted in oil by Johann, which became very dear
+to that King both for the beauty of the figures and for the novel
+invention shown in the colouring; and all the painters in that kingdom
+flocked together to see it, and it was consummately extolled by all.
+
+Now there was one Antonello da Messina, a person of good and lively
+intelligence, of great sagacity, and skilled in his profession, who,
+having studied design for many years in Rome, had first retired to
+Palermo, where he had worked for many years, and finally to his native
+place, Messina, where he had confirmed by his works the good opinion
+that his countrymen had of his excellent ability in painting. This man,
+then, going once on some business of his own from Sicily to Naples,
+heard that the said King Alfonso had received from Flanders the
+aforesaid panel by the hand of Johann of Bruges, painted in oil in such
+a manner that it could be washed, would endure any shock, and was in
+every way perfect. Thereupon, having contrived to obtain a view of it,
+he was so strongly impressed by the liveliness of the colours and by the
+beauty and harmony of that painting, that he put on one side all other
+business and every thought and went off to Flanders. Having arrived in
+Bruges, he became very intimate with the said Johann, making him
+presents of many drawings in the Italian manner and other things,
+insomuch that the latter, moved by this and by the respect shown by
+Antonello, and being now old, was content that he should see his method
+of colouring in oil; wherefore Antonello did not depart from that place
+until he had gained a thorough knowledge of that way of colouring, which
+he desired so greatly to know. And no long time after, Johann having
+died, Antonello returned from Flanders in order to revisit his native
+country and to communicate to all Italy a secret so useful, beautiful,
+and advantageous. Then, having stayed a few months in Messina, he went
+to Venice, where, being a man much given to pleasure and very
+licentious, he resolved to take up his abode and finish his life, having
+found there a mode of living exactly suited to his taste. And so,
+putting himself to work, he made there many pictures in oil according to
+the rules that he had learned in Flanders; these are scattered
+throughout the houses of noblemen in that city, where they were held in
+great esteem by reason of the novelty of the work. He made many others,
+also, which were sent to various places. Finally, having acquired fame
+and great repute there, he was commissioned to paint a panel that was
+destined for S. Cassiano, a parish church in that city. This panel was
+wrought by Antonio with all his knowledge and with no sparing of time;
+and when finished, by reason of the novelty of the colouring and the
+beauty of the figures, which he had made with good design, it was much
+commended and held in very great price. And afterwards, when men
+heard of the new secret that he had brought from Flanders to that city,
+he was ever loved and cherished by the magnificent noblemen of Venice
+throughout the whole course of his life.
+
+[Illustration: ANTONELLO DA MESSINA: PORTRAIT OF A YOUNG MAN
+
+(_Berlin: Kaiser Friedrich Museum, 18. Panel_)]
+
+Among the painters who were then in repute in Venice, a certain Maestro
+Domenico was held very excellent. This man, on the arrival of Antonello
+in Venice, received him with such great lovingness and courtesy, that he
+could not have shown more to a very dear and cherished friend. For this
+reason Antonello, who would not be beaten in courtesy by Maestro
+Domenico, after a few months taught him the secret and method of
+colouring in oil. Nothing could have been dearer to Domenico than this
+extraordinary courtesy and friendliness; and well might he hold it dear,
+since it caused him, as he had foreseen, to be greatly honoured ever
+afterwards in his native city. Grossly deceived, in truth, are those who
+think that, while they grudge to others even those things that cost them
+nothing, they should be served by all for the sake of their sweet smile,
+as the saying goes. The courtesies of Maestro Domenico Viniziano wrested
+from the hands of Antonello that which he had won for himself with so
+much fatigue and labour, and which he would probably have refused to
+hand over to any other even for a large sum of money. But since, with
+regard to Maestro Domenico, we will mention in due time all that he
+wrought in Florence, and who were the men with whom he generously shared
+the secret that he had received as a courteous gift from another, let us
+pass to Antonello.
+
+After the panel for S. Cassiano, he made many pictures and portraits for
+various Venetian noblemen. Messer Bernardo Vecchietti, the Florentine,
+has a painting by his hand of S. Francis and S. Dominic, both in the one
+picture, and very beautiful. Then, after receiving a commission from the
+Signoria to paint certain scenes in their Palace (which they had refused
+to give to Francesco di Monsignore of Verona, although he had been
+greatly favoured by the Duke of Mantua), he fell sick of a pleurisy and
+died at the age of forty-nine, without having set a hand to the work. He
+was greatly honoured in his obsequies by the craftsmen, by reason of the
+gift bestowed by him on art in the form of the new manner of colouring,
+as the following epitaph testifies:
+
+                           D. O. M.
+
+   ANTONIUS PICTOR, PRAECIPUUM MESSANAE SUAE ET SICILIAE TOTIUS
+   ORNAMENTUM, HAC HUMO CONTEGITUR. NON SOLUM SUIS PICTURIS, IN
+   QUIBUS SINGULARE ARTIFICIUM ET VENUSTAS FUIT, SED ET QUOD
+   COLORIBUS OLEO MISCENDIS SPLENDOREM ET PERPETUITATEM
+   PRIMUS ITALICAE PICTURAE CONTULIT, SUMMO SEMPER ARTIFICIUM
+   STUDIO CELEBRATUS.
+
+The death of Antonello was a great grief to his many friends, and
+particularly to the sculptor Andrea Riccio, who wrought the nude marble
+statues of Adam and Eve, held to be very beautiful, which are seen in
+the courtyard of the Palace of the Signoria in Venice. Such was the end
+of Antonello, to whom our craftsmen should certainly feel no less
+indebted for having brought the method of colouring in oil into Italy
+than they should to Johann of Bruges for having discovered it in
+Flanders. Both of them benefited and enriched the art; for it is by
+means of this invention that craftsmen have since become so excellent,
+that they have been able to make their figures all but alive. Their
+services should be all the more valued, inasmuch as there is no writer
+to be found who attributes this manner of colouring to the ancients; and
+if it could be known for certain that it did not exist among them, this
+age would surpass all the excellence of the ancients by virtue of this
+perfection. Since, however, even as nothing is said that has not been
+said before, so perchance nothing is done that has not been done before,
+I will let this pass without saying more; and praising consummately
+those who, in addition to draughtsmanship, are ever adding something to
+art, I will proceed to write of others.
+
+[Illustration: ANTONELLO DA MESSINA: THE CRUCIFIXION
+
+(_London: National Gallery, 1166. Panel_)]
+
+FOOTNOTES:
+
+[10] Jan van Eyck.
+
+[11] It is reasonable to suppose that this stands for Hans (Memling).
+
+
+
+
+ALESSO BALDOVINETTI
+
+[Illustration: THE ANNUNCIATION
+
+(_After the panel by =Alesso Baldovinetti=. Florence: Uffizi, 56_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ALESSO BALDOVINETTI
+
+PAINTER OF FLORENCE
+
+
+So great an attraction has the noble art of painting, that many eminent
+men have deserted the callings in which they might have become very
+rich, and, drawn by their inclination against the wishes of their
+parents, have followed the promptings of their nature and devoted
+themselves to painting, to sculpture, or to some similar pursuit. And,
+to tell the truth, if a man estimates riches at their true worth and no
+higher, and regards excellence as the end of all his actions, he
+acquires treasures very different from silver and gold; not to mention
+that he is never afraid of those things that rob us in a moment of those
+earthly riches, which are foolishly esteemed by men at more than their
+true value. Recognizing this, Alesso Baldovinetti, drawn by a natural
+inclination, abandoned commerce--in which his relatives had ever
+occupied themselves, insomuch that by practising it honourably they had
+acquired riches and lived like noble citizens--and devoted himself to
+painting, in which he showed a peculiar ability to counterfeit very well
+the objects of nature, as may be seen in the pictures by his hand.
+
+This man, while still very young, and almost against the wish of his
+father, who would have liked him to give his attention to commerce,
+devoted himself to drawing; and in a short time he made so much progress
+therein, that his father was content to allow him to follow the
+inclination of his nature. The first work that Alesso executed in fresco
+was in S. Maria Nuova, on the front wall of the Chapel of S. Gilio,
+which was much extolled at that time, because, among other things, it
+contained a S. Egidio that was held to be a very beautiful figure. In
+like manner, he painted in S. Trinita the chapel in fresco and the chief
+panel in distemper, for Messer Gherardo and Messer Bongianni
+Gianfigliazzi, most honourable and wealthy gentlemen of Florence. In
+this chapel Alesso painted some scenes from the Old Testament, which he
+first sketched in fresco and then finished on the dry, tempering his
+colours with yolk of egg mingled with a liquid varnish prepared over a
+fire. This vehicle, he thought, would preserve the paintings from damp;
+but it was so strong that where it was laid on too thickly the work has
+peeled off in many places; and thus, whereas he thought he had found a
+rare and very beautiful secret, he was deceived in his hopes.
+
+He drew many portraits from nature, and in the scene of the Queen of
+Sheba going to hear the wisdom of Solomon, which he painted in the
+aforesaid chapel, he portrayed the Magnificent Lorenzo de' Medici,
+father of Pope Leo X, and Lorenzo della Volpaia, a most excellent maker
+of clocks and a very fine astrologer, who was the man who made for the
+said Lorenzo de' Medici the very beautiful clock that the Lord Duke
+Cosimo now has in his Palace; in which clock all the wheels of the
+planets are perpetually moving, which is a rare thing, and the first
+that was ever made in this manner. In the scene opposite to that one
+Alesso portrayed Luigi Guicciardini the elder, Luca Pitti, Diotisalvi
+Neroni, and Giuliano de' Medici, father of Pope Clement VII; and beside
+the stone pilaster he painted Gherardo Gianfigliazzi the elder, the
+Chevalier Messer Bongianni, who is wearing a blue robe, with a chain
+round his neck, and Jacopo and Giovanni, both of the same family. Near
+these are Filippo Strozzi the elder and the astrologer Messer Paolo dal
+Pozzo Toscanelli. On the vaulting are four patriarchs, and on the panel
+is the Trinity, with S. Giovanni Gualberto kneeling, and another Saint.
+All these portraits are very easily recognized from their similarity to
+those that are seen in other works, particularly in the houses of their
+descendants, whether in gesso or in painting. Alesso gave much time to
+this work, because he was very patient and liked to execute his works at
+his ease and convenience.
+
+[Illustration: ALESSO BALDOVINETTI: MADONNA AND CHILD IN A LANDSCAPE
+
+(_Paris: Louvre, 1300B. Panel_)]
+
+He drew very well, as may be seen from a mule drawn from nature in our
+book, wherein the curves of the hair over the whole body are done with
+much patience and with beautiful grace. Alesso was very diligent in
+his works, and he strove to be an imitator of all the minute details
+that Mother Nature creates. He had a manner somewhat dry and harsh,
+particularly in draperies. He took much delight in making landscapes,
+copying them from the life of nature exactly as they are; wherefore
+there are seen in his pictures streams, bridges, rocks, herbs, fruits,
+roads, fields, cities, castles, sand, and an infinity of other things of
+the kind. In the Nunziata at Florence, in the court, exactly behind the
+wall where the Annunciation itself is painted, he painted a scene in
+fresco, retouched on the dry, in which there is a Nativity of Christ,
+wrought with so great labour and diligence that one could count the
+stalks and knots of the straw in a hut that is there; and he also
+counterfeited there the ruin of a house with the stones mouldering, all
+eaten away and consumed by rain and frost, and a thick ivy root that
+covers a part of the wall, wherein it is to be observed that with great
+patience he made the outer side of the leaves of one shade of green, and
+the under side of another, as Nature does, neither more nor less; and,
+in addition to the shepherds, he made a serpent, or rather, a
+grass-snake, crawling up a wall, which is most life-like.
+
+It is said that Alesso took great pains to discover the true method of
+making mosaic, but that he never succeeded in anything that he wanted to
+do, until at length he came across a German who was going to Rome to
+obtain some indulgences. This man he took into his house, and he gained
+from him a complete knowledge of the method and the rules for executing
+mosaic, insomuch that afterwards, having set himself boldly to work, he
+made some angels holding the head of Christ over the bronze doors of S.
+Giovanni, in the arches on the inner side. His good method of working
+becoming known by reason of this work, he was commissioned by the
+Consuls of the Guild of Merchants to clean and renovate all the vaulting
+of that church, which had been wrought, as has been said, by Andrea
+Tafi; for it had been spoilt in many places, and was in need of being
+renewed and restored. This he did with love and diligence, availing
+himself for that purpose of a wooden staging made for him by Cecca, who
+was the best architect of that age. Alesso taught the craft of mosaic to
+Domenico Ghirlandajo, who portrayed him afterwards near himself in the
+Chapel of the Tornabuoni in S. Maria Novella, in the scene where Joachim
+is driven from the Temple, in the form of a clean-shaven old man with a
+red cap on his head.
+
+Alesso lived eighty years, and when he began to draw near to old age, as
+one who wished to be able to attend with a quiet mind to the studies of
+his profession, he retired into the Hospital of S. Paolo, as many men
+are wont to do. And perhaps to the end that he might be received more
+willingly and better treated (or it may have been by chance), he had a
+great chest carried into his rooms in the said hospital, giving out that
+it contained a good sum of money. Wherefore the Director and the other
+officials of the hospital, believing this to be true, and knowing that
+he had bequeathed to the hospital all that might be found after his
+death, showed him all the attention in the world. But on the death of
+Alesso, there was nothing found in it save drawings, portraits on paper,
+and a little book that explained the preparation of the stones and
+stucco for mosaic and the method of using them. Nor was it any marvel,
+so men said, that no money was found there, because he was so
+open-handed that he had nothing that did not belong as much to his
+friends as to himself.
+
+A disciple of Alesso was the Florentine Graffione, who wrought in
+fresco, over the door of the Innocenti, that figure of God the Father
+and those angels that are still there. It is said that the Magnificent
+Lorenzo de' Medici, conversing one day with Graffione, who was an
+original, said to him, "I wish to have all the ribs of the inner cupola
+adorned with mosaic and stucco-work;" and that Graffione replied, "You
+have not the masters." To which Lorenzo answered, "We have enough money
+to make some." Graffione instantly retorted, "Ah, Lorenzo, 'tis not the
+money that makes the masters, but the masters that make the money." This
+man was a bizarre and fantastic person. In his house he would never eat
+off any table-cloth save his own cartoons, and he slept in no other bed
+than a chest filled with straw, without sheets.
+
+But to return to Alesso; he took leave of his art and of his life in
+1448, and he was honourably buried by his relatives and
+fellow-citizens.
+
+[Illustration: THE TRINITY
+
+(_After the panel by =Graffione=. Florence: S. Spirito_)
+
+_Alinari_]
+
+
+
+
+VELLANO DA PADOVA
+
+
+
+
+LIFE OF VELLANO DA PADOVA
+
+SCULPTOR
+
+
+So great is the effect of counterfeiting anything with love and
+diligence, that very often, when the manner of any master of these our
+arts has been well imitated by those who take delight in his works, the
+imitation resembles the thing imitated so closely, that no difference is
+discerned save by those who have a sharpness of eye beyond the ordinary;
+and it rarely comes to pass that a loving disciple fails to learn, at
+least in great measure, the manner of his master.
+
+Vellano da Padova strove with so great diligence to counterfeit the
+manner and the method of Donato in sculpture, particularly in bronze,
+that in his native city of Padua he was left the heir to the excellence
+of the Florentine Donatello; and to this witness is borne by his works
+in the Santo, which nearly every man that has not a complete knowledge
+of the matter attributes to Donato, so that every day many are deceived,
+if they are not informed of the truth. This man, then, fired by the
+great praise that he heard given to Donato, the sculptor of Florence,
+who was then working in Padua, and by a desire for those profits that
+come into the hands of good craftsmen through the excellence of their
+works, placed himself under Donato in order to learn sculpture, and
+devoted himself to it in such a manner, that, with the aid of so great a
+master, he finally achieved his purpose; wherefore, before Donatello had
+finished his works and departed from Padua, Vellano had made such great
+progress in the art that great expectations were already entertained
+about him, and he inspired such confidence in his master as to induce
+him (and that rightly) to leave to his pupil all the equipment, designs,
+and models for the scenes in bronze that were to be made round the choir
+of the Santo in that city. This was the reason why, when Donato
+departed, as has been said, the commission for the whole of that work
+was publicly given to Vellano in his native city, to his very great
+honour. Whereupon he made all the scenes in bronze that are on the outer
+side of the choir of the Santo, wherein, among others, there is the
+scene of Samson embracing the column and destroying the temple of the
+Philistines, in which one sees the fragments of the ruined building duly
+falling, and the death of so many people, not to mention a great
+diversity of attitudes among them as they die, some through the ruins,
+and some through fear; and all this Vellano represented marvellously. In
+the same place are certain works in wax and the models for these scenes,
+and likewise some bronze candelabra wrought by the same man with much
+judgment and invention. From what we see, this craftsman appears to have
+had a very great desire to attain to the standard of Donatello; but he
+did not succeed, for he aimed too high in a most difficult art.
+
+Vellano also took delight in architecture, and was more than passing
+good in that profession; wherefore, having gone to Rome in the year
+1464, at the time of Pope Paul the Venetian, for which Pontiff Giuliano
+da Maiano was architect in the building of the Vatican, he too was
+employed in many things; and by his hand, among other works that he
+made, are the arms of that Pontiff which are seen there with his name
+beside them. He also wrought many of the ornaments of the Palace of S.
+Marco for the same Pope, whose head, by the hand of Vellano, is at the
+top of the staircase. For that building the same man designed a
+stupendous courtyard, with a commodious and elegant flight of steps, but
+the death of the Pontiff intervened to hinder the completion of the
+whole. The while that he stayed in Rome, Vellano made many small things
+in marble and in bronze for the said Pope and for others, but I have not
+been able to find them. In Perugia the same master made a bronze statue
+larger than life, in which he portrayed the said Pope from nature,
+seated in his pontifical robes; and at the foot of this he placed his
+name and the year when it was made. This figure is in a niche of several
+kinds of stone, wrought with much diligence, without the door of S.
+Lorenzo, which is the Duomo of that city. The same man made many medals,
+some of which are still to be seen, particularly that of the
+aforesaid Pope, and those of Antonio Rosello of Arezzo and Batista
+Platina, both Secretaries to that Pontiff.
+
+[Illustration: JONAH CAST INTO THE SEA
+
+(_After the bronze relief by =Vellano da Padova=. Padua: S. Antonio_)
+
+_Anderson_]
+
+Having returned after these works to Padua with a very good name,
+Vellano was held in esteem not only in his native city, but in all
+Lombardy and in the March of Treviso, both because up to that time there
+had been no craftsmen of excellence in those parts, and because he had
+very great skill in the founding of metals. Afterwards, when Vellano was
+already old, the Signoria of Venice determined to have an equestrian
+statue of Bartolommeo da Bergamo made in bronze; and they allotted the
+horse to Andrea del Verrocchio of Florence, and the figure to Vellano.
+On hearing this, Andrea, who thought that the whole work should fall to
+him, knowing himself to be, as indeed he was, a better master than
+Vellano, flew into such a rage that he broke up and destroyed the whole
+model of the horse that he had already finished, and went off to
+Florence. But after a time, being recalled by the Signoria, who gave him
+the whole work to do, he returned once more to finish it; at which
+Vellano felt so much displeasure that he departed from Venice, without
+saying a word or expressing his resentment in any manner, and returned
+to Padua, where he afterwards lived in honour for the rest of his life,
+contenting himself with the works that he had made and with being loved
+and honoured, as he ever was, in his native place. He died at the age of
+ninety-two, and was buried in the Santo with that distinction which his
+excellence, having honoured both himself and his country, had deserved.
+His portrait was sent to me from Padua by certain friends of mine, who
+had it, so they told me, from the very learned and very reverend
+Cardinal Bembo, whose love of our arts was no less remarkable than his
+supremacy over all other men of our age in all the rarest qualities and
+gifts both of mind and body.
+
+
+
+
+FRA FILIPPO LIPPI
+
+
+
+
+LIFE OF FRA FILIPPO LIPPI
+
+PAINTER OF FLORENCE
+
+
+Fra Filippo di Tommaso Lippi, a Carmelite, was born in Florence in a
+street called Ardiglione, below the Canto alla Cuculia and behind the
+Convent of the Carmelites. By the death of his father Tommaso he was
+left a poor little orphan at the age of two, with no one to take care of
+him, for his mother had also died not long after giving him birth. He
+was left, therefore, in the charge of one Mona Lapaccia, his aunt,
+sister of his father, who brought him up with very great inconvenience
+to herself; and when he was eight years of age and she could no longer
+support him, she made him a friar in the aforesaid Convent of the
+Carmine. Living there, in proportion as he showed himself dexterous and
+ingenious in the use of his hands, so was he dull and incapable of
+making any progress in the learning of letters, so that he would never
+apply his intelligence to them or regard them as anything save his
+enemies. This boy, who was called by his secular name of Filippo, was
+kept with others in the noviciate under the discipline of the
+schoolmaster, in order to see what he could do; but in place of studying
+he would never do anything save deface his own books and those of the
+others with caricatures. Whereupon the Prior resolved to give him every
+opportunity and convenience for learning to paint. There was then in the
+Carmine a chapel that had been newly painted by Masaccio, which, being
+very beautiful, pleased Fra Filippo so greatly that he would haunt it
+every day for his recreation; and continually practising there in
+company with many young men, who were ever drawing in it, he surpassed
+the others by a great measure in dexterity and knowledge, insomuch that
+it was held certain that in time he would do something marvellous. Nay,
+not merely in his maturity, but even in his early childhood, he
+executed so many works worthy of praise that it was a miracle. It was no
+long time before he wrought in terra-verde in the cloister, close to the
+Consecration painted by Masaccio, a Pope confirming the Rule of the
+Carmelites; and he painted pictures in fresco on various walls in many
+parts of the church, particularly a S. John the Baptist with some scenes
+from his life. And thus, making progress every day, he had learnt the
+manner of Masaccio very well, so that he made his works so similar to
+those of the other that many said that the spirit of Masaccio had
+entered into the body of Fra Filippo. On a pilaster in the church, close
+to the organ, he made a figure of S. Marziale which brought him infinite
+fame, for it could bear comparison with the works that Masaccio had
+painted. Wherefore, hearing himself so greatly praised by the voices of
+all, at the age of seventeen he boldly threw off his monastic habit.
+
+Now, chancing to be in the March of Ancona, he was disporting himself
+one day with some of his friends in a little boat on the sea, when they
+were all captured together by the Moorish galleys that were scouring
+those parts, and taken to Barbary, where each of them was put in chains
+and held as a slave; and thus he remained in great misery for eighteen
+months. But one day, seeing that he was thrown much into contact with
+his master, there came to him the opportunity and the whim to make a
+portrait of him; whereupon, taking a piece of dead coal from the fire,
+with this he portrayed him at full length on a white wall in his Moorish
+costume. When this was reported by the other slaves to the master (for
+it appeared a miracle to them all, since drawing and painting were not
+known in these parts), it brought about his liberation from the chains
+in which he had been held for so long. Truly glorious was it for this
+art to have caused one to whom the power of condemnation and punishment
+was granted by law, to do the very opposite--nay, in place of inflicting
+pains and death, to consent to show friendliness and grant liberty!
+After having wrought some works in colour for his master, he was brought
+safely to Naples, where he painted for King Alfonso, then Duke of
+Calabria, a panel in distemper for the Chapel of the Castle, where the
+guard-room now is.
+
+[Illustration: FRA FILIPPO LIPPI: THE ANNUNCIATION
+
+(_London: National Gallery, 666. Panel_)]
+
+After this there came upon him a desire to return to Florence, where he
+remained for some months. There he wrought a very beautiful panel for
+the high-altar of the Nuns of S. Ambrogio, which made him very dear to
+Cosimo de' Medici, who became very much his friend for this reason. He
+also painted a panel for the Chapter-house of S. Croce, and another that
+was placed in the chapel of the house of the Medici, on which he painted
+the Nativity of Christ. For the wife of the said Cosimo, likewise, he
+painted a panel with the same Nativity of Christ and with S. John the
+Baptist, which was to be placed in the Hermitage of Camaldoli, in one of
+the hermits' cells, dedicated to S. John the Baptist, which she had
+caused to be built in proof of her devotion. And he painted some little
+scenes that were sent by Cosimo as a gift to Pope Eugenius IV, the
+Venetian; wherefore Fra Filippo acquired great favour with that Pope by
+reason of this work.
+
+It is said that he was so amorous, that, if he saw any women who pleased
+him, and if they were to be won, he would give all his possessions to
+win them; and if he could in no way do this, he would paint their
+portraits and cool the flame of his love by reasoning with himself. So
+much a slave was he to this appetite, that when he was in this humour he
+gave little or no attention to the works that he had undertaken;
+wherefore on one occasion Cosimo de' Medici, having commissioned him to
+paint a picture, shut him up in his own house, in order that he might
+not go out and waste his time; but after staying there for two whole
+days, being driven forth by his amorous--nay, beastly--passion, one
+night he cut some ropes out of his bed-sheets with a pair of scissors
+and let himself down from a window, and then abandoned himself for many
+days to his pleasures. Thereupon, since he could not be found, Cosimo
+sent out to look for him, and finally brought him back to his labour;
+and thenceforward Cosimo gave him liberty to go out when he pleased,
+repenting greatly that he had previously shut him up, when he thought of
+his madness and of the danger that he might run. For this reason he
+strove to keep a hold on him for the future by kindnesses; and so he was
+served by Filippo with greater readiness, and was wont to say that the
+virtues of rare minds were celestial beings, and not slavish hacks.
+
+For the Church of S. Maria Primerana, on the Piazza of Fiesole, he
+painted a panel containing the Annunciation of Our Lady by the Angel,
+which shows very great diligence, and there is such beauty in the figure
+of the Angel that it appears truly a celestial thing. For the Nuns of
+the Murate he painted two panels: one, containing an Annunciation, is
+placed on the high-altar; and the other is on an altar in the same
+church, and contains stories of S. Benedict and S. Bernard. In the
+Palace of the Signoria he painted an Annunciation on a panel, which is
+over a door; and over another door in the said Palace he also painted a
+S. Bernard. For the Sacristy of S. Spirito in Florence he executed a
+panel with the Madonna surrounded by angels, and with saints on either
+side--a rare work, which has ever been held in the greatest veneration
+by the masters of these our arts. In the Chapel of the Wardens of Works
+in S. Lorenzo he wrought a panel with another Annunciation; with one for
+the Della Stufa Chapel, which he did not finish. For a chapel in S.
+Apostolo, in the same city, he painted a panel with some figures round a
+Madonna. In Arezzo, by order of Messer Carlo Marsuppini, he painted the
+panel of the Chapel of S. Bernardo for the Monks of Monte Oliveto,
+depicting therein the Coronation of Our Lady, surrounded by many saints;
+which picture has remained so fresh, that it appears to have been made
+by the hand of Fra Filippo at the present day. It was then that he was
+told by the aforesaid Messer Carlo to give attention to the painting of
+the hands, seeing that his works were much criticized in this respect;
+wherefore from that day onwards, in painting hands, Fra Filippo covered
+the greater part of them with draperies or with some other contrivance,
+in order to avoid the aforesaid criticism. In this work he portrayed the
+said Messer Carlo from the life.
+
+[Illustration: THE VIRGIN ADORING
+
+(_After the panel by =Fra Filippo Lippi=. Florence: Accademia, 79_)
+
+_Anderson_]
+
+For the Nuns of Annalena in Florence he painted a Manger on a panel; and
+some of his pictures are still to be seen in Padua. He sent two little
+scenes with small figures, painted by his hand, to Cardinal Barbo in
+Rome; these were very excellently wrought, and executed with great
+diligence. Truly marvellous was the grace with which he painted, and
+very perfect the harmony that he gave to his works, for which he has
+been ever esteemed by craftsmen and honoured by our modern masters
+with consummate praise; nay, so long as the voracity of time allows his
+many excellent labours to live, he will be held in veneration by every
+age. In Prato, near Florence, where he had some relatives, he stayed for
+many months, executing many works throughout that whole district in
+company with Fra Diamante, a friar of the Carmine, who had been his
+comrade in the noviciate. After this, having been commissioned by the
+Nuns of S. Margherita to paint the panel of their high-altar, he was
+working at this when there came before his eyes a daughter of Francesco
+Buti, a citizen of Florence, who was living there as a ward or as a
+novice. Having set eyes on Lucrezia (for this was the name of the girl),
+who was very beautiful and graceful, Fra Filippo contrived to persuade
+the nuns to allow him to make a portrait of her for a figure of Our Lady
+in the work that he was doing for them. With this opportunity he became
+even more enamoured of her, and then wrought upon her so mightily, what
+with one thing and another, that he stole her away from the nuns and
+took her off on the very day when she was going to see the Girdle of Our
+Lady, an honoured relic of that township, being exposed to view.
+Whereupon the nuns were greatly disgraced by such an event, and her
+father, Francesco, who never smiled again, made every effort to recover
+her; but she, either through fear or for some other reason, refused to
+come back--nay, she insisted on staying with Filippo, to whom she bore a
+male child, who was also called Filippo, and who became, like his
+father, a very excellent and famous painter.
+
+In S. Domenico, in the aforesaid Prato, there are two of his panels; and
+in the tramezzo[12] of the Church of S. Francesco there is a Madonna, in
+the removing of which from the place where it was at first, it was cut
+out from the wall on which it was painted, in order not to spoil it, and
+bound round with wood, and then transported to that wall of the church
+where it is still to be seen to-day. In a courtyard of the Ceppo of
+Francesco di Marco, over a well, there is a little panel by the hand of
+the same man, containing the portrait of the said Francesco di Marco,
+the creator and founder of that holy place. In the Pieve of the said
+township, on a little panel over the side-door as one ascends the steps,
+he painted the Death of S. Bernard, by the touch of whose bier many
+cripples are being restored to health. In this picture are friars
+bewailing the death of their master, and it is a marvellous thing to see
+the beautiful expression of the sadness of lamentation in the heads,
+counterfeited with great art and resemblance to nature. Here there are
+draperies in the form of friars' gowns with most beautiful folds, which
+deserve infinite praise for their good design, colouring, and
+composition; not to mention the grace and proportion that are seen in
+the said work, which was executed with the greatest delicacy by the hand
+of Fra Filippo. The Wardens of Works for the said Pieve, in order to
+have some memorial of him, commissioned him to paint the Chapel of the
+High-Altar in that place; and he gave great proof of his worth in that
+work, which, besides its general excellence and masterliness, contains
+most admirable draperies and heads. He made the figures therein larger
+than life, thus introducing to our modern craftsmen the method of giving
+grandeur to the manner of our own day. There are certain figures with
+garments little used in those times, whereby he began to incite the
+minds of men to depart from that simplicity which should be called
+rather old-fashioned than ancient. In the same work are the stories of
+S. Stephen (the titular Saint of the said Pieve), distributed over the
+wall on the right hand--namely, the Disputation, the Stoning, and the
+Death of that Protomartyr, in whose face, as he disputes with the Jews,
+Filippo depicted so much zeal and so much fervour, that it is a
+difficult thing to imagine it, and much more to express it; and in the
+faces and the various attitudes of the Jews he revealed their hatred,
+disdain, and anger at seeing themselves overcome by him. Even more
+clearly did he make manifest the brutality and rage of those who are
+slaying him with stones, which they have grasped, some large, some
+small, with a horrible gnashing of teeth, and with gestures wholly cruel
+and enraged. None the less, amid so terrible an onslaught, S. Stephen,
+raising his countenance with great calmness to Heaven, is seen making
+supplication to the Eternal Father with the warmest love and fervour for
+the very men who are slaying him. All these conceptions are truly very
+beautiful, and serve to show to others how great is the value of
+invention and of knowing how to express emotions in pictures; and this
+he remembered so well, that in those who are burying S. Stephen he made
+gestures so dolorous, and some faces so afflicted and broken with
+weeping, that it is scarcely possible to look at them without being
+moved. On the other side he painted the Birth of S. John the Baptist,
+the Preaching, the Baptism, the Feast of Herod, and the Beheading of the
+Saint. Here, in his countenance as he is preaching, there is seen the
+Divine Spirit; with various emotions in the multitude that is listening,
+joy and sorrow both in the women and in the men, who are all hanging
+intently on the teaching of S. John. In the Baptism are seen beauty and
+goodness; and, in the Feast of Herod, the majesty of the banquet, the
+dexterity of Herodias, the astonishment of the company, and their
+immeasurable grief when the severed head is presented in the charger.
+Round the banqueting-table are seen innumerable figures with very
+beautiful attitudes, and with good execution both in the draperies and
+in the expressions of the faces. Among these, with a mirror, he
+portrayed himself dressed in the black habit of a prelate; and he made a
+portrait of his disciple Fra Diamante among those who are bewailing S.
+Stephen. This work is in truth the most excellent of all his paintings,
+both for the reasons mentioned above, and because he made the figures
+somewhat larger than life, which encouraged those who came after him to
+give grandeur to their manner. So greatly was he esteemed for his
+excellent gifts, that many circumstances in his life that were worthy of
+blame were passed over in consideration of the eminence of his great
+talents. In this work he portrayed Messer Carlo, the natural son of
+Cosimo de' Medici, who was then Provost of that church, which received
+great benefactions from him and from his house.
+
+In the year 1463, when he had finished this work, he painted a panel in
+distemper, containing a very beautiful Annunciation, for the Church of
+S. Jacopo in Pistoia, by order of Messer Jacopo Bellucci, of whom he
+made therein a most vivid portrait from the life. In the house of
+Pulidoro Bracciolini there is a picture by his hand of the Birth of Our
+Lady; and in the Hall of the Tribunal of Eight in Florence he painted in
+distemper a Madonna with the Child in her arms, on a lunette. In the
+house of Lodovico Capponi there is another picture with a very
+beautiful Madonna; and in the hands of Bernardo Vecchietti, a gentleman
+of Florence and a man of a culture and excellence beyond my power of
+expression, there is a little picture by the hand of the same man,
+containing a very beautiful S. Augustine engaged in his studies. Even
+better is a S. Jerome in Penitence, of the same size, in the guardaroba
+of Duke Cosimo; for if Fra Filippo was a rare master in all his
+pictures, he surpassed himself in the small ones, to which he gave such
+grace and beauty that nothing could be better, as may be seen in the
+predelle of all the panels that he painted. In short, he was such that
+none surpassed him in his own times, and few in our own; and
+Michelagnolo has not only always extolled him, but has imitated him in
+many things.
+
+For the Church of S. Domenico Vecchio in Perugia, also, he painted a
+panel that was afterwards placed on the high-altar, containing a
+Madonna, S. Peter, S. Paul, S. Louis, and S. Anthony the Abbot. Messer
+Alessandro degli Alessandri, a Chevalier of that day and a friend of
+Filippo, caused him to paint a panel for the church of his villa at
+Vincigliata on the hill of Fiesole, containing a S. Laurence and other
+Saints, among whom he portrayed Alessandro and two sons of his.
+
+Fra Filippo was much the friend of gay spirits, and he ever lived a
+joyous life. He taught the art of painting to Fra Diamante, who executed
+many pictures in the Carmine at Prato; and he did himself great credit
+by the close imitation of his master's manner, for he attained to the
+greatest perfection. Sandro Botticelli, Pesello, and Jacopo del Sellaio
+of Florence worked with Fra Filippo in their youth (the last-named
+painted two panels in S. Friano, and one wrought in distemper in the
+Carmine), with a great number of other masters, to whom he ever taught
+the art with great friendliness. He lived honourably by his labours,
+spending extraordinary sums on the pleasures of love, in which he
+continued to take delight right up to the end of his life. He was
+requested by the Commune of Spoleto, through the mediation of Cosimo de'
+Medici, to paint the chapel in their principal church (dedicated to Our
+Lady), which he brought very nearly to completion, working in company
+with Fra Diamante, when death intervened to prevent him from
+finishing it. Some say, indeed, that in consequence of his great
+inclination for his blissful amours some relations of the lady that he
+loved had him poisoned.
+
+[Illustration: MADONNA AND CHILD
+
+(_After the panel (tondo) by =Fra Filippo Lippi=. Florence: Pitti, 343_)
+
+_Anderson_]
+
+Fra Filippo finished the course of his life in 1438, at the age of
+fifty-seven, and left a will entrusting to Fra Diamante his son Filippo,
+a little boy of ten years of age, who learnt the art of painting from
+his guardian. Fra Diamante returned with him to Florence, carrying away
+three hundred ducats, which remained to be received from the Commune of
+Spoleto for the work done; with these he bought some property for
+himself, giving but a little share to the boy. Filippo was placed with
+Sandro Botticelli, who was then held a very good master; and the old man
+was buried in a tomb of red and white marble, which the people of
+Spoleto caused to be erected in the church that he had been painting.
+
+His death grieved many friends, particularly Cosimo de' Medici, as well
+as Pope Eugenius, who offered in his life-time to give him a
+dispensation, so that he might make Lucrezia, the daughter of Francesco
+Buti, his legitimate wife; but this he refused to do, wishing to have
+complete liberty for himself and his appetites.
+
+While Sixtus IV was alive, Lorenzo de' Medici became ambassador to the
+Florentines, and made the journey to Spoleto, in order to demand from
+that community the body of Fra Filippo, to the end that it might be laid
+in S. Maria del Fiore in Florence; but their answer to him was that they
+were lacking in ornaments, and above all in distinguished men, for which
+reason they demanded Filippo from him as a favour in order to honour
+themselves, adding that since there was a vast number of famous men in
+Florence, nay, almost a superfluity, he should consent to do without
+this one; and more than this he could not obtain. It is true, indeed,
+that afterwards, having determined to do honour to him in the best way
+that he could, he sent his son Filippino to Rome to paint a chapel for
+the Cardinal of Naples; and Filippino, passing through Spoleto, caused a
+tomb of marble to be erected for him at the commission of Lorenzo,
+beneath the organ and over the sacristy, on which he spent one hundred
+ducats of gold, which were paid by Nofri Tornabuoni, master of the bank
+of the Medici; and Lorenzo also caused Messer Angelo Poliziano to write
+the following epigram, which is carved on the said tomb in antique
+lettering:
+
+   CONDITUS HIC EGO SUM PICTURAE FAMA PHILIPPUS;
+     NULLI IGNOTA MEAE EST GRATIA MIRA MANUS.
+   ARTIFICES POTUI DIGITIS ANIMARE COLORES,
+     SPERATAQUE ANIMOS FALLERE VOCE DIU.
+   IPSA MEIS STUPUIT NATURA EXPRESSA FIGURIS,
+     MEQUE SUIS FASSA EST ARTIBUS ESSE PAREM.
+   MARMOREO TUMULO MEDICES LAURENTIUS HIC ME
+     CONDIDIT; ANTE HUMILI PULVERE TECTUS ERAM.
+
+Fra Filippo was a very good draughtsman, as may be seen in our book of
+drawings by the most famous painters, particularly in some wherein the
+panel of S. Spirito is drawn, with others showing the chapel in Prato.
+
+FOOTNOTES:
+
+[12] See note on p. 57, Vol. I.
+
+
+
+
+PAOLO ROMANO, MAESTRO MINO, AND CHIMENTI CAMICIA
+
+
+
+
+LIVES OF PAOLO ROMANO AND MAESTRO MINO, SCULPTORS
+
+[_MINO DEL REGNO, OR MINO DEL REAME_]
+
+AND CHIMENTI CAMICIA, ARCHITECT
+
+
+We have now to speak of Paolo Romano and Mino del Regno, who were
+contemporaries and of the same profession, but very different in
+character and in knowledge of art, for Paolo was modest and quite able,
+and Mino much less able, but so presumptuous and arrogant, that he was
+not only overbearing in his actions, but also with his speech exalted
+his own works beyond all due measure. When Pope Pius II gave a
+commission for a figure to the Roman sculptor Paolo, Mino tormented and
+persecuted him out of envy so greatly, that Paolo, who was a good and
+most modest man, was forced to show resentment. Whereupon Mino, falling
+into a rage with Paolo, offered to bet a thousand ducats that he would
+make a figure better than Paolo's; and this he said with the greatest
+presumption and effrontery, knowing the nature of Paolo, who disliked
+any annoyance, and believing that he would not accept such a challenge.
+But Paolo accepted the invitation, and Mino, half repentant, bet a
+hundred ducats merely to save his honour The figures finished, the
+victory was given to Paolo as a rare and excellent master, which he was;
+and Mino was scorned as the sort of craftsman whose words were worth
+more than his works.
+
+By the hand of Mino are certain works in marble at Naples, and a tomb at
+Monte Cassino, a seat of the Black Friars in the kingdom of Naples; the
+S. Peter and the S. Paul that are at the foot of the steps of S. Pietro
+in Rome, and the tomb of Pope Paul II in S. Pietro. The figure that
+Paolo made in competition with Mino was the S. Paul that is to be seen
+on a marble base at the head of the Ponte S. Angelo, which stood
+unnoticed for a long time in front of the Chapel of Sixtus IV. It
+afterwards came to pass that one day Pope Clement VII observed this
+figure, which pleased him greatly, for he was a man of knowledge and
+judgment in such matters; wherefore he determined to have a S. Peter
+made of the same size, and also, after removing two little chapels of
+marble, dedicated to those Apostles, which stood at the head of the
+Ponte S. Angelo and obstructed the view of the Castle, to put these two
+statues in their place.
+
+It may be read in the work of Antonio Filarete that Paolo was not only a
+sculptor but also an able goldsmith, and that he wrought part of the
+twelve Apostles in silver which stood, before the sack of Rome, over the
+altar of the Papal Chapel. Part of the work of these statues was done by
+Niccolo della Guardia and Pietro Paolo da Todi, disciples of Paolo, who
+were afterwards passing good masters in sculpture, as is seen from the
+tombs of Pope Pius II and Pope Pius III, on which the said Pontiffs are
+portrayed from nature. By the hand of the same men are medals of three
+Emperors and other great persons. The said Paolo made a statue of an
+armed man on horseback, which is now on the ground in S. Pietro, near
+the Chapel of S. Andrea. A pupil of Paolo was the Roman Gian Cristoforo,
+who was an able sculptor; and there are certain works by his hand in S.
+Maria Trastevere and in other places.
+
+Chimenti Camicia, of whose origin nothing is known save that he was a
+Florentine, was employed in the service of the King of Hungary, for whom
+he made palaces, gardens, fountains, churches, fortresses, and many
+other buildings of importance, with ornaments, carvings, decorated
+ceilings, and other things of the kind, which were executed with much
+diligence by Baccio Cellini. After these works, drawn by love for his
+country, Chimenti returned to Florence, whence he sent to Baccio (who
+remained there), as presents for the King, certain pictures by the hand
+of Berto Linaiuolo, which were held very beautiful in Hungary and much
+extolled by that King. This Berto (of whom I will not refrain from
+making this record as well), after having painted many pictures in a
+beautiful manner, which are in the houses of many citizens, died at the
+very height of his powers, cutting short the great expectations that
+had been formed of him. But to return to Chimenti; he had not been long
+in Florence when he returned to Hungary, where he continued to serve the
+King; but while he was journeying on the Danube in order to give designs
+for mills, in consequence of fatigue he was seized by a sickness, which
+carried him off in a few days to the other life. The works of these
+masters date about the year 1470.
+
+About the same time, during the pontificate of Pope Sixtus IV, there
+lived in Rome one Baccio Pintelli, a Florentine, who was rewarded for
+the great skill that he had in architecture by being employed by that
+Pope in all his building enterprises. With his design, then, were built
+the Church and Convent of S. Maria del Popolo, and certain highly ornate
+chapels therein, particularly that of Domenico della Rovere, Cardinal of
+San Clemente and nephew of that Pope. The same Pontiff erected a palace
+in Borgo Vecchio after the design of Baccio, which was then held to be a
+very beautiful and well-planned edifice. The same master built the Great
+Library under the apartments of Niccola, and that chapel in the Palace
+that is called the Sistine, which is adorned with beautiful paintings.
+He also rebuilt the structure of the new Hospital of S. Spirito in
+Sassia (which was burnt down almost to the foundations in the year
+1471), adding to it a very long loggia and all the useful conveniences
+that could be desired. Within the hospital, along its whole length, he
+caused scenes to be painted from the life of Pope Sixtus, from his birth
+up to the completion of that building--nay, up to the end of his life.
+He also made the bridge that is called the Ponte Sisto, from the name of
+that Pontiff; this was held to be an excellent work, because Baccio
+built it with such stout piers and with the weight so well distributed,
+that it is very strong and very well founded. In the year of the Jubilee
+of 1475, likewise, he built many new little churches throughout Rome,
+which are recognized by the arms of Pope Sixtus--in particular, S.
+Apostolo, S. Pietro in Vincula, and S. Sisto. For Cardinal Guglielmo,
+Bishop of Ostia, he made the model of his church, with that of the
+facade and of the steps, in the manner wherein they are seen to-day.
+Many declare that the design of the Church of S. Pietro a Montorio in
+Rome was by the hand of Baccio, but I cannot say with truth that I have
+found this to be so. This church was built at the expense of the King
+of Portugal, almost at the same time that the Spanish nation had the
+Church of S. Jacopo erected in Rome.
+
+The talent of Baccio was so highly esteemed by that Pontiff, that he
+would never have done anything in the way of building without his
+counsel; wherefore, in the year 1480, hearing that the Church and
+Convent of S. Francesco at Assisi were threatening to fall, he sent
+Baccio thither; and he, making a very stout counterfort on the side of
+the plain, rendered that marvellous fabric perfectly secure. On one
+buttress he placed a statue of that Pontiff, who, not many years before,
+had caused to be made in that same convent many apartments, in the form
+of chambers and halls, which are known not only by their magnificence
+but also by the arms of the said Pope that are seen in them. In the
+courtyard there is one coat of arms much larger than the others, with
+some Latin verses in praise of Pope Sixtus IV, who gave many proofs that
+he held that holy place in great veneration.
+
+
+
+ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO
+
+
+
+
+LIVES OF ANDREA DAL CASTAGNO OF MUGELLO AND DOMENICO VINIZIANO
+
+[_ANDREA DEGL' IMPICCATI AND DOMENICO DA VENEZIA_]
+
+PAINTERS
+
+
+How reprehensible is the vice of envy, which should never exist in
+anyone, when found in a man of excellence, and how wicked and horrible a
+thing it is to seek under the guise of a feigned friendship to
+extinguish not only the fame and glory of another but his very life, I
+truly believe it to be impossible to express with words, for the
+wickedness of the act overcomes all power and force of speech, however
+eloquent. For this reason, without enlarging further on this subject, I
+will only say that in such men there dwells a spirit not merely inhuman
+and savage but wholly cruel and devilish, and so far removed from any
+sort of virtue that they are no longer men or even animals, and do not
+deserve to live. For even as emulation and rivalry, when men seek by
+honest endeavour to vanquish and surpass those greater than themselves
+in order to acquire glory and honour, are things worthy to be praised
+and to be held in esteem as necessary and useful to the world, so, on
+the contrary, the wickedness of envy deserves a proportionately greater
+meed of blame and vituperation, when, being unable to endure the honour
+and esteem of others, it sets to work to deprive of life those whom it
+cannot despoil of glory; as did that miserable Andrea dal Castagno, who
+was truly great and excellent in painting and design, but even more
+notable for the rancour and envy that he bore towards other painters,
+insomuch that with the blackness of his crime he concealed and obscured
+the splendour of his talents.
+
+This man, having been born at a small village called Castagno in
+Mugello, in the territory of Florence, took that name as his own
+surname when he came to live in Florence, which came about in the
+following manner. Having been left without a father in his earliest
+childhood, he was adopted by an uncle, who employed him for many years
+in watching his herds, since he saw him to be very ready and alert, and
+so masterful, that he could look after not only his cattle but the
+pastures and everything else that touched his own interest. Now, while
+he was following this calling, it came to pass one day that he chanced
+to seek shelter from the rain in a place wherein one of those local
+painters, who work for small prices, was painting a shrine for a
+peasant. Whereupon Andrea, who had never seen anything of the kind
+before, was seized by a sudden marvel and began to look most intently at
+the work and to study its manner; and there came to him on the spot a
+very great desire and so violent a love for that art, that without
+losing time he began to scratch drawings of animals and figures on walls
+and stones with pieces of charcoal or with the point of his knife, in so
+masterly a manner that it caused no small marvel to all who saw them.
+The fame of this new study of Andrea's then began to spread among the
+peasants; whereupon, as his good-fortune would have it, the matter
+coming to the ears of a Florentine gentleman named Bernardetto de'
+Medici, whose possessions were in that district, he expressed a wish to
+know the boy; and finally, having seen him and having heard him
+discourse with great readiness, he asked him whether he would like to
+learn the art of painting. Andrea answered that nothing could happen to
+him that would be more welcome or more pleasing than this, and
+Bernardetto took the boy with him to Florence, to the end that he might
+become perfect in that art, and set him to work with one of those
+masters who were then esteemed the best.
+
+[Illustration: THE LAST SUPPER
+
+(_After the fresco by =Andrea dal Castagno=. Florence: S. Apollonia_)
+
+_Alinari_]
+
+Thereupon Andrea, following the art of painting and devoting himself
+heart and soul to its studies, displayed very great intelligence in the
+difficulties of that art, above all in draughtsmanship. But he was not
+so successful in the colouring of his works, which he made somewhat
+crude and harsh, thus impairing to a great extent their excellence and
+grace, and depriving them, above all, of a certain quality of
+loveliness, which is not found in his colouring. He showed very great
+boldness in the movements of his figures and much vehemence in the
+heads both of men and of women, making them grave in aspect and
+excellent in draughtsmanship. There are works coloured in fresco,
+painted by his hand in his early youth, in the cloister of S. Miniato al
+Monte as one descends from the church to go into the convent, including
+a story of S. Miniato and S. Cresci leaving their father and mother. In
+S. Benedetto, a most beautiful monastery without the Porta a Pinti, both
+in a cloister and in the church, there were many pictures by the hand of
+Andrea, of which there is no need to make mention, since they were
+thrown to the ground in the siege of Florence. Within the city, in the
+first cloister of the Monastery of the Monks of the Angeli, opposite to
+the principal door, he painted the Crucifix that is still there to-day,
+with the Madonna, S. John, S. Benedict, and S. Romualdo; and at the head
+of the cloister, which is above the garden, he made another like it,
+only varying the heads and a few other details. In S. Trinita, beside
+the Chapel of Maestro Luca, he painted a S. Andrew. In a hall at Legnaia
+he painted many illustrious men for Pandolfo Pandolfini; and a standard
+to be borne in processions, which is held very beautiful, for the
+Company of the Evangelist.
+
+In certain chapels of the Church of the Servi in the said city he
+wrought three flat niches in fresco. In one of these, that of S.
+Giuliano, there are scenes from the life of that Saint, with a good
+number of figures, and a dog in foreshortening that was much extolled.
+Above this, in the chapel dedicated to S. Girolamo, he painted that
+Saint shaven and wasted away, with good design and great diligence. Over
+this he painted a Trinity, with a Crucifix so well foreshortened that
+Andrea deserves to be greatly extolled for it, seeing that he executed
+the foreshortenings with a much better and more modern manner than the
+others before him had shown; but this picture, having been afterwards
+covered with a panel by the family of the Montaguti, can no longer be
+seen. In the third, which is beside the one below the organ, and which
+was erected by Messer Orlando de' Medici, he painted Lazarus, Martha,
+and the Magdalene. For the Nuns of S. Giuliano, over their door, he made
+a Crucifix in fresco, with a Madonna, a S. Dominic, a S. Julian, and a
+S. John; which picture, one of the best that Andrea ever made, is
+universally praised by all craftsmen.
+
+In the Chapel of the Cavalcanti in S. Croce he painted a S. John the
+Baptist and a S. Francis, which are held to be very good figures. But
+what caused all the craftsmen to marvel was a very beautiful picture in
+fresco that he made at the head of the new cloister of the said convent,
+opposite to the door, of Christ being scourged at the Column, wherein he
+painted a loggia with columns in perspective, and groined vaulting with
+diminishing lines, and walls inlaid in a pattern of mandorle, with so
+much art and so much diligence, that he showed that he had no less
+knowledge of the difficulties of perspective than he had of design in
+painting. In the same scene there are beautiful and most animated
+attitudes in those who are scourging Christ, showing hatred and rage in
+their faces as clearly as Jesus Christ is showing patience and humility.
+In the body of Christ, which is bound tightly with ropes to the Column,
+it appears that Andrea tried to demonstrate the suffering of the flesh,
+while the Divinity concealed in that body maintains a certain noble
+splendour, which seems to be moving Pilate, who is seated among his
+councillors, to seek to find some means of liberating Him. In short,
+this picture is such that, if the little care that has been taken of it
+had not allowed it to be scratched and spoilt by children and
+simpletons, who have scratched all the heads and the arms and almost the
+entire persons of the Jews, as though they would thus take vengeance on
+them for the wrongs of Our Lord, it would certainly be the most
+beautiful of all the works of Andrea. And if Nature had given grace of
+colouring to this craftsman, even as she gave him invention and design,
+he would have been held truly marvellous.
+
+In S. Maria del Fiore he painted the image of Niccolo da Tolentino on
+horseback; and while he was working at this a boy who was passing shook
+his ladder, whereupon he flew into such a rage, like the brutal man that
+he was, that he jumped down and ran after him as far as the Canto de'
+Pazzi. In the cemetery of S. Maria Nuova, also, below the Ossa, he
+painted a S. Andrew, which gave so much satisfaction that he was
+afterwards commissioned to paint the Last Supper of Christ with His
+Apostles in the refectory, where the nurses and other attendants have
+their meals. Having acquired favour through this work with the house of
+Portinari and with the Director of the hospital, he was appointed to
+paint a part of the principal chapel, of which another part was allotted
+to Alesso Baldovinetti, and the third to the then greatly celebrated
+painter Domenico da Venezia, who had been summoned to Florence by reason
+of the new method that he knew of painting in oil. Now, while each of
+them applied himself to his part of the work, Andrea was very envious of
+Domenico, because, while knowing himself to be superior to the other in
+design, he was much displeased that the Venetian, although a foreigner,
+should be welcomed and entertained by the citizens; wherefore anger and
+disdain moved him so strongly, that he began to think whether he could
+not in one way or another remove him from his path. Andrea was no less
+crafty in dissimulation than he was excellent in painting, being
+cheerful of countenance at his pleasure, ready of speech, fiery in
+spirit, and as resolute in every bodily action as he was in mind; he
+felt towards others as he did towards Domenico, and, if he saw some
+error in the works of other craftsmen, he was wont to mark it secretly
+with his nail. And in his youth, when his works were criticized in any
+respect, he would give the critics to know by means of blows and insults
+that he was ever able and willing to take revenge in one way or another
+for any affront.
+
+But let us say something of Domenico, before we come to the work of the
+said chapel. Before coming to Florence, Domenico had painted some
+pictures with much grace in the Sacristy of S. Maria at Loreto, in
+company with Piero della Francesca; which pictures, besides what he had
+wrought in other places (such as an apartment in the house of the
+Baglioni in Perugia, which is now in ruins), had made his fame known in
+Florence. Being summoned to that city, before doing anything else, he
+painted a Madonna in the midst of some saints, in fresco, in a shrine on
+the Canto de' Carnesecchi, at the corner of two streets, of which one
+leads to the new Piazza di S. Maria Novella and the other to the old.
+This work, being approved and greatly extolled by the citizens and by
+the craftsmen of those times, caused even greater disdain and envy to
+blaze up in the accursed mind of Andrea against poor Domenico;
+wherefore Andrea, having determined to effect by deceit and treachery
+what he could not carry out openly without manifest peril to himself,
+pretended to be very much the friend of Domenico, who, being a good and
+affectionate fellow, fond of singing and devoted to playing on the lute,
+received him as a friend very willingly, thinking Andrea to be a clever
+and amusing person. And so, continuing this friendship, so true on one
+side and so false on the other, they would come together every night to
+make merry and to serenade their mistresses; and this gave great delight
+to Domenico, who, loving Andrea sincerely, taught him the method of
+colouring in oil, which as yet was not known in Tuscany.
+
+Andrea, then (to take events in their due order), working on his wall in
+the Chapel of S. Maria Nuova, painted an Annunciation, which is held
+very beautiful, for in that work he painted the Angel in the air, which
+had never been done up to that time. But a much more beautiful work is
+held to be that wherein he made the Madonna ascending the steps of the
+Temple, on which he depicted many beggars, and one among them hitting
+another on the head with a pitcher; and not only that figure but all the
+others are wondrously beautiful, for he wrought them with much care and
+love, out of rivalry with Domenico. There is seen, also, in the middle
+of a square, an octagonal temple drawn in perspective, standing by
+itself and full of pilasters and niches, with the facade very richly
+adorned with figures painted to look like marble. Round the square are
+various very beautiful buildings; and on one side of these there falls
+the shadow of the temple, caused by the light of the sun--a beautiful
+conception, carried out with great ingenuity and art.
+
+Maestro Domenico, on his part, painting in oil, represented Joachim
+visiting his consort S. Anna, and below this the Birth of Our Lady,
+wherein he depicted a very ornate chamber, and a boy beating very
+gracefully with a hammer on the door of the said chamber. Beneath this
+he painted the Marriage of the Virgin, with a good number of portraits
+from the life, among which are those of Messer Bernardetto de' Medici,
+Constable of the Florentines, wearing a large red barret-cap; Bernardo
+Guadagni, who was Gonfalonier; Folco Portinari, and others of that
+family. He also painted a dwarf breaking a staff, very life-like, and
+some women wearing garments customary in those times, lovely and
+graceful beyond belief. But this work remained unfinished, for reasons
+that will be told below.
+
+[Illustration: ANDREA DAL CASTAGNO: DANTE
+
+_(Florence: S. Apollonia. Fresco)_]
+
+Meanwhile Andrea had painted in oil on his wall the Death of Our Lady,
+in which, both by reason of his rivalry with Domenico and in order to
+make himself known for the able master that he truly was, he wrought in
+foreshortening, with incredible diligence, a bier containing the dead
+Virgin, which appears to be three braccia in length, although it is not
+more than one and a half. Round her are the Apostles, wrought in such a
+manner, that, although there is seen in their faces their joy at seeing
+their Madonna borne to Heaven by Jesus Christ, there is also seen in
+them their bitter sorrow at being left on earth without her. Among the
+Apostles are some angels holding burning lights, with beautiful
+expressions in their faces, and so well executed that it is seen that he
+was as well able to manage oil-colours as his rival Domenico. In these
+pictures Andrea made portraits from life of Messer Rinaldo degli
+Albizzi, Puccio Pucci, and Falganaccio, who brought about the liberation
+of Cosimo de' Medici, together with Federigo Malevolti, who held the
+keys of the Alberghetto. In like manner he portrayed Messer Bernardo di
+Domenico della Volta, Director of that hospital, who is kneeling and
+appears to be alive; and in a medallion at the beginning of the work he
+painted himself with the face of Judas Iscariot, whom he resembled both
+in appearance and in deed.
+
+Now Andrea, having carried this work very nearly to completion, being
+blinded by envy of the praises that he heard given to the talent of
+Domenico, determined to remove him from his path; and after having
+thought of many expedients, he put one of them into execution in the
+following manner. One summer evening, according to his custom, Domenico
+took his lute and went forth from S. Maria Nuova, leaving Andrea in his
+room drawing, for he had refused to accept the invitation to take his
+recreation with Domenico, under the pretext of having to do certain
+drawings of importance. Domenico therefore went to take his pleasure by
+himself, and Andrea set himself to wait for him in hiding behind a
+street corner; and when Domenico, on his way home, came up to him, he
+crushed his lute and his stomach at one and the same time with certain
+pieces of lead, and then, thinking that he had not yet finished him off,
+beat him grievously on the head with the same weapons; and finally,
+leaving him on the ground, he returned to his room in S. Maria Nuova,
+where he put the door ajar and sat down to his drawing in the manner
+that he had been left by Domenico. Meanwhile an uproar had arisen, and
+the servants, hearing of the matter, ran to call Andrea and to give the
+bad news to the murderer and traitor himself, who, running to where the
+others were standing round Domenico, was not to be consoled, and kept
+crying out: "Alas, my brother! Alas, my brother!" Finally Domenico
+expired in his arms; nor could it be discovered, for all the diligence
+that was used, who had murdered him; and if Andrea had not revealed the
+truth in confession on his death-bed, it would not be known now.
+
+In S. Miniato fra le Torri in Florence Andrea painted a panel containing
+the Assumption of Our Lady, with two figures; and in a shrine in the
+Nave a Lanchetta, without the Porta alla Croce, he painted a Madonna. In
+the house of the Carducci, now belonging to the Pandolfini, the same man
+depicted certain famous men, some from imagination and some portrayed
+from life, among whom are Filippo Spano degli Scolari, Dante, Petrarca,
+Boccaccio, and others. At Scarperia in Mugello, over the door of the
+Vicar's Palace, he painted a very beautiful nude figure of Charity,
+which has since been ruined. In the year 1478, when Giuliano de' Medici
+was killed and his brother Lorenzo wounded in S. Maria del Fiore by the
+family of the Pazzi and their adherents and fellow-conspirators, it was
+ordained by the Signoria that all those who had shared in the plot
+should be painted as traitors on the wall of the Palace of the Podesta.
+This work was offered to Andrea, and he, as a servant and debtor of the
+house of Medici, accepted it very willingly, and, taking it in hand,
+executed it so beautifully that it was a miracle. It would not be
+possible to express how much art and judgment were to be seen in those
+figures, which were for the most part portraits from life, and which
+were hung up by the feet in strange attitudes, all varied and very
+beautiful. This work, which pleased the whole city and particularly all
+who had understanding in the art of painting, brought it about that from
+that time onwards he was called no longer Andrea dal Castagno but Andrea
+degl' Impiccati.[13]
+
+[Illustration: MADONNA AND CHILD
+
+(_After the fresco by =Domenico Viniziano=. London: National Gallery,
+1215_)
+
+_Mansell_]
+
+Andrea lived in honourable style, and since he spent his money freely,
+particularly on dress and on maintaining a fine household, he left
+little property when he passed to the other life at the age of
+seventy-one. But since the crime that he had committed against Domenico,
+who loved him so, became known a short time after his death, it was with
+shameful obsequies that he was buried in S. Maria Nuova, where, at the
+age of fifty-six, the unhappy Domenico had also been buried. The work
+begun by the latter in S. Maria Nuova remained unfinished, nor did he
+ever complete it, as he had done the panel of the high-altar in S. Lucia
+de' Bardi, wherein he executed with much diligence a Madonna with the
+Child in her arms, S. John the Baptist, S. Nicholas, S. Francis, and S.
+Lucia; which panel he had brought to perfect completion a little before
+he was murdered.
+
+Disciples of Andrea were Jacopo del Corso, who was a passing good
+master, Pisanello, Marchino, Piero del Pollaiuolo, and Giovanni da
+Rovezzano.
+
+FOOTNOTES:
+
+[13] _I.e._, hung up.
+
+
+
+
+GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA
+
+
+
+
+LIVES OF GENTILE DA FABRIANO AND VITTORE PISANELLO OF VERONA[14]
+
+PAINTERS
+
+
+Very great is the advantage enjoyed by one who follows in the steps of a
+predecessor who has gained honour and fame by means of some rare talent,
+for the reason that, if only he follows to some extent the path prepared
+by his master, he seldom fails to arrive without much fatigue at an
+honourable goal; whereas, if he had to reach it by himself, he would
+have need of a much longer time and far greater labours. The truth of
+this could be seen, ready for the finger to point to, as the saying is,
+among many other examples, in that of Pisano, or rather, Pisanello, a
+painter of Verona, who, having spent many years in Florence with Andrea
+dal Castagno, and having finished his works after his death, acquired so
+much credit by means of Andrea's name, that Pope Martin V, coming to
+Florence, took him in his train to Rome, where he caused him to paint
+some scenes in fresco in S. Giovanni Laterano, which are very lovely and
+beautiful beyond belief, because he used therein a great abundance of a
+sort of ultramarine blue given to him by the said Pope, which was so
+beautiful in colour that it has never yet been equalled.
+
+In competition with Pisanello, below the aforesaid scenes, certain
+others were painted by Gentile da Fabriano; of which Platina makes
+mention in his Life of Pope Martin, saying that when that Pontiff had
+caused the pavement, the ceiling, and the roof of S. Giovanni Laterano
+to be reconstructed, Gentile da Fabriano painted many pictures there,
+and, among other figures between the windows, in terretta and in
+chiaroscuro, certain prophets, which are held to be the best paintings
+in the whole of that work. The same Gentile executed an infinite number
+of works in the March, particularly in Agobbio, where some of them are
+still to be seen, and likewise throughout the whole state of Urbino. He
+worked in S. Giovanni at Siena; and in the Sacristy of S. Trinita in
+Florence he painted the Story of the Magi on a panel, wherein he
+portrayed himself from the life. In S. Niccolo, near the Porta a S.
+Miniato, for the family of the Quaratesi, he painted the panel of the
+high-altar, which appears to me without a doubt the best of all the
+works that I have seen by his hand, for, not to mention the Madonna
+surrounded by many saints, all well wrought, the predella of the said
+panel, full of scenes with little figures from the life of S. Nicholas,
+could not be more beautiful or executed better than it is. In S. Maria
+Nuova in Rome, in a little arch over the tomb of the Florentine Cardinal
+Adimari, Archbishop of Pisa, which is beside that of Pope Gregory IX, he
+painted the Madonna with the Child in her arms, between S. Benedict and
+S. Joseph. This work was held in esteem by the divine Michelagnolo, who
+was wont to say, speaking of Gentile, that his hand in painting was
+similar to his name. The same master executed a very beautiful panel in
+S. Domenico in Perugia; and in S. Agostino at Bari he painted a Crucifix
+outlined in the wood, with three very beautiful half-length figures,
+which are over the door of the choir.
+
+But to return to Vittore Pisano; the account that has been given of him
+above was written by us, with nothing more, when this our book was
+printed for the first time, because we had not then received that
+information and knowledge of the works of this excellent craftsman which
+we have since gained from notices supplied by that very reverend and
+most learned Father, Fra Marco de' Medici of Verona, of the Order of
+Preaching Friars, and from the narrative of Biondo da Forli, where he
+speaks of Verona in his "Italia Illustrata." Vittore was equal in
+excellence to any painter of his age; and to this, not to speak of the
+works enumerated above, most ample testimony is borne by many others
+that are seen in his most noble native city of Verona, although many are
+almost eaten away by time. And because he took particular delight in
+depicting animals, he painted in the Chapel of the Pellegrini family, in
+the Church of S. Anastasia at Verona, a S. Eustace caressing a dog
+spotted with white and tan, which, with its feet raised and leaning
+against the leg of the said Saint, is turning its head backwards as
+though it had heard some noise; and it is making this movement with so
+great vivacity, that a live dog could not do it better. Beneath this
+figure there is seen painted the name of Pisano, who used to call
+himself sometimes Pisano, and sometimes Pisanello, as may be seen from
+the pictures and the medals by his hand. After the said figure of S.
+Eustace, which is truly very beautiful and one of the best that this
+craftsman ever wrought, he painted the whole outer wall of the same
+chapel; and on the other side he made a S. George clad in white armour
+made of silver, as was the custom in that age not only with him but with
+all the other painters. This S. George, wishing to replace his sword in
+the scabbard after slaying the Dragon, is raising his right hand, which
+holds the sword, the point of which is already in the scabbard, and is
+lowering the left hand, to the end that the increased distance may make
+it easier for him to sheathe the sword, which is long; and this he is
+doing with so much grace and with so beautiful a manner, that nothing
+better could be seen. Michele San Michele of Verona, architect to the
+most illustrious Signoria of Venice, and a man with a very wide
+knowledge of these fine arts, was often seen during his life
+contemplating these works of Vittore in a marvel, and then heard to say
+that there was little to be seen that was better than the S. Eustace,
+the dog, and the S. George described above. Over the arch of the said
+chapel is painted the scene when S. George, having slain the Dragon, is
+liberating the King's daughter, who is seen near the Saint, clad in a
+long dress after the custom of those times. Marvellous, likewise, in
+this part of the work, is the figure of the same S. George, who, armed
+as above, and about to remount his horse, is standing with his face and
+person turned towards the spectator, and is seen, with one foot in the
+stirrup and his left hand on the saddle, almost in the act of leaping on
+to the horse, which has its hindquarters towards the spectator, so that
+the whole animal, being foreshortened, is seen very well, although in a
+small space. In a word, it is impossible to contemplate without infinite
+marvel--nay, amazement--a work executed with such extraordinary design,
+grace, and judgment.
+
+[Illustration: GENTILE DA FABRIANO: MADONNA AND CHILD, WITH THREE KINGS
+
+(DETAIL FROM THE ADORATION OF THE MAGI)
+
+(_Florence: Accademia, 165. Panel_)]
+
+The same Pisano painted a picture in S. Fermo Maggiore at Verona (a
+church of the Conventual Friars of S. Francis), in the Chapel of the
+Brenzoni, on the left as one enters by the principal door of the said
+church, over the tomb of the Resurrection of Our Lord, wrought in
+sculpture and very beautiful for those times; he painted, I say, as an
+ornament for that work, the Virgin receiving the Annunciation from the
+Angel, which two figures, picked out with gold according to the use of
+those times, are very beautiful, as are certain very well drawn
+buildings, as well as some little animals and birds scattered throughout
+the work, which are as natural and lifelike as it is possible to
+imagine.
+
+The same Vittore cast in medallions innumerable portraits of Princes and
+other persons of his time, from which there have since been made many
+portraits in painting. And Monsignor Giovio, speaking of Vittore Pisano
+in an Italian letter written to the Lord Duke Cosimo, which may be read
+in print together with many others, says the following words:
+
+"This man was also very excellent in the work of low-relief, which is
+esteemed very difficult among craftsmen, because it is the mean between
+the flat surface of painting and the roundness of statuary. For this
+reason there are seen many highly esteemed medals of great Princes by
+his hand, made in a large form, and in the same proportions as that
+reverse of the horse clad in armour that Guidi has sent me. Of these I
+have that of the great King Alfonso with his hair long, with a captain's
+helmet on the reverse; that of Pope Martin, with the arms of the house
+of Colonna as the reverse; that of the Sultan Mahomet (who took
+Constantinople), showing him on horseback in Turkish dress, with a
+scourge in his hand; Sigismondo Malatesta, with Madonna Isotta of Rimini
+on the reverse; and that of Niccolo Piccinino, wearing a large oblong
+cap on his head, with the said reverse sent to me by Guidi, which I am
+returning. Besides these, I have also a very beautiful medal of John
+Palaeologus, Emperor of Constantinople, with that bizarre Greek cap
+which the Emperors used to wear. This was made by Pisano in Florence, at
+the time of the Council of Eugenius, at which the aforesaid Emperor was
+present; and it has on the reverse the Cross of Christ, sustained by two
+hands--namely, the Latin and the Greek."
+
+[Illustration: VITTORE PISANELLO: THE VISION OF S. EUSTACE
+
+(_London: National Gallery, 1436. Panel_)]
+
+So far Giovio, and still further, Vittore also made medals with
+portraits of Filippo de' Medici, Archbishop of Pisa, Braccio da Montone,
+Giovan Galeazzo Visconti, Carlo Malatesta, Lord of Rimini, Giovan
+Caracciolo, Grand Seneschal of Naples, Borso and Ercole D'Este, and many
+other nobles and men distinguished in arms and in letters.
+
+By reason of his fame and reputation in that art, this master gained the
+honour of being celebrated by very great men and rare writers; for,
+besides what Biondo wrote of him, as has been said, he was much extolled
+in a Latin poem by the elder Guerino, his compatriot and a very great
+scholar and writer of those times; of which poem, called, from the
+surname of its subject, "Il Pisano del Guerino," honourable mention is
+made by Biondo. He was also celebrated by the elder Strozzi, Tito
+Vespasiano, father of the other Strozzi, both of whom were very rare
+poets in the Latin tongue. The father honoured the memory of Vittore
+Pisano with a very beautiful epigram, which is in print with the others.
+Such are the fruits that are borne by a worthy life.
+
+Some say that when he was learning art in Florence in his youth, he
+painted in the old Church of the Temple, which stood where the old
+Citadel now is, the stories of that pilgrim who was going to S. Jacopo
+di Galizia, when the daughter of his host put a silver cup into his
+wallet, to the end that he might be punished as a robber; but he was
+rescued by S. Jacopo, who brought him back home in safety. In this
+Pisano gave promise of becoming, as he did, an excellent painter.
+Finally, having come to a good old age, he passed to a better life. And
+Gentile, after making many works in Citta di Castello, became palsied,
+and was reduced to such a state that he could no longer do anything
+good; and at length, wasted away by old age, and having lived eighty
+years, he died. The portrait of Pisano I have not been able to find in
+any place whatsoever. Both these painters drew very well, as may be seen
+in our book.
+
+[Illustration: MEDALS OF SIGISMONDO PANDOLFO MALATESTA AND NICCOLO
+PICCININO
+
+(_After =Vittore Pisanello=. London: British Museum_)]
+
+FOOTNOTES:
+
+[14] It has recently been shown that Pisanello's name was not Vittore
+but Antonio; see article by G. F. Hill, on p. 288, vol. xiii. of the
+_Burlington Magazine_. In the translation, however, Vittore, the name
+given by Vasari, will be kept.
+
+
+
+
+PESELLO AND FRANCESCO PESELLI
+
+
+
+
+LIVES OF PESELLO AND FRANCESCO PESELLI
+
+[_PESELLINO, OR FRANCESCO DI PESELLO_]
+
+PAINTERS OF FLORENCE
+
+
+It is rarely wont to happen that the disciples of the best masters, if
+they observe their precepts, fail to become very excellent, or, if they
+do not actually surpass them, at least to equal them and to make
+themselves in every way like them. For the burning zeal of imitation,
+with assiduity in studying, has power to make them equal the talent of
+those who show them the true method of working; wherefore the disciples
+become such that they afterwards compete with their masters, and even
+find it easy to outstrip them, because it is always but little labour to
+add to what has been discovered by others. That this is true is proved
+by Francesco di Pesello, who imitated the manner of Fra Filippo so well
+that he would have surpassed him by a long way, if death had not cut him
+off so prematurely. It is also known that Pesello imitated the manner of
+Andrea dal Castagno; and he took so much pleasure in counterfeiting
+animals, of which he kept some of all sorts alive in his house, and made
+them so lifelike and vivacious, that there was no one in his time who
+equalled him in this branch of his profession. He worked up to the age
+of thirty under the discipline of Andrea, learning from him, and became
+a very good master. Wherefore, having given good proof of his knowledge,
+he was commissioned by the Signoria of Florence to paint a panel in
+distemper of the Magi bringing offerings to Christ, which was placed
+half-way up the staircase of their Palace, and acquired great fame for
+Pesello, above all because he had made certain portraits therein,
+including that of Donato Acciaiuoli. In S. Croce, also, in the Chapel of
+the Cavalcanti, below the Annunciation of Donato, he painted a predella
+with little figures, containing stories of S. Nicholas. In the house of
+the Medici he adorned some panelling very beautifully with animals, and
+certain coffers with little scenes of jousts on horseback. And in the
+same house there are seen to this day certain canvases by his hand,
+representing lions pressing against a grating, which appear absolutely
+alive; and he made others on the outside, together with one fighting
+with a serpent; and on another canvas he painted an ox, a fox, and other
+animals, very animated and vivacious. In the Chapel of the Alessandri,
+in S. Piero Maggiore, he made four little scenes with little figures of
+S. Peter, of S. Paul, of S. Zanobi restoring to life the son of the
+widow, and of S. Benedict. In S. Maria Maggiore in the same city of
+Florence, in the Chapel of the Orlandini, he made a Madonna and two
+other very beautiful figures. For the children of the Company of S.
+Giorgio he painted a Crucifix, S. Jerome, and S. Francis; and he made an
+Annunciation on a panel in the Church of S. Giorgio. In the Church of S.
+Jacopo at Pistoia he painted a Trinity, S. Zeno, and S. James; and
+throughout the houses of citizens in Florence there are many pictures,
+both round and square, by the hand of the same man.
+
+Pesello was a temperate and gentle person; and whenever it was in his
+power to assist his friends, he would do it very lovingly and willingly.
+He married young, and had a son named Francesco, known as Pesellino, who
+became a painter, following very closely in the steps of Fra Filippo.
+From what is known of this man, it is clear that if he had lived longer
+he would have done much more than he did, for he was a zealous student
+of his art, and would draw all day and night without ceasing. In the
+Chapel of the Noviciate in S. Croce, below the panel by Fra Filippo,
+there is still seen a most marvellous predella with little figures,
+which appear to be by the hand of Fra Filippo. He made many little
+pictures with small figures throughout Florence, where, having acquired
+a great name, he died at the age of thirty-one; to the great grief of
+Pesello, who followed him after no long time, at the age of
+seventy-seven.
+
+[Illustration: PESELLINO: MADONNA ENTHRONED WITH SAINTS AND ANGELS
+
+(_Empoli: Gallery. Panel_)]
+
+
+
+
+BENOZZO GOZZOLI
+
+[Illustration: THE PROCESSION OF THE MAGI
+
+(_Detail, after the fresco by =Benozzo Gozzoli=. Florence: Palazzo
+Riccardi_)
+
+_Anderson_]
+
+
+
+
+LIFE OF BENOZZO GOZZOLI[15]
+
+PAINTER OF FLORENCE
+
+
+He who pursues the path of excellence in his labours, although it is, as
+men say, both stony and full of thorns, finds himself finally at the end
+of the ascent on a broad plain, with all the blessings that he has
+desired. And as he looks downwards and sees the difficult and perilous
+way that he has come, he thanks God for having brought him out safely,
+and with the greatest contentment he blesses those labours that he has
+just been finding so burdensome. And so, recompensed for his past
+sufferings by the gladness of the happy present, he labours without
+fatigue, in order to demonstrate to all who see him how heat, cold,
+sweat, hunger, thirst, and all the other discomforts that are endured in
+the acquiring of excellence, deliver men from poverty, and bring them to
+that secure and tranquil state in which, with so much contentment,
+Benozzo Gozzoli enjoyed repose from his labours.
+
+This man was a disciple of Fra Giovanni Angelico, by whom he was loved
+with good reason; and by all who knew him he was held to be a practised
+master, very rich in invention, and very productive in the painting of
+animals, perspectives, landscapes, and ornaments. He wrought so many
+works in his day that he showed that he cared little for other delights;
+and although, in comparison with many who surpassed him in design, he
+was not very excellent, yet in this great mass of work he surpassed all
+the painters of his age, for in such a multitude of pictures he
+succeeded in making some that were good. In his youth he painted a panel
+for the altar of the Company of S. Marco in Florence, and, in S. Friano,
+a picture of the passing of S. Jerome, which has been spoilt in
+restoring the facade of the church along the street. In the Chapel of
+the Palace of the Medici he painted the Story of the Magi in fresco.
+
+In the Araceli at Rome, in the Chapel of the Cesarini, he painted the
+stories of S. Anthony of Padua, wherein he made portraits from life of
+Cardinal Giuliano Cesarini and Antonio Colonna. In the Conti Tower,
+likewise, over a door under which one passes, he made in fresco a
+Madonna with many saints; and in a chapel in S. Maria Maggiore, on the
+right hand as one enters the church by the principal door, he painted
+many figures in fresco, which are passing good.
+
+After returning from Rome to Florence, Benozzo went to Pisa, where he
+worked in the cemetery called the Campo Santo, which is beside the
+Duomo, covering the surface of a wall that runs the whole length of the
+building with stories from the Old Testament, wherein he showed very
+great invention. And this may be said to be a truly tremendous work,
+seeing that it contains all the stories of the Creation of the world
+from one day to another. After this come Noah's Ark and the inundation
+of the Flood, represented with very beautiful composition and an
+abundance of figures. Then there follow the building of the proud Tower
+of Nimrod, the burning of Sodom and the other neighbouring cities, and
+the stories of Abraham, wherein there are some very beautiful effects to
+be observed, for the reason that, although Benozzo was not remarkable
+for the drawing of figures, yet he showed his art effectually in the
+Sacrifice of Isaac, for there he painted an ass foreshortened in such a
+manner that it seems to turn to either side, which is held something
+very beautiful. After this comes the Birth of Moses, together with all
+those signs and prodigies that were seen, up to the time when he led his
+people out of Egypt and fed them for so many years in the desert. To
+these he added all the stories of the Hebrews up to the time of David
+and his son Solomon; and in this work Benozzo displayed a spirit truly
+more than bold, for, whereas so great an enterprise might very well have
+daunted a legion of painters, he alone wrought the whole and brought it
+to perfection. Wherefore, having thus acquired very great fame, he won
+the honour of having the following epigram placed in the middle of the
+work:
+
+[Illustration: BENOZZO BOZZOLI: MADONNA AND CHILD
+
+(_Berlin: Kaiser Friedrich Museum, 60B. Panel_)]
+
+   QUID SPECTAS VOLUCRES, PISCES, ET MONSTRA FERARUM,
+     ET VIRIDES SILVAS AETHEREASQUE DOMOS,
+   ET PUEROS, JUVENES, MATRES, CANOSQUE PARENTES,
+     QUEIS SEMPER VIVUM SPIRAT IN ORE DECUS?
+   NON HAEC TAM VARIIS FINXIT SIMULACRA FIGURIS
+     NATURA, INGENIO F[OE]TIBUS APTA SUO:
+   EST OPUS ARTIFICIS: PINXIT VIVA ORA BENOXUS;
+     O SUPERI, VIVOS FUNDITE IN ORA SONOS.
+
+Throughout this whole work there are scattered innumerable portraits
+from the life; but, since we have not knowledge of them all, I will
+mention only those that I have recognized as important, and those that I
+know by means of some record. In the scene of the Queen of Sheba going
+to visit Solomon there is the portrait of Marsilio Ficino among certain
+prelates, with those of Argiropolo, a very learned Greek, and of Batista
+Platina, whom he had previously portrayed in Rome; while he himself is
+on horseback, in the form of an old man shaven and wearing a black cap,
+in the fold of which there is a white paper, perchance as a sign, or
+because he intended to write his own name thereon.
+
+In the same city of Pisa, for the Nuns of S. Benedetto a Ripa d'Arno, he
+painted all the stories of the life of that Saint; and in the building
+of the Company of the Florentines, which then stood where the Monastery
+of S. Vito now is, he wrought the panel and many other pictures. In the
+Duomo, behind the chair of the Archbishop, he painted a S. Thomas
+Aquinas on a little panel in distemper, with an infinite number of
+learned men disputing over his works, among whom there is a portrait of
+Pope Sixtus IV, together with a number of Cardinals and many Chiefs and
+Generals of various Orders. This is the best and most highly finished
+work that Benozzo ever made. In S. Caterina, a seat of the Preaching
+Friars in the same city, he executed two panels in distemper, which are
+known very well by the manner; and he also painted another in the Church
+of S. Niccola, with two in S. Croce without Pisa.
+
+In his youth, Benozzo also painted the altar of S. Bastiano in the Pieve
+of San Gimignano, opposite to the principal chapel; and in the Hall of
+the Council there are some figures, partly by his hand, and partly old
+works restored by him. For the Monks of Monte Oliveto, in the same
+territory, he painted a Crucifix and other pictures; but the best work
+that he made in that place was in the principal chapel of S. Agostino,
+where he painted stories of S. Augustine in fresco, from his conversion
+to his death; of the whole of which work I have the design by his hand
+in my book, together with many drawings of the aforesaid scenes in the
+Campo Santo of Pisa. In Volterra, likewise, he executed certain works,
+of which there is no need to make mention.
+
+Now, while Benozzo was working in Rome, there was another painter there
+called Melozzo, who came from Forli; and many who know no more than
+this, having found the name of Melozzo written and having compared the
+dates, have believed that Melozzo stands for Benozzo; but they are
+mistaken, for the said painter was one who lived at the same time and
+was a very zealous student of the problems of art, devoting particular
+diligence and study to the making of foreshortenings, as may be seen in
+S. Apostolo at Rome, in the tribune of the high-altar, where, in a
+frieze drawn in perspective, as an ornament for that work, there are
+some figures picking grapes, with a cask, which show no little of the
+good. But this is seen more clearly in the Ascension of Jesus Christ, in
+the midst of a choir of angels who are leading him up to Heaven, wherein
+the figure of Christ is so well foreshortened that it seems to be
+piercing the ceiling, and the same is true of the angels, who are
+circling with various movements through the spacious sky. The Apostles,
+likewise, who are on the earth below, are so well foreshortened in their
+various attitudes that the work brought him much praise, as it still
+does, from the craftsmen, who have learnt much from his labours. He was
+also a great master of perspective, as is demonstrated by the buildings
+painted in this work, which he executed at the commission of Cardinal
+Riario, nephew of Pope Sixtus IV, by whom he was richly rewarded.
+
+[Illustration: THE DEATH OF S. AUGUSTINE
+
+(_After the fresco by =Benozzo Gozzoli=. San Gimigano: S. Agostino_)
+
+Brogi]
+
+But to return to Benozzo; wasted away at last by length of years and by
+his labours, he went to his true rest, in the city of Pisa, at the age
+of seventy-eight, while dwelling in a little house that he had bought in
+Carraia di San Francesco during his long sojourn there. This house he
+left at his death to his daughter; and, mourned by the whole city, he
+was honourably buried in the Campo Santo, with the following epitaph,
+which is still to be read there:
+
+   HIC TUMULUS EST BENOTII FLORENTINI, QUI PROXIME HAS PINXIT
+     HISTORIAS. HUNC SIBI PISANOR. DONAVIT HUMANITAS, MCCCCLXXVIII.
+
+Benozzo ever lived the well-ordered life of a true Christian, spending
+all his years in honourable labour. For this and for his good manner and
+qualities he was long looked upon with favour in that city. The
+disciples whom he left behind him were Zanobi Macchiavelli, a
+Florentine, and others of whom there is no need to make further
+record.
+
+FOOTNOTES:
+
+[15] In the heading to the Life Vasari calls him simply Benozzo.
+
+
+
+
+FRANCESCO DI GIORGIO AND LORENZO VECCHIETTO
+
+[Illustration: FRANCESCO DI GIORGIO: S. DOROTHY
+
+(_London: National Gallery_, 1682. _Panel_)]
+
+
+
+
+LIVES OF FRANCESCO DI GIORGIO
+
+SCULPTOR AND ARCHITECT OF SIENA
+
+AND LORENZO VECCHIETTO
+
+SCULPTOR AND PAINTER OF SIENA
+
+
+Francesco di Giorgio of Siena, who was an excellent sculptor and
+architect, made the two bronze angels that are on the high-altar of the
+Duomo in that city. These were truly very beautiful pieces of casting,
+and he finished them afterwards by himself with the greatest diligence
+that it is possible to imagine. This he could do very conveniently, for
+he was endowed with good means as well as with a rare intelligence;
+wherefore he would work when he felt inclined, not through greed of
+gain, but for his own pleasure and in order to leave some honourable
+memorial behind him. He also gave attention to painting and executed
+some pictures, but these did not equal his sculptures. He had very good
+judgment in architecture, and proved that he had a very good knowledge
+of that profession; and to this ample testimony is borne by the palace
+that he built for Duke Federigo Feltro at Urbino, which is commodiously
+arranged and beautifully planned, while the bizarre staircases are well
+conceived and more pleasing than any others that had been made up to his
+time. The halls are large and magnificent, and the apartments are
+conveniently distributed and handsome beyond belief. In a word, the
+whole of that palace is as beautiful and as well built as any other that
+has been erected down to our own day.
+
+Francesco was a very able engineer, particularly in connection with
+military engines, as he showed in a frieze that he painted with his own
+hand in the said palace at Urbino, which is all full of rare things of
+that kind for the purposes of war. He also filled some books with
+designs of such instruments; and the Lord Duke Cosimo de' Medici has the
+best of these among his greatest treasures. The same man was so zealous
+a student of the warlike machines and instruments of the ancients, and
+spent so much time in investigating the plans of the ancient
+amphitheatres and other things of that kind, that he was thereby
+prevented from giving equal attention to sculpture; but these studies
+brought him and still bring him no less honour than sculpture could have
+gained for him. For all these reasons he was so dear to the said Duke
+Federigo, whose portrait he made both on medals and in painting, that
+when he returned to his native city of Siena he found his honours were
+equal to his profits.
+
+For Pope Pius II he made all the designs and models of the Palace and
+Vescovado of Pienza, the native place of the said Pope, which was raised
+by him to the position of a city, and called Pienza after himself, in
+place of its former name of Corsignano. These buildings were as
+magnificent and handsome as they could be for that place; and he did the
+same for the general form and the fortifications of the said city,
+together with the palace and loggia built for the same Pontiff.
+Wherefore he ever lived in honour, and was rewarded with the supreme
+magistracy of the Signoria in his native city; but finally, having
+reached the age of forty-seven, he died. His works date about 1480. He
+left behind him his companion and very dear friend, Jacopo Cozzerello,
+who devoted himself to sculpture and architecture, making some figures
+of wood in Siena, and a work of architecture without the Porta a
+Tufi--namely, S. Maria Maddalena, which remained unfinished by reason of
+his death. To him we are also indebted for the portrait of the aforesaid
+Francesco, which he made with his own hand; to which Francesco much
+gratitude is due for his having facilitated the art of architecture, and
+for his having rendered to it greater services than any other man had
+done from the time of Filippo di Ser Brunellesco to his own.
+
+[Illustration: THE RISEN CHRIST
+
+(_After the bronze by =Lorenzo Vecchietto=. Siena: S. Maria della
+Scala_)
+
+_Alinari_]
+
+A Sienese and also a much extolled sculptor was Lorenzo, the son of
+Piero Vecchietti who, having first been a highly esteemed goldsmith,
+finally devoted himself to sculpture and to casting in bronze; which
+arts he studied so zealously that he became excellent in them, and was
+commissioned to make a tabernacle in bronze for the high-altar of the
+Duomo in his native city of Siena, together with the marble ornaments
+that are still seen therein. This casting, which is admirable, acquired
+very great fame and repute for him by reason of the proportion and grace
+that it shows in all its parts; and whosoever observes this work well
+can see that the design is good, and that the craftsman was a man of
+judgment and of practised ability. For the Chapel of the Painters of
+Siena, in the great Hospital of the Scala, the same man made a beautiful
+metal casting of a nude Christ, of the size of life and holding the
+Cross in His hand; which work was finished with a love and diligence
+worthy of the beautiful success of the casting. In the pilgrim's hall in
+the same place there is a scene painted in colours by Lorenzo. Over the
+door of S. Giovanni he painted an arch with figures wrought in fresco;
+and in like manner, since the baptismal font was not finished, he
+wrought for it certain little figures in bronze, besides finishing, also
+in bronze, a scene formerly begun by Donatello. In this place two scenes
+in bronze had been already wrought by Jacopo della Fonte, whose manner
+Lorenzo ever imitated as closely as he was able. This Lorenzo brought
+the said baptismal font to perfect completion, adding to it some bronze
+figures, formerly cast by Donato but entirely finished by himself, which
+are held to be very beautiful.
+
+For the Loggia of the Ufficiali[16] in Banchi Lorenzo made two life-size
+figures in marble of S. Peter and S. Paul, wrought with consummate grace
+and executed with fine mastery. He disposed the works that he made in
+such a manner that he deserves as much praise for them after death as he
+did when alive. He was a melancholic and solitary person, ever lost in
+contemplation; which was perchance the reason that he did not live
+longer, for he passed to the other life at the age of fifty-eight. His
+works date about the year 1482.
+
+FOOTNOTES:
+
+[16] The officials of the Mercanzia.
+
+
+
+
+GALASSO FERRARESE
+
+
+
+
+LIFE OF GALASSO FERRARESE[17]
+
+[_GALASSO GALASSI_]
+
+PAINTER
+
+
+When strangers come to do work in a city in which there are no craftsmen
+of excellence, there is always some man whose intelligence is afterwards
+stirred to strive to learn that same art, and to bring it about that
+from that time onwards there should be no need for strangers to come and
+embellish his city and carry away her wealth, which he now labours to
+deserve by his own ability, seeking to acquire for himself those riches
+that seemed to him too splendid to be given to foreigners. This was made
+clearly manifest by Galasso Ferrarese, who, seeing Piero dal Borgo a San
+Sepolcro rewarded by the Duke of Ferrara for the works that he executed,
+and also honourably received in Ferrara, was incited so strongly by such
+an example, after Piero's departure, to devote himself to painting, that
+he acquired the name of a good and excellent master in Ferrara. Besides
+this, he was held in all the greater favour in that place for having
+gone to Venice and there learnt the method of painting in oil, which he
+brought to his native place, for he afterwards made an infinity of
+figures in that manner, which are scattered about in many churches
+throughout Ferrara.
+
+Next, having gone to Bologna, whither he was summoned by certain
+Dominican friars, he painted in oil a chapel in S. Domenico; and so his
+fame increased, together with his credit. After this he painted many
+pictures in fresco in S. Maria del Monte, a seat of the Black Friars
+without Bologna, beyond the Porta di S. Mammolo; and the whole church of
+the Casa di Mezzo, on the same road, was likewise painted by his hand
+with works in fresco, in which he depicted the stories of the Old
+Testament.
+
+His life was ever most praiseworthy, and he showed himself very
+courteous and agreeable; which arose from his being used to live and
+dwell more out of his native place than in it. It is true, indeed, that
+through his being somewhat irregular in his way of living, his life did
+not last long; for he left it at the age of about fifty, to go to that
+life which has no end. After his death he was honoured by a friend with
+the following epitaph:
+
+   GALASSUS FERRARIENSIS.
+
+   SUM TANTO STUDIO NATURAM IMITATUS ET ARTE
+       DUM PINGO RERUM QUAE CREAT ILLA PARENS;
+   HAEC UT SAEPE QUIDEM NON PICTA PUTAVERIT A ME,
+       A SE CREDIDERIT SED GENERATA MAGIS.
+
+In these same times lived Cosme, also of Ferrara. Works by his hand that
+are to be seen are a chapel in S. Domenico in the said city, and two
+folding-doors that close the organ in the Duomo. This man was better as
+a draughtsman than as a painter; indeed, from what I have been able to
+gather, he does not seem to have painted much.
+
+[Illustration: THE MADONNA ENTHRONED
+
+(_After the tempera panel by =Cosme= [Cosimo Tura]. Berlin: Kaiser
+Friedrich Museum, 86_)
+
+_Hanfstaengl_]
+
+FOOTNOTES:
+
+[17] This Life appears only in Vasari's first edition.
+
+
+
+
+ANTONIO AND BERNARDO ROSSELLINO
+
+
+
+
+LIVES OF ANTONIO ROSSELLINO, SCULPTOR OF FLORENCE
+
+[_ROSSELLINO DAL PROCONSOLO_]
+
+AND BERNARDO, HIS BROTHER
+
+
+It has ever been a truly laudable and virtuous thing to be modest and to
+be adorned with that gentleness and those rare qualities that are easily
+recognized in the honourable actions of the sculptor Antonio Rossellino,
+who put so much grace into his art that he was esteemed by all who knew
+him as something much more than man, and adored almost as a saint, for
+those supreme virtues that were united to his talent. Antonio was called
+Rossellino dal Proconsolo, because he ever had his shop in a part of
+Florence called by that name. He showed such sweetness and delicacy in
+his works, with a finish and a refinement so perfect, that his manner
+may be rightly called the true one and truly modern.
+
+For the Palace of the Medici he made the marble fountain that is in the
+second court; in which fountain are certain children opening the mouths
+of dolphins that pour out water; and the whole is finished with
+consummate grace and with a most diligent manner. In the Church of S.
+Croce, near the holy-water basin, he made a tomb for Francesco Nori,
+with a Madonna in low-relief above it; and another Madonna in the house
+of the Tornabuoni, together with many other things sent to various
+foreign parts, such as a tomb of marble for Lyons in France. At S.
+Miniato al Monte, a monastery of White Friars without the walls of
+Florence, he was commissioned to make the tomb of the Cardinal of
+Portugal, which was executed by him so marvellously and with such great
+diligence and art, that no craftsman can ever expect to be able to see
+any work likely to surpass it in any respect whatsoever with regard to
+finish or grace. And in truth, if one examines it, it appears not
+merely difficult but impossible for it to have been executed so well;
+for certain angels in the work reveal such grace, beauty, and art in
+their expressions and their draperies, that they appear not merely made
+of marble but absolutely alive. One of these is holding the crown of
+chastity of that Cardinal, who is said to have died celibate; the other
+bears the palm of victory, which he had won from the world. Among the
+many most masterly things that are there, one is an arch of grey-stone
+supporting a looped-back curtain of marble, which is so highly-finished
+that, what with the white of the marble and the grey of the stone, it
+appears more like real cloth than like marble. On the sarcophagus are
+some truly very beautiful boys and the dead man himself, with a Madonna,
+very well wrought, in a medallion. The sarcophagus has the shape of that
+one made of porphyry which is in the Piazza della Ritonda in Rome. This
+tomb of the Cardinal was erected in 1459; and its form, with the
+architecture of the chapel, gave so much satisfaction to the Duke of
+Malfi, nephew of Pope Pius II, that he had another made in Naples by the
+hand of the same master for his wife, similar to the other in every
+respect save in the figure of the dead. For this, moreover, Antonio made
+a panel containing the Nativity of Christ and the Manger, with a choir
+of angels over the hut, dancing and singing with open mouths, in such a
+manner, that he truly seems to have given them all possible movement and
+expression short of breath itself, and that with so much grace and so
+high a finish, that iron tools and man's intelligence could effect
+nothing more in marble. Wherefore his works have been much esteemed by
+Michelagnolo and by all the rest of the supremely excellent craftsmen.
+In the Pieve of Empoli he made a S. Sebastian of marble, which is held
+to be a very beautiful work; and of this we have a drawing by his hand
+in our book, together with others of all the architecture and the
+figures in the said chapel in S. Miniato al Monte, and likewise his own
+portrait.
+
+Antonio finally died in Florence at the age of forty-six, leaving a
+brother called Bernardo, an architect and sculptor, who made a marble
+tomb in S. Croce for Messer Lionardo Bruni of Arezzo, who wrote the
+History of Florence and was a very learned man as all the world knows.
+This Bernardo was much esteemed for his knowledge of architecture by
+Pope Nicholas V, who loved him dearly and made use of him in very many
+works that he carried out in his pontificate, of which he would have
+executed even more if death had not intervened to hinder the works that
+he had in mind. He caused him, therefore, according to the account of
+Giannozzo Manetti, to reconstruct the Piazza of Fabriano, in the year
+when he spent some months there by reason of the plague; and whereas it
+was narrow and badly designed, he enlarged it and brought it to a good
+shape, surrounding it with a row of shops, which were useful, very
+commodious, and very beautiful. After this he restored and founded anew
+the Church of S. Francesco in the same district, which was going to
+ruin. At Gualdo he rebuilt the Church of S. Benedetto; almost anew, it
+may be said, for he added to it good and beautiful buildings. At Assisi
+he made new and stout foundations and a new roof for the Church of S.
+Francesco, which was ruined in certain parts and threatened to go to
+ruin in certain others. At Civitavecchia he built many beautiful and
+magnificent edifices. At Civita Castellana he rebuilt more than a third
+part of the walls in a good form. At Narni he rebuilt the fortress,
+enlarging it with good and beautiful walls. At Orvieto he made a great
+fortress with a most beautiful palace--a work of great cost and no less
+magnificence. At Spoleto, likewise, he enlarged and strengthened the
+fortress, making within it dwellings so beautiful, so commodious, and so
+well conceived, that nothing better could be seen. He restored the baths
+of Viterbo at great expense and in a truly royal spirit, making certain
+dwellings there that would have been worthy not merely of the invalids
+who went to bathe there every day, but of the greatest of Princes. All
+these works were executed by the said Pontiff without the city of Rome,
+from the designs of Bernardo.
+
+In Rome he restored, and in many places renewed, the walls of the city,
+which were for the greater part in ruins; adding to them certain towers,
+and enclosing within these some new fortifications that he built without
+the Castle of S. Angelo, with many apartments and decorations that he
+made within. The said Pontiff also had a project in his mind, of which
+he brought the greater part nearly to completion, of restoring or
+rebuilding, according as it might be necessary, the forty Churches of
+the Stations formerly instituted by the Saint, Pope Gregory I, who
+received the surname of Great. Thus he restored S. Maria Trastevere, S.
+Prassedia, S. Teodoro, S. Pietro in Vincula, and many other minor
+churches. But it was with much greater zeal, adornment, and diligence
+that he did this for six of the seven greater and principal
+churches--namely, S. Giovanni Laterano, S. Maria Maggiore, S. Stefano in
+Celio Monte, S. Apostolo, S. Paolo, and S. Lorenzo extra muros. I say
+nothing of S. Pietro, for of this he made an undertaking by itself.
+
+The same Pope was minded to make the whole of the Vatican into a
+separate city, in the form of a fortress; and for this he was designing
+three roads that should lead to S. Pietro, situated, I believe, where
+the Borgo Vecchio and the Borgo Nuovo now are; and on both sides of
+these roads he meant to build loggie, with very commodious shops,
+keeping the nobler and richer trades separate from the humbler, and
+grouping each in a street by itself. He had already built the Great
+Round Tower, which is still called the Torrione di Niccola. Over these
+shops and loggie were to be erected magnificent and commodious houses,
+built in a very beautiful and very practical style of architecture, and
+designed in such a manner as to be sheltered and protected from all the
+pestiferous winds of Rome, and freed from all the inconveniences of
+water and garbage likely to generate unhealthy exhalations. All this the
+said Pontiff would have finished if he had been granted a little longer
+life, for he had a great and resolute spirit, and an understanding so
+profound, that he gave as much guidance and direction to the craftsmen
+as they gave to him. When this is so, and when the patron has knowledge
+of his own and capacity enough to take an immediate resolution, great
+enterprises can be easily brought to completion; whereas an irresolute
+and incapable man, wavering between yes and no in a sea of conflicting
+designs and opinions, very often lets time slip past unprofitably
+without doing anything. But of this design of Nicholas there is no need
+to say any more, since it was not carried into effect.
+
+[Illustration: TOMB OF CARDINAL JACOPO OF PORTUGAL
+
+(_After =Antonio Rossellino=. Florence: S. Miniato_)
+
+_Brogi_]
+
+Besides this, he wished to build the Papal Palace with so much
+magnificence and grandeur, and with so many conveniences and such
+loveliness, that it might be in all respects the greatest and most
+beautiful edifice in Christendom; and he intended that it should not
+only serve for the person of the Supreme Pontiff, the Chief of all
+Christians, and for the sacred college of Cardinals, who, being his
+counsellors and assistants, had always to be about him, but also that it
+should provide accommodation for the transaction of all the business,
+resolutions, and judicial affairs of the Court; so that the grouping
+together of all the offices and courts would have produced great
+magnificence, and, if such a word may be used in such a context, an
+effect of incredible pomp. What is infinitely more, it was meant for the
+reception of all Emperors, Kings, Dukes, and other Christian Princes who
+might, either on affairs of their own or out of devotion, visit that
+most holy apostolic seat. It is incredible, but he proposed to make
+there a theatre for the crowning of the Pontiffs, with gardens, loggie,
+aqueducts, fountains, chapels, libraries, and a most beautiful building
+set apart for the Conclave. In short, this edifice--I know not whether I
+should call it palace, or castle, or city--would have been the most
+superb work that had ever been made, so far as is known, from the
+Creation of the world to our own day. What great glory it would have
+been for the Holy Roman Church to see the Supreme Pontiff, her Chief,
+gather together, as into the most famous and most holy of monasteries,
+all those ministers of God who dwell in the city of Rome, to live there,
+as it were in a new earthly Paradise, a celestial, angelic, and most
+holy life, giving an example to all Christendom, and awakening the minds
+of the infidels to the true worship of God and of the Blessed Jesus
+Christ! But this great work remained unfinished--nay, scarcely begun--by
+reason of the death of that Pontiff; and the little that was carried out
+is known by his arms, or the device that he used as his arms, namely,
+two keys crossed on a field of red. The fifth of the five works that the
+same Pope intended to execute was the Church of S. Pietro, which he had
+proposed to make so vast, so rich, and so ornate, that it is better to
+be silent than to attempt to speak of it, because I could not describe
+even the least part of it, and the rather as the model was afterwards
+destroyed, and others have been made by other architects. If any man
+wishes to gain a full knowledge of the grand conception of Pope Nicholas
+V in this matter, let him read what Giannozzo Manetti, a noble and
+learned citizen of Florence, has written with the most minute detail in
+the Life of the said Pontiff, who availed himself in all the aforesaid
+designs, as has been said, as well as in his others, of the intelligence
+and great industry of Bernardo Rossellino.
+
+Antonio, brother of Bernardo (to return at length to the point whence,
+with so fair an occasion, I digressed), wrought his sculptures about the
+year 1490; and since the more men's works display diligence and
+difficulties the more they are admired, and these two characteristics
+are particularly noticeable in Antonio's works, he deserves fame and
+honour as a most illustrious example from which modern sculptors have
+been able to learn how those statues should be made that are to secure
+the greatest praise and fame by reason of their difficulties. For after
+Donatello he did most towards adding a certain finish and refinement to
+the art of sculpture, seeking to give such depth and roundness to his
+figures that they appear wholly round and finished, a quality which had
+not been seen to such perfection in sculpture up to that time; and since
+he first introduced it, in the ages after his and in our own it appears
+a marvel.
+
+[Illustration: TOMB OF LEONARDO BRUNI
+
+(_After =Bernardo Rossellino=. Florence: S. Croce_)
+
+_Brogi_]
+
+
+
+
+DESIDERIO DA SETTIGNANO
+
+
+
+
+LIFE OF DESIDERIO DA SETTIGNANO
+
+SCULPTOR
+
+
+Very great is the obligation that is owed to Heaven and to Nature by
+those who bring their works to birth without effort and with a certain
+grace which others cannot give to their creations, either by study or by
+imitation. It is a truly celestial gift, which pours down on these works
+in such a manner, that they ever have about them a loveliness and a
+charm which attract not only those who are versed in that calling, but
+also many others who do not belong to the profession. And this springs
+from facility in the production of the good, which presents no crudeness
+or harshness to the eye, such as is often shown by works wrought with
+labour and difficulty; and this grace and simplicity, which give
+universal pleasure and are recognized by all, are seen in all the works
+made by Desiderio.
+
+Of this man, some say that he came from Settignano, a place two miles
+distant from Florence, while certain others hold him to be a Florentine;
+but this matters nothing, the distance between the one place and the
+other being so small. He was an imitator of the manner of Donato,
+although he had a natural gift of imparting very great grace and
+loveliness to his heads; and in the expressions of his women and
+children there is seen a delicate, sweet, and charming manner, produced
+as much by nature, which had inclined him to this, as by the zeal with
+which he had practised his intelligence in the art. In his youth he
+wrought the base of Donato's David, which is in the Duke's Palace in
+Florence, making on it in marble certain very beautiful harpies, and
+some vine-tendrils in bronze, very graceful and well conceived. On the
+facade of the house of the Gianfigliazzi he made a large and very
+beautiful coat of arms, with a lion; besides other works in stone, which
+are in the same city. For the Chapel of the Brancacci in the Carmine he
+made an angel of wood; and he finished with marble the Chapel of the
+Sacrament in S. Lorenzo, carrying it to complete perfection with much
+diligence. There was in it a child of marble in the round, which was
+removed and is now set up on the altar at the festivals of the Nativity
+of Christ, as an admirable work; and in place of this Baccio da
+Montelupo made another, also of marble, which stands permanently over
+the Tabernacle of the Sacrament. In S. Maria Novella he made a marble
+tomb for the Blessed Villana, with certain graceful little angels, and
+portrayed her there from nature in such a manner that she appears not
+dead but asleep; and for the Nuns of the Murate he wrought a little
+Madonna with a lovely and graceful manner, in a tabernacle standing on a
+column; insomuch that both these works are very highly esteemed and very
+greatly prized. In S. Pietro Maggiore, also, he made the Tabernacle of
+the Sacrament in marble with his usual diligence; and although there are
+no figures in this work, yet it shows a beautiful manner and infinite
+grace, like his other works. And he portrayed from the life, likewise in
+marble, the head of Marietta degli Strozzi, who was so beautiful that
+the work turned out very excellent.
+
+In S. Croce he made a tomb for Messer Carlo Marsuppini of Arezzo, which
+not only amazed the craftsmen and the people of understanding who saw it
+at that time, but still fills with marvel all who see it at the present
+day; for on the sarcophagus he wrought some foliage, which, although
+somewhat stiff and dry, was held--since but few antiquities had been
+discovered up to that time--to be something very beautiful. Among other
+parts of the said work are seen certain wings, acting as ornaments for a
+shell at the foot of the sarcophagus, which seem to be made not of
+marble but of feathers--difficult things to imitate in marble, seeing
+that the chisel is not able to counterfeit hair and feathers. There is a
+large shell of marble, more real than if it were an actual shell. There
+are also some children and some angels, executed with a beautiful and
+lively manner; and consummate excellence and art are likewise seen in
+the figure of the dead, portrayed from nature on the sarcophagus, and in
+a Madonna in low-relief on a medallion, wrought after the manner of
+Donato with judgment and most admirable grace; as are many other
+works that he made in low-relief on marble, some of which are in the
+guardaroba of the Lord Duke Cosimo, and in particular a medallion with
+the head of Our Lord Jesus Christ and with that of John the Baptist as a
+boy. At the foot of the tomb of the said Messer Carlo he laid a large
+stone in memory of Messer Giorgio, a famous Doctor, and Secretary to the
+Signoria of Florence, with a very beautiful portrait in low-relief of
+Messer Giorgio, clad in his Doctor's robes according to the use of those
+times.
+
+[Illustration: TOMB OF CARLO MARSUPPINI
+
+(_After =Desiderio da Settignano=. Florence: S. Croce_)
+
+_Alinari_]
+
+If death had not snatched so prematurely from the world a spirit which
+worked so nobly, he would have done so much later on by means of
+experience and study, that he would have outstripped in art all those
+whom he had surpassed in grace. Death cut the thread of his life at the
+age of twenty-eight, which caused great grief to those who were looking
+forward to seeing so great an intellect attain to perfection in old age;
+and they were left in the deepest dismay at such a loss. He was followed
+by his relatives and by many friends to the Church of the Servi; and a
+vast number of epigrams and sonnets continued for a long time to be
+placed on his tomb, of which I have contented myself with including only
+the following:
+
+   COME VIDE NATURA
+     DAR DESIDERIO AI FREDDI MARMI VITA,
+     E POTER LA SCULTURA
+     AGGUAGLIAR SUA BELLEZZA ALMA E INFINITA,
+     SI FERMO SBIGOTTITA
+     E DISSE; OMAI SARA MIA GLORIA OSCURA.
+     E PIENA D'ALTO SDEGNO
+     TRONCO LA VITA A COSI BELL' INGEGNO.
+     MA IN VAN; CHE SE COSTUI
+     DIE VITA ETERNA AI MARMI, E I MARMI A LUI.
+
+The sculptures of Desiderio date about 1485. He left unfinished a figure
+of S. Mary Magdalene in Penitence, which was afterwards completed by
+Benedetto da Maiano, and is now in S. Trinita in Florence, on the right
+hand as one enters the church; and the beauty of this figure is beyond
+the power of words to express. In our book are certain very beautiful
+pen-drawings by Desiderio; and his portrait was obtained from some of
+his relatives in Settignano.
+
+
+
+
+MINO DA FIESOLE
+
+
+
+
+LIFE OF MINO DA FIESOLE
+
+[_MINO DI GIOVANNI_]
+
+SCULPTOR
+
+
+When our craftsmen seek to do no more in the works that they execute
+than to imitate the manner of their masters, or that of some other man
+of excellence whose method of working pleases them, either in the
+attitudes of the figures, or in the expressions of the heads, or in the
+folds of the draperies, and when they study these things only, they may
+with time and diligence come to make them exactly the same, but they
+cannot by these means alone attain to perfection in their art, seeing
+that it is clearly evident that one who ever walks behind rarely comes
+to the front, since the imitation of nature becomes fixed in the manner
+of a craftsman who has developed that manner out of long practice. For
+imitation is a definite art of copying what you represent exactly after
+the model of the most beautiful things of nature, which you must take
+pure and free from the manner of your master or that of others, who also
+reduce to a manner the things that they take from nature. And although
+it may appear that the imitations made by excellent craftsmen are
+natural objects, or absolutely similar, it is not possible with all the
+diligence in the world to make them so similar that they shall be like
+nature herself, or even, by selecting the best, to compose a body so
+perfect as to make art excel nature. Now, if this is so, it follows that
+only objects taken from nature can make pictures and sculptures perfect,
+and that if a man studies closely only the manner of other craftsmen,
+and not bodies and objects of nature, it is inevitable that he should
+make works inferior both to nature and to those of the man whose manner
+he adopts. Wherefore it has been seen in the case of many of our
+craftsmen, who have refused to study anything save the works of their
+masters, leaving nature on one side, that they have failed to gain any
+real knowledge of them or to surpass their masters, but have done very
+great injury to their own powers; whereas, if they had studied the
+manner of their masters and the objects of nature together, they would
+have produced much greater fruits in their works than they did. This is
+seen in the works of the sculptor Mino da Fiesole, who, having an
+intelligence capable of achieving whatsoever he wished, was so
+captivated by the manner of his master Desiderio da Settignano, by
+reason of the beautiful grace that he gave to the heads of women,
+children, and every other kind of figure, which appeared to Mino's
+judgment to be superior to nature, that he practised and studied it
+alone, abandoning natural objects and thinking them useless; wherefore
+he had more grace than solid grounding in his art.
+
+It was on the hill of Fiesole, a very ancient city near Florence, that
+there was born the sculptor Mino di Giovanni, who, having been
+apprenticed to the craft of stone-cutting under Desiderio da Settignano,
+a young man excellent in sculpture, showed so much inclination to his
+master's art, that, while he was labouring at the hewing of stones, he
+learnt to copy in clay the works that Desiderio had made in marble; and
+this he did so well that his master, seeing that he was likely to make
+progress in that art, brought him forward and set him to work on his own
+figures in marble, in which he sought with very great attention to
+reproduce the model before him. Nor did he continue long at this before
+he became passing skilful in that calling; at which Desiderio was
+greatly pleased, and still more pleased was Mino by the loving-kindness
+of his master, seeing that Desiderio was ever ready to teach him how to
+avoid the errors that can be committed in that art. Now, while he was on
+the way to becoming excellent in his profession, his ill luck would have
+it that Desiderio should pass to a better life, and this loss was a very
+great blow to Mino, who departed from Florence, almost in despair, and
+went to Rome. There, assisting masters who were then executing works in
+marble, such as tombs of Cardinals, which were placed in S. Pietro,
+although they have since been thrown to the ground in the building of
+the new church, he became known as a very experienced and capable
+master; and he was commissioned by Cardinal Guglielmo Destovilla, who
+was pleased with his manner, to make the marble altar where lies the
+body of S. Jerome, in the Church of S. Maria Maggiore, together with
+scenes in low-relief from his life, which he executed to perfection,
+with a portrait of that Cardinal.
+
+[Illustration: TOMB OF MARGRAVE HUGO
+
+(_After =Mino da Fiesole=. Florence: Badia_)
+
+_Alinari_]
+
+Afterwards, when Pope Paul II, the Venetian, was erecting his Palace of
+S. Marco, Mino was employed thereon in making certain coats of arms.
+After the death of that Pope, Mino was commissioned to make his tomb,
+which he delivered finished and erected in S. Pietro in the space of two
+years. This tomb was then held to be the richest, both in ornaments and
+in figures, that had ever been made for any Pontiff; but it was thrown
+to the ground by Bramante in the demolition of S. Pietro, and remained
+there buried among the rubbish for some years, until 1547, when certain
+Venetians had it rebuilt in the old S. Pietro, against a wall near the
+Chapel of Pope Innocent. And although some believe that this tomb is by
+the hand of Mino del Reame, yet, notwithstanding that these two masters
+lived almost at the same time, it is without doubt by the hand of Mino
+da Fiesole. It is true, indeed, that the said Mino del Reame made some
+little figures on the base, which can be recognized; if in truth his
+name was Mino, and not, as some maintain, Dino.
+
+But to return to our craftsman; having acquired a good name in Rome by
+the said tomb, by the sarcophagus that he made for the Minerva, on which
+he placed a marble statue of Francesco Tornabuoni from nature, which is
+held very beautiful, and by other works, it was not long before he
+returned to Fiesole with a good sum of money saved, and took a wife. And
+no long time after this, working for the Nuns of the Murate, he made a
+marble tabernacle in half-relief to contain the Sacrament, which was
+brought to perfection by him with all the diligence in his power. This
+he had not yet fixed into its place, when the Nuns of S. Ambrogio--who
+desired to have an ornament made, similar in design but richer in
+adornment, to contain that most holy relic, the Miracle of the
+Sacrament--hearing of the ability of Mino, commissioned him to execute
+that work, which he finished with so great diligence that those nuns,
+being satisfied with him, gave him all that he asked as the price of the
+work. And a little after this he undertook, at the instance of Messer
+Dietisalvi Neroni, to make a little panel with figures of Our Lady with
+the Child in her arms, and S. Laurence on one side and S. Leonard on the
+other, in half-relief, which was intended for the priests or chapter of
+S. Lorenzo; but it has remained in the Sacristy of the Badia of
+Florence. For those monks he made a marble medallion containing a
+Madonna in relief with the Child in her arms, which they placed over the
+principal door of entrance into the church; and since it gave great
+satisfaction to all, he received a commission for a tomb for the
+Magnificent Chevalier, Messer Bernardo de' Giugni, who, having been an
+honourable man of high repute, rightly received this memorial from his
+brothers. On this tomb, besides the sarcophagus and the portrait from
+nature of the dead man, Mino executed a figure of Justice, which
+resembles the manner of Desiderio closely, save only that its draperies
+are a little too full of detail in the carving. This work induced the
+Abbot and Monks of the Badia of Florence, in which place the said tomb
+was erected, to entrust Mino with the making of one for Count Ugo, son
+of the Marquis Uberto of Magdeburg, who bequeathed great wealth and many
+privileges to that abbey. And so, desiring to honour him as much as they
+could, they caused Mino to make a tomb of Carrara marble, which was the
+most beautiful work that Mino ever made; for in it there are some boys,
+upholding the arms of that Count, who are standing in very spirited
+attitudes, with a childish grace; and besides the figure of the dead
+Count, with his likeness, which he made on the sarcophagus, in the
+middle of the wall above the bier there is a figure of Charity, with
+certain children, wrought with much diligence and very well in harmony
+with the whole. The same is seen in a Madonna with the Child in her
+arms, in a lunette, which Mino made as much like the manner of Desiderio
+as he could; and if he had assisted his methods of work by studying from
+the life, there is no doubt that he would have made very great progress
+in his art. This tomb, with all its expenses, cost 1,600 lire, and he
+finished it in 1481, thereby acquiring much honour, and obtaining a
+commission to make a tomb for Lionardo Salutati, Bishop of Fiesole, in
+the Vescovado of that place, in a chapel near the principal chapel, on
+the right hand as one goes up; on which tomb he portrayed him in his
+episcopal robes, as lifelike as possible. For the same Bishop he made a
+head of Christ in marble, life-size and very well wrought, which was
+left among other bequests to the Hospital of the Innocenti; and at the
+present day the Very Reverend Don Vincenzio Borghini, Prior of that
+hospital, holds it among his most precious examples of these arts, in
+which he takes a delight beyond my power to express in words.
+
+In the Pieve of Prato Mino made a pulpit entirely of marble, in which
+there are stories of Our Lady, executed with much diligence and put
+together so well, that the work appears all of one piece. This pulpit
+stands over one corner of the choir, almost in the middle of the church,
+above certain ornaments made under the direction of the same Mino. He
+also made portraits of Piero di Lorenzo de' Medici and his wife,
+marvellously lifelike and true to nature. These two heads stood for many
+years over two doors in Piero's apartment in the house of the Medici,
+each in a lunette; afterwards they were removed, with the portraits of
+many other illustrious men of that house, to the guardaroba of the Lord
+Duke Cosimo. Mino also made a Madonna in marble, which is now in the
+Audience Chamber of the Guild of the Masters in Wood and Stone; and to
+Perugia, for Messer Baglione Ribi, he sent a marble panel, which was
+placed in the Chapel of the Sacrament in S. Pietro, the work being in
+the form of a tabernacle, with S. John on one side and S. Jerome on the
+other--good figures in half-relief. The Tabernacle of the Sacrament in
+the Duomo of Volterra is likewise by his hand, with the two angels
+standing one on either side of it, so well and so diligently executed
+that this work is deservedly praised by all craftsmen.
+
+Finally, attempting one day to move certain stones, and not having the
+needful assistance at hand, Mino fatigued himself so greatly that he was
+seized by pleurisy and died of it; and he was honourably buried by his
+friends and relatives in the Canon's house at Fiesole in the year 1486.
+The portrait of Mino is in our book of drawings, but I do not know by
+whose hand; it was given to me together with some drawings made with
+blacklead by Mino himself, which have no little beauty.
+
+
+
+
+LORENZO COSTA
+
+
+
+
+LIFE OF LORENZO COSTA
+
+PAINTER OF FERRARA
+
+
+Although men have ever practised the arts of design more in Tuscany than
+in any other province of Italy, and perhaps of Europe, yet it is none
+the less true that in every age there has arisen in the other provinces
+some genius who has proved himself rare and excellent in the same
+professions, as has been shown up to the present in many of the Lives,
+and will be demonstrated even more in those that are to follow. It is
+true, indeed, that where there are no studies, and where men are not
+disposed by custom to learn, they are not able to advance so rapidly or
+to become so excellent as they do in those places where craftsmen are
+for ever practising and studying in competition. But as soon as one or
+two make a beginning, it seems always to come to pass that many
+others--such is the force of excellence--strive to follow them, with
+honour both for themselves and for their countries.
+
+Lorenzo Costa of Ferrara, being inclined by nature to the art of
+painting, and hearing that Fra Filippo, Benozzo, and others were
+celebrated and highly esteemed in Tuscany, betook himself to Florence in
+order to see their works; and on his arrival, finding that their manner
+pleased him greatly, he stayed there many months, striving to imitate
+them to the best of his power, particularly in drawing from nature. In
+this he succeeded so happily, that, after returning to his own country,
+although his manner was a little dry and hard, he made many praiseworthy
+works there; as may be seen from the choir of the Church of S. Domenico
+in Ferrara, wrought entirely by his hand, from which it is evident that
+he used great diligence in his art and put much labour into his works.
+In the guardaroba of the Lord Duke of Ferrara there are seen portraits
+from life in many pictures by his hand, which are very well wrought and
+very lifelike. In the houses of noblemen, likewise, there are works by
+his hand which are held in great veneration.
+
+In the Church of S. Domenico at Ravenna, in the Chapel of S. Sebastiano,
+he painted the panel in oil and certain scenes in fresco, which were
+much extolled. Being next summoned to Bologna, he painted a panel in the
+Chapel of the Mariscotti in S. Petronio, representing S. Sebastian bound
+to the column and pierced with arrows, with many other figures, which
+was the best work in distemper that had been made up to that time in
+that city. By his hand, also, was the panel of S. Jerome in the Chapel
+of the Castelli, and likewise that of S. Vincent, wrought in like manner
+in distemper, which is in the Chapel of the Griffoni; the predella of
+this he caused to be painted by a pupil of his, who acquitted himself
+much better than the master did in the panel, as will be told in the
+proper place. In the same city, and in the same church, Lorenzo painted
+a panel for the Chapel of the Rossi, with Our Lady, S. James, S. George,
+S. Sebastian, and S. Jerome; which work is better and sweeter in manner
+than any other that he ever made.
+
+Afterwards, having entered the service of Signor Francesco Gonzaga,
+Marquis of Mantua, Lorenzo painted many scenes for him, partly in
+gouache and partly in oil, in an apartment in the Palace of S.
+Sebastiano. In one is the Marchioness Isabella, portrayed from life,
+accompanied by many ladies who are singing various parts and making a
+sweet harmony. In another is the Goddess Latona, who is transforming
+certain peasants into frogs, according to the fable. In the third is the
+Marquis Francesco, led by Hercules along the path of virtue upon the
+summit of a mountain consecrated to Eternity. In another picture the
+same Marquis is seen triumphant on a pedestal, with a staff in his hand;
+and round him are many nobles and retainers with standards in their
+hands, all rejoicing and full of jubilation at his greatness, among whom
+there is an infinite number of portraits from the life. And in the great
+hall, where the triumphal processions by the hand of Mantegna now are,
+he painted two pictures, one at each end. In the first, which is in
+gouache, are many naked figures lighting fires and making sacrifices to
+Hercules; and in this is a portrait from life of the Marquis, with
+his three sons, Federigo, Ercole, and Ferrante, who afterwards became
+very great and very illustrious lords; and there are likewise some
+portraits of great ladies. In the other, which was painted in oil many
+years after the first, and which was one of the last works that Lorenzo
+executed, is the Marquis Federigo, grown to man's estate, with a staff
+in his hand, as General of Holy Church under Leo X; and round him are
+many lords portrayed by Costa from the life.
+
+[Illustration: THE CORONATION OF THE VIRGIN
+
+(_After the panel by =Lorenzo Costa=. Bologna: S. Giovanni in Monte_)
+
+_Alinari_]
+
+In Bologna, in the Palace of Messer Giovanni Bentivogli, the same man
+painted certain rooms in competition with many other masters; but of
+these, since they were thrown to the ground in the destruction of that
+palace, no further mention will be made. But I will not forbear to say
+that, of the works that he executed for the Bentivogli, only one
+remained standing--namely, the chapel that he painted for Messer
+Giovanni in S. Jacopo, wherein he wrought two scenes of triumphal
+processions, which are held very beautiful, with many portraits. In the
+year 1497, also, for Jacopo Chedini, he painted a panel for a chapel in
+S. Giovanni in Monte, in which he wished to be buried after death; in
+this he made a Madonna, S. John the Evangelist, S. Augustine, and other
+saints. On a panel in S. Francesco he painted a Nativity, S. James, and
+S. Anthony of Padua. In S. Pietro he made a most beautiful beginning in
+a chapel for Domenico Garganelli, a gentleman of Bologna; but, whatever
+may have been the reason, after making some figures on the ceiling, he
+left it unfinished, nay, scarcely begun.
+
+In Mantua, besides the works that he executed there for the Marquis, of
+which we have spoken above, he painted a Madonna on a panel for S.
+Silvestro; and on one side, S. Sylvester recommending the people of that
+city to her, and, on the other, S. Sebastian, S. Paul, S. Elizabeth, and
+S. Jerome. It is reported that the said panel was placed in that church
+after the death of Costa, who, having finished his life in Mantua, in
+which city his descendants have lived ever since, wished to have a
+burial-place in that church both for himself and for his successors.
+
+The same man made many other pictures, of which nothing more will be
+said, for it is enough to have recorded the best. His portrait I
+received in Mantua from Fermo Ghisoni, an excellent painter, who assured
+me that it was by the hand of Costa, who was a passing good draughtsman,
+as may be seen from a pen-drawing on parchment in our book, wherein is
+the Judgment of Solomon, with a S. Jerome in chiaroscuro, which are both
+very well wrought.
+
+Disciples of Lorenzo were Ercole da Ferrara, his compatriot, whose Life
+will be written below, and Lodovico Malino, likewise of Ferrara, by whom
+there are many works in his native city and in other places; but the
+best that he made was a panel which is in the Church of S. Francesco in
+Bologna, in a chapel near the principal door, representing Jesus Christ
+at the age of twelve disputing with the Doctors in the Temple. The elder
+Dosso of Ferrara, of whose works mention will be made in the proper
+place, also learnt his first principles from Costa. And this is as much
+as I have been able to gather about the life and works of Lorenzo Costa
+of Ferrara.
+
+
+
+
+ERCOLE FERRARESE
+
+
+
+
+LIFE OF ERCOLE FERRARESE
+
+[_ERCOLE DA FERRARA_]
+
+PAINTER
+
+
+Although, long before Lorenzo Costa died, his disciple Ercole Ferrarese
+was in very good repute and was invited to work in many places, he would
+never abandon his master (a thing which is rarely wont to happen), and
+was content to work with him for meagre gains and praise, rather than
+labour by himself for greater profit and credit. For this gratitude, in
+view of its rarity among the men of to-day, all the more praise is due
+to Ercole, who, knowing himself to be indebted to Lorenzo, put aside all
+thought of his own interest in favour of his master's wishes, and was
+like a brother or a son to him up to the end of his life.
+
+Ercole, then, who was a better draughtsman than Costa, painted, below
+the panel executed by Lorenzo in the Chapel of S. Vincenzio in S.
+Petronio, certain scenes in distemper with little figures, so well and
+with so beautiful and good a manner, that it is scarcely possible to see
+anything better, or to imagine the labour and diligence that Ercole put
+into the work: and thus the predella is a much better painting than the
+panel. Both were wrought at one and the same time during the life of
+Costa. After his master's death, Ercole was employed by Domenico
+Garganelli to finish that chapel in S. Petronio which Lorenzo, as has
+been said above, had begun, completing only a small part. Ercole, to
+whom the said Domenico was giving four ducats a month for this, with his
+own expenses and those of a boy, and all the colours that were to be
+used for the painting, set himself to work and finished the whole in
+such a manner, that he surpassed his master by a long way both in
+drawing and colouring as well as in invention. In the first part, or
+rather, wall, is the Crucifixion of Christ, wrought with much judgment:
+for besides the Christ, who is seen there already dead, he represented
+very well the tumult of the Jews who have come to see the Messiah on the
+Cross, among whom there is a marvellous variety of heads, whereby it is
+seen that Ercole sought with very great pains to make them so different
+one from another that they should not resemble each other in any
+respect. There are also some figures bursting into tears of sorrow,
+which demonstrate clearly enough how much he sought to imitate reality.
+There is the swooning of the Madonna, which is most moving; but much
+more so are the Maries, who are facing her, for they are seen full of
+compassion and with an aspect so heavy with sorrow, that it is almost
+impossible to imagine it, at seeing that which mankind holds most dear
+dead before their eyes, and themselves in danger of losing the second.
+Among other notable things in this work is Longinus on horseback, riding
+a lean beast, which is foreshortened and in very strong relief; and in
+him we see the impiety that made him pierce the side of Christ, and the
+penitence and conversion that followed from his enlightenment. He gave
+strange attitudes, likewise, to the figures of certain soldiers who are
+playing for the raiment of Christ, with bizarre expressions of
+countenance and fanciful garments. Well wrought, too, with beautiful
+invention, are the Thieves on the Cross. And since Ercole took much
+delight in making foreshortenings, which, if well conceived, are very
+beautiful, he made in that work a soldier on a horse, which, rearing its
+fore-legs on high, stands out in such a manner that it appears to be in
+relief; and as the wind is bending a banner that the soldier holds in
+his hand, he is making a most beautiful effort to hold it up. He also
+made a S. John, flying away wrapped in a sheet. In like manner, the
+soldiers that are in this work are very well wrought, with more natural
+and appropriate movements than had been seen in any other figures up to
+that time; and all these attitudes and gestures, which could scarcely be
+better done, show that Ercole had a very great intelligence and took
+great pains with his art.
+
+On the wall opposite to this one the same man painted the Passing of Our
+Lady, who is surrounded by the Apostles in very beautiful attitudes,
+among whom are six figures portrayed so well from life, that those
+who knew them declare that these are most vivid likenesses. In the
+same work he also made his own portrait, and that of Domenico
+Garganelli, the owner of the chapel, who, when it was finished, moved by
+the love that he bore to Ercole and by the praises that he heard given
+to the work, bestowed upon him a thousand lire in Bolognese currency. It
+is said that Ercole spent twelve years in labouring at this work; seven
+in executing it in fresco, and five in retouching it on the dry. It is
+true, indeed, that during this time he painted some other works; and in
+particular, so far as is known, the predella of the high-altar of S.
+Giovanni in Monte, in which he wrought three scenes of the Passion of
+Christ.
+
+[Illustration: THE ISRAELITES GATHERING MANNA
+
+(_After the panel by =Ercole Ferrarese=. London: National Gallery,
+1217_)
+
+_Mansell_]
+
+Ercole was eccentric in character, particularly in his custom of
+refusing to let any man, whether painter or not, see him at work;
+wherefore he was greatly hated in Bologna by the painters of that city,
+who have ever borne an envious hatred to the strangers who have been
+summoned to work there; nay, they sometimes show the same among
+themselves out of rivalry with each other, although this may be said to
+be the particular vice of the professors of these our arts in every
+place. Certain Bolognese painters, then, having come to an agreement one
+day with a carpenter, shut themselves up by his help in the church,
+close to the chapel where Ercole was working; and when night came,
+breaking into it by force, they did not content themselves with seeing
+the work, which should have sufficed them, but carried off all his
+cartoons, sketches, and designs, and every other thing of value that was
+there. At this Ercole fell into such disdain that when the work was
+finished he departed from Bologna, without stopping another day there,
+taking with him Duca Tagliapietra, a sculptor of much renown, who carved
+the very beautiful foliage in marble which is in the parapet in front of
+the chapel wherein Ercole painted the said work, and who afterwards made
+all the stone windows of the Ducal Palace at Ferrara, which are most
+beautiful. Ercole, therefore, weary at length of living away from home,
+remained ever after in company with this man in Ferrara, and made many
+works in that city.
+
+Ercole had an extraordinary love of wine, and his frequent drunkenness
+did much to shorten his life, which he had enjoyed without any accident
+up to the age of forty, when he was smitten one day by apoplexy, which
+made an end of him in a short time.
+
+He left a pupil, the painter Guido Bolognese, who, in 1491, as may be
+seen from the place where he put his name, under the portico of S.
+Pietro at Bologna, painted a Crucifixion in fresco, with the Maries, the
+Thieves, horses, and other passing good figures. And desiring very
+greatly to become esteemed in that city, as his master had been, he
+studied so zealously and subjected himself to so many hardships that he
+died at the age of thirty-five. If Guido had set himself to learn his
+art in his childhood, and not, as he did, at the age of eighteen, he
+would not only have equalled his master without difficulty, but would
+even have surpassed him by a great measure. In our book there are
+drawings by the hands of Ercole and Guido, very well wrought, and
+executed with grace and in a good manner.
+
+
+
+
+JACOPO, GIOVANNI, AND GENTILE BELLINI
+
+
+
+
+LIVES OF JACOPO, GIOVANNI, AND GENTILE BELLINI
+
+PAINTERS OF VENICE
+
+
+Enterprises that are founded on excellence, although their beginnings
+often appear humble and mean, keep climbing higher step by step, nor do
+they ever halt or take rest until they have reached the supreme heights
+of glory: as could be clearly seen from the poor and humble beginning of
+the house of the Bellini, and from the rank to which it afterwards rose
+by means of painting.
+
+Jacopo Bellini, a painter of Venice, having been a disciple of Gentile
+da Fabriano, worked in competition with that Domenico who taught the
+method of colouring in oil to Andrea dal Castagno; but, although he
+laboured greatly to become excellent in that art, he did not acquire
+fame therein until after the departure of Domenico from Venice. Then,
+finding himself in that city without any competitor to equal him, he
+kept growing in credit and fame, and became so excellent that he was the
+greatest and most renowned man in his profession. And to the end that
+the name which he had acquired in painting might not only be maintained
+in his house and for his descendants, but might grow greater, there were
+born to him two sons of good and beautiful intelligence, strongly
+inclined to the art: one was Giovanni, and the other Gentile, to whom he
+gave that name in tender memory of Gentile da Fabriano, who had been his
+master and like a loving father to him. Now, when the said two sons had
+grown to a certain age, Jacopo himself with all diligence taught them
+the rudiments of drawing; but no long time passed before both one and
+the other surpassed his father by a great measure, whereat he rejoiced
+greatly, ever encouraging them and showing them that he desired them to
+do as the Tuscans did, who gloried among themselves in making efforts
+to outstrip each other, according as one after another took up the art:
+even so should Giovanni vanquish himself, and Gentile should vanquish
+them both, and so on in succession.
+
+The first works that brought fame to Jacopo were the portraits of
+Giorgio Cornaro and of Caterina, Queen of Cyprus; a panel which he sent
+to Verona, containing the Passion of Christ, with many figures, among
+which he portrayed himself from the life; and a picture of the Story of
+the Cross, which is said to be in the Scuola of S. Giovanni Evangelista.
+All these works and many others were painted by Jacopo with the aid of
+his sons; and the last-named picture was painted on canvas, as it has
+been almost always the custom to do in that city, where they rarely
+paint, as is done elsewhere, on panels of the wood of that tree that is
+called by many oppio[18] and by some gattice.[19] This wood, which grows
+mostly beside rivers or other waters, is very soft, and admirable for
+painting on, for it holds very firmly when joined together with
+carpenters' glue. But in Venice they make no panels, and, if they do
+make a few, they use no other wood than that of the fir, of which that
+city has a great abundance by reason of the River Adige, which brings a
+very great quantity of it from Germany, not to mention that no small
+amount comes from Sclavonia. It is much the custom in Venice, then, to
+paint on canvas, either because it does not split and does not grow
+worm-eaten, or because it enables pictures to be made of any size that
+is desired, or because, as was said elsewhere, they can be sent easily
+and conveniently wherever they are wanted, with very little expense and
+labour. Be the reason what it may, Jacopo and Gentile, as was said
+above, made their first works on canvas.
+
+[Illustration: JACOPO BELLINI: THE MADONNA AND CHILD
+
+(_Florence: Uffizi, 1562. Panel_)]
+
+To the last-named Story of the Cross Gentile afterwards added by himself
+seven other pictures, or rather, eight, in which he painted the miracle
+of the Cross of Christ, which the said Scuola preserves as a relic;
+which miracle was as follows. The said Cross was thrown, I know not by
+what chance, from the Ponte della Paglia into the Canal, and, by reason
+of the reverence that many bore to the piece of the Cross of Christ that
+it contained, they threw themselves into the water to recover it; but it
+was the will of God that no one should be worthy to succeed in grasping
+it save the Prior of that Scuola. Gentile, therefore, representing
+this story, drew in perspective, along the Grand Canal, many houses, the
+Ponte della Paglia, the Piazza di S. Marco, and a long procession of men
+and women walking behind the clergy; also many who have leapt into the
+water, others in the act of leaping, many half immersed, and others in
+other very beautiful actions and attitudes; and finally he painted the
+said Prior recovering the Cross. Truly great were the labour and
+diligence of Gentile in this work, considering the infinite number of
+people, the many portraits from life, the diminution of the figures in
+the distance, and particularly the portraits of almost all the men who
+then belonged to that Scuola, or rather, Confraternity. Last comes the
+picture of the replacing of the said Cross, wrought with many beautiful
+conceptions. All these scenes, painted on the aforesaid canvases,
+acquired a very great name for Gentile.
+
+[Illustration: GIOVANNI BELLINI: THE DOGE LEONARDO LOREDANO
+
+(_London: National Gallery, 189. Panel_)]
+
+Afterwards, Jacopo withdrew to work entirely by himself, as did his two
+sons, each of them devoting himself to his own studies in the art. Of
+Jacopo I will make no further mention, seeing that his works were
+nothing out of the ordinary in comparison with those of his sons, and
+because he died not long after his sons withdrew themselves from him;
+and I judge it much better to speak at some length only of Giovanni and
+Gentile. I will not, indeed, forbear to say that although these brothers
+retired to live each by himself, nevertheless they had so much respect
+for each other, and both had such reverence for their father, that each,
+extolling the other, ever held himself inferior in merit; and thus they
+sought modestly to surpass one another no less in goodness and courtesy
+than in the excellence of their art.
+
+The first works of Giovanni were some portraits from the life, which
+gave much satisfaction, and particularly that of Doge Loredano--although
+some say that this was a portrait of Giovanni Mozzenigo, brother of that
+Piero who was Doge many years before Loredano. Giovanni then painted a
+panel for the altar of S. Caterina da Siena in the Church of S.
+Giovanni, in which picture--a rather large one--he painted Our Lady
+seated, with the Child in her arms, and S. Dominic, S. Jerome, S.
+Catherine, S. Ursula, and two other Virgins; and at the feet of the
+Madonna he made three boys standing, who are singing from a book--a very
+beautiful group. Above this he made the inner part of a vault in a
+building, which is very beautiful. This work was one of the best that
+had been made in Venice up to that time. For the altar of S. Giobbe in
+the Church of that Saint, the same man painted a panel with good design
+and most beautiful colouring, in the middle of which he made the Madonna
+with the Child in her arms, seated on a throne slightly raised from the
+ground, with nude figures of S. Job and S. Sebastian, beside whom are S.
+Dominic, S. Francis, S. John, and S. Augustine; and below are three
+boys, sounding instruments with much grace. This picture was not only
+praised then, when it was seen as new, but it has likewise been extolled
+ever afterwards as a very beautiful work.
+
+Certain noblemen, moved by the great praises won by these works, began
+to suggest that it would be a fine thing, in view of the presence of
+such rare masters, to have the Hall of the Great Council adorned with
+stories, in which there should be depicted the glories and the
+magnificence of their marvellous city--her great deeds, her exploits in
+war, her enterprises, and other things of that kind, worthy to be
+perpetuated by painting in the memory of those who should come after--to
+the end that there might be added, to the profit and pleasure drawn from
+the reading of history, entertainment both for the eye and for the
+intellect, from seeing the images of so many illustrious lords wrought
+by the most skilful hands, and the glorious works of so many noblemen
+right worthy of eternal memory and fame. And so Giovanni and Gentile,
+who kept on making progress from day to day, received the commission for
+this work by order of those who governed the city, who commanded them to
+make a beginning as soon as possible. But it must be remarked that
+Antonio Viniziano had made a beginning long before with the painting of
+the same Hall, as was said in his Life, and had already finished a large
+scene, when he was forced by the envy of certain malignant spirits to
+depart and to leave that most honourable enterprise without carrying it
+on further.
+
+[Illustration: THE MIRACLE OF THE TRUE CROSS
+
+(_After the panel by =Gentile Bellini=. Venice: Accademia, 568_)
+
+_Anderson_]
+
+Now Gentile, either because he had more experience and greater skill in
+painting on canvas than in fresco, or for some other reason, whatever it
+may have been, contrived without difficulty to obtain leave to
+execute that work not in fresco but on canvas. And thus, setting to
+work, in the first scene he made the Pope presenting a wax candle to the
+Doge, that he might bear it in the solemn processions which were to take
+place; in which picture Gentile painted the whole exterior of S. Marco,
+and made the said Pope standing in his pontifical robes, with many
+prelates behind him, and the Doge likewise standing, accompanied by many
+Senators. In another part he represented the Emperor Barbarossa; first,
+when he is receiving the Venetian envoys in friendly fashion, and then,
+when he is preparing for war, in great disdain; in which scene are very
+beautiful perspectives, with innumerable portraits from the life,
+executed with very good grace and amid a vast number of figures. In the
+following scene he painted the Pope exhorting the Doge and the Signori
+of Venice to equip thirty galleys at their common expense, to go out to
+battle against Frederick Barbarossa. This Pope is seated in his rochet
+on the pontifical chair, with the Doge beside him and many Senators at
+his feet. In this part, also, Gentile painted the Piazza and the facade
+of S. Marco, and the sea, but in another manner, with so great a
+multitude of men that it is truly a marvel. Then in another part the
+same Pope, standing in his pontifical robes, is giving his benediction
+to the Doge, who appears to be setting out for the fray, armed, and with
+many soldiers at his back; behind the Doge are seen innumerable noblemen
+in a long procession, and in the same part are the Palace and S. Marco,
+drawn in perspective. This is one of the best works that there are to be
+seen by the hand of Gentile, although there appears to be more invention
+in that other which represents a naval battle, because it contains an
+infinite number of galleys fighting together and an incredible multitude
+of men, and because, in short, he showed clearly therein that he had no
+less knowledge of naval warfare than of his own art of painting. And
+indeed, all that Gentile executed in this work--the crowd of galleys
+engaged in battle; the soldiers fighting; the boats duly diminishing in
+perspective; the finely ordered combat; the soldiers furiously striving,
+defending, and striking; the wounded dying in various manners; the
+cleaving of the water by the galleys; the confusion of the waves; and
+all the kinds of naval armament--all this vast diversity of subjects,
+I say, cannot but serve to prove the great spirit, art, invention, and
+judgment of Gentile, each detail being most excellently wrought in
+itself, as well as the composition of the whole. In another scene he
+made the Doge returning with the victory so much desired, and the Pope
+receiving him with open arms, and giving him a ring of gold wherewith to
+espouse the sea, as his successors have done and still do every year, as
+a sign of the true and perpetual dominion that they deservedly hold over
+it. In this part there is Otto, son of Frederick Barbarossa, portrayed
+from the life, and kneeling before the Pope; and as behind the Doge
+there are many armed soldiers, so behind the Pope there are many
+Cardinals and noblemen. In this scene only the poops of the galleys
+appear; and on the Admiral's galley is seated a Victory painted to look
+like gold, with a crown on her head and a sceptre in her hand.
+
+The scenes that were to occupy the other parts of the Hall were
+entrusted to Giovanni, the brother of Gentile; but since the order of
+the stories that he painted there is connected with those executed in
+great part, but not finished, by Vivarino, it is necessary to say
+something of the latter. That part of the Hall which was not done by
+Gentile was given partly to Giovanni and partly to the said Vivarino, to
+the end that rivalry might induce each man to do his best. Vivarino,
+then, putting his hand to the part that belonged to him, painted, beside
+the last scene of Gentile, the aforesaid Otto offering to the Pope and
+to the Venetians to go to conclude peace between them and his father
+Frederick; and, having obtained this, he is dismissed on oath and goes
+his way. In this first part, besides other things, which are all worthy
+of consideration, Vivarino painted an open temple in beautiful
+perspective, with steps and many figures. Before the Pope, who is seated
+and surrounded by many Senators, is the said Otto on his knees, binding
+himself by an oath. Beside this scene, he painted the arrival of Otto
+before his father, who is receiving him gladly; with buildings wrought
+most beautifully in perspective, Barbarossa on his throne, and his son
+kneeling and taking his hand, accompanied by many Venetian noblemen, who
+are portrayed from the life so finely that it is clear that he imitated
+nature very well. Poor Vivarino would have completed the remainder
+of his part with great honour to himself, but, having died, as it
+pleased God, from exhaustion and through being of a weakly habit of
+body, he carried it no further--nay, even what he had done was not
+wholly finished, and it was necessary for Giovanni Bellini to retouch it
+in certain places.
+
+[Illustration: GIOVANNI BELLINI: LA FORTUNA
+
+(_Venice: Accademia, 595. Panel_)]
+
+[Illustration: GIOVANNI BELLINI: THE DEAD CHRIST
+
+(_Milan: Poldi Pezzoli, 624. Panel_)]
+
+Meanwhile, Giovanni had also made a beginning with four scenes, which
+follow in due order those mentioned above. In the first he painted the
+said Pope in S. Marco--which church he portrayed exactly as it
+stood--presenting his foot to Frederick Barbarossa to kiss; but this
+first picture of Giovanni's, whatever may have been the reason, was
+rendered much more lifelike and incomparably better by the most
+excellent Tiziano. However, continuing his scenes, Giovanni made in the
+next the Pope saying Mass in S. Marco, and afterwards, between the said
+Emperor and the Doge, granting plenary and perpetual indulgence to all
+who should visit the said Church of S. Marco at certain times,
+particularly at that of the Ascension of Our Lord. There he depicted the
+interior of that church, with the said Pope in his pontifical robes at
+the head of the steps that issue from the choir, surrounded by many
+Cardinals and noblemen--a vast group, which makes this a crowded, rich,
+and beautiful scene. In the one below this the Pope is seen in his
+rochet, presenting a canopy to the Doge, after having given another to
+the Emperor and keeping two for himself. In the last that Giovanni
+painted are seen Pope Alexander, the Emperor, and the Doge arriving in
+Rome, without the gates of which the Pope is presented by the clergy and
+by the people of Rome with eight standards of various colours and eight
+silver trumpets, which he gives to the Doge, that he and his successors
+may have them for insignia. Here Giovanni painted Rome in somewhat
+distant perspective, a great number of horses, and an infinity of
+foot-soldiers, with many banners and other signs of rejoicing on the
+Castle of S. Angelo. And since these works of Giovanni, which are truly
+very beautiful, gave infinite satisfaction, arrangements were just being
+made to give him the commission to paint all the rest of that Hall,
+when, being now old, he died.
+
+Up to the present we have spoken of nothing save the Hall, in order not
+to interrupt the sequence of the scenes; but now we must turn back a
+little and say that there are many other works to be seen by the hand of
+the same man. One is a panel which is now on the high-altar of S.
+Domenico in Pesaro. In the Church of S. Zaccheria in Venice, in the
+Chapel of S. Girolamo, there is a panel of Our Lady and many saints,
+executed with great diligence, with a building painted with much
+judgment; and in the same city, in the Sacristy of the Friars Minor,
+called the "Ca Grande," there is another by the same man's hand, wrought
+with beautiful design and a good manner. There is likewise one in S.
+Michele di Murano, a monastery of Monks of Camaldoli; and in the old
+Church of S. Francesco della Vigna, a seat of the Frati del Zoccolo,
+there was a picture of a Dead Christ, so beautiful that it was highly
+extolled before Louis XI, King of France, whereupon he demanded it from
+its owners with great insistence, so that they were forced, although
+very unwillingly, to gratify his wish. In its place there was put
+another with the name of the same Giovanni, but not so beautiful or so
+well executed as the first; and some believe that this substitute was
+wrought for the most part by Girolamo Moretto, a pupil of Giovanni. The
+Confraternity of S. Girolamo also possesses a work with little figures
+by the same Bellini, which is much extolled. And in the house of Messer
+Giorgio Cornaro there is a picture, likewise very beautiful, containing
+Christ, Cleophas, and Luke.
+
+In the aforesaid Hall he also painted, though not at the same time, a
+scene of the Venetians summoning forth from the Monastery of the Carita
+a Pope--I know not which--who, having fled to Venice, had secretly
+served for a long time as cook to the monks of that monastery; in which
+scene there are many portraits from the life, and other very beautiful
+figures.
+
+[Illustration: MADONNA AND SAINTS
+
+(_After the panel by =Giovanni Bellini=. Venice: S. Francesco della
+Vigna_)
+
+_Anderson_]
+
+No long time after, certain portraits were taken to Turkey by an
+ambassador as presents for the Grand Turk, which caused such
+astonishment and marvel to that Emperor, that, although pictures are
+forbidden among that people by the Mahometan law, nevertheless he
+accepted them with great good-will, praising the art and the craftsman
+without ceasing; and what is more, he demanded that the master of the
+work should be sent to him. Whereupon the Senate, considering that
+Giovanni had reached an age when he could ill endure hardships, not to
+mention that they did not wish to deprive their own city of so great a
+man, particularly because he was then engaged on the aforesaid Hall of
+the Great Council, determined to send his brother Gentile, believing
+that he would do as well as Giovanni. Therefore, having caused Gentile
+to make his preparations, they brought him safely in their own galleys
+to Constantinople, where, after being presented by the Commissioner of
+the Signoria to Mahomet, he was received very willingly and treated with
+much favour as something new, above all after he had given that Prince a
+most lovely picture, which he greatly admired, being wellnigh unable to
+believe that a mortal man had within himself so much divinity, so to
+speak, as to be able to represent the objects of nature so vividly.
+Gentile had been there no long time when he portrayed the Emperor
+Mahomet from the life so well, that it was held a miracle. That Emperor,
+after having seen many specimens of his art, asked Gentile whether he
+had the courage to paint his own portrait; and Gentile, having answered
+"Yes," did not allow many days to pass before he had made his own
+portrait with a mirror, with such resemblance that it appeared alive.
+This he brought to the Sultan, who marvelled so greatly thereat, that he
+could not but think that he had some divine spirit within him; and if it
+had not been that the exercise of this art, as has been said, is
+forbidden by law among the Turks, that Emperor would never have allowed
+Gentile to go. But either in fear of murmurings, or for some other
+reason, one day he summoned him to his presence, and after first causing
+him to be thanked for the courtesy that he had shown, and then praising
+him in marvellous fashion as a man of the greatest excellence, he bade
+him demand whatever favour he wished, for it would be granted to him
+without fail. Gentile, like the modest and upright man that he was,
+asked for nothing save a letter of recommendation to the most Serene
+Senate and the most Illustrious Signoria of Venice, his native city.
+This was written in the warmest possible terms, and afterwards he was
+dismissed with honourable gifts and with the dignity of Chevalier. Among
+other things given to him at parting by that Sovereign, in addition to
+many privileges, there was placed round his neck a chain wrought in the
+Turkish manner, equal in weight to 250 gold crowns, which is still in
+the hands of his heirs in Venice.
+
+Departing from Constantinople, Gentile returned after a most prosperous
+voyage to Venice, where he was received with gladness by his brother
+Giovanni and by almost the whole city, all men rejoicing at the honours
+paid to his talent by Mahomet. Afterwards, on going to make his
+reverence to the Doge and the Signoria, he was received very warmly, and
+commended for having given great satisfaction to that Emperor according
+to their desire. And to the end that he might see in what great account
+they held the letters in which that Prince had recommended him, they
+decreed him a provision of 200 crowns a year, which was paid to him for
+the rest of his life. Gentile made but few works after his return;
+finally, having almost reached the age of eighty, and having executed
+the aforesaid works and many others, he passed to the other life, and
+was given honourable burial by his brother Giovanni in S. Giovanni e
+Paolo, in the year 1501.
+
+Giovanni, thus bereft of Gentile, whom he had ever loved most tenderly,
+went on doing a little work, although he was old, to pass the time. And
+having devoted himself to making portraits from the life, he introduced
+into Venice the fashion that everyone of a certain rank should have his
+portrait painted either by him or by some other master; wherefore in all
+the houses of Venice there are many portraits, and in many gentlemen's
+houses one may see their fathers and grandfathers, up to the fourth
+generation, and in some of the more noble they go still farther back--a
+fashion which has ever been truly worthy of the greatest praise, and
+existed even among the ancients. Who does not feel infinite pleasure and
+contentment, to say nothing of the honour and adornment that they
+confer, at seeing the images of his ancestors, particularly if they have
+been famous and illustrious for their part in governing their republics,
+for noble deeds performed in peace or in war, or for learning or any
+other notable and distinguished talent? And to what other end, as has
+been said in another place, did the ancients set up images of their
+great men in public places, with honourable inscriptions, than to
+kindle in the minds of their successors a love of excellence and of
+glory?
+
+[Illustration: GENTILE BELLINI: S. DOMINIC
+
+(_London: National Gallery, 1440. Canvas_)]
+
+For Messer Pietro Bembo, then, before he went to live with Pope Leo X,
+Giovanni made a portrait of the lady that he loved, so lifelike that,
+even as Simone Sanese had been celebrated in the past by the Florentine
+Petrarca, so was Giovanni deservedly celebrated in his verses by this
+Venetian, as in the following sonnet:
+
+   O imagine mia celeste e pura,
+
+where, at the beginning of the second quatrain, he says,
+
+   Credo che'l mio Bellin con la figura,
+
+with what follows. And what greater reward can our craftsmen desire for
+their labours than that of being celebrated by the pens of illustrious
+poets, as that most excellent Tiziano has been by the very learned
+Messer Giovanni della Casa, in that sonnet which begins--
+
+   Ben veggio, Tiziano, in forme nuove,
+
+and in that other--
+
+   Son queste, Amor, le vaghe treccie bionde.
+
+Was not the same Bellini numbered among the best painters of his age by
+the most famous Ariosto, at the beginning of the thirty-third canto of
+the "_Orlando Furioso_"?
+
+But to return to the works of Giovanni--that is, to his principal works,
+for it would take too long to try to make mention of all the pictures
+and portraits that are in the houses of gentlemen in Venice and in other
+parts of that country. In Rimini, for Signor Sigismondo Malatesti, he
+made a large picture containing a Pieta, supported by two little boys,
+which is now in S. Francesco in that city. And among other portraits he
+made one of Bartolommeo da Liviano, Captain of the Venetians.
+
+Giovanni had many disciples, for he was ever most willing to teach
+anyone. Among them, now sixty years ago, was Jacopo da Montagna, who
+imitated his manner closely, in so far as is shown by his works, which
+are to be seen in Padua and in Venice. But the man who imitated him most
+faithfully and did him the greatest honour was Rondinello da Ravenna,
+of whom Giovanni availed himself much in all his works. This master
+painted a panel in S. Domenico at Ravenna, and another in the Duomo,
+which is held a very beautiful example of that manner. But the work that
+surpassed all his others was that which he made in the Church of S.
+Giovanni Battista, a seat of the Carmelite Friars, in the same city; in
+which picture, besides Our Lady, he made a very beautiful head in a
+figure of S. Alberto, a friar of that Order, and the whole figure is
+much extolled. A pupil of Giovanni's, also, although he gained but
+little thereby, was Benedetto Coda of Ferrara, who dwelt in Rimini,
+where he made many pictures, leaving behind him a son named Bartolommeo,
+who did the same. It is said that Giorgione Castelfranco also pursued
+his first studies of art under Giovanni, and likewise many others, both
+from the territory of Treviso and from Lombardy, of whom there is no
+need to make record.
+
+Finally, having lived ninety years, Giovanni passed from this life,
+overcome by old age, leaving an eternal memorial of his name in the
+works that he had made both in his native city of Venice and abroad; and
+he was honourably buried in the same church and in the same tomb in
+which he had laid his brother Gentile to rest. Nor were there wanting in
+Venice men who sought to honour him when dead with sonnets and epigrams,
+even as he, when alive, had honoured both himself and his country. About
+the same time that these Bellini were alive, or a little before, many
+pictures were painted in Venice by Giacomo Marzone, who, among other
+things, painted one in the Chapel of the Assumption in S. Lena--namely,
+the Virgin with a palm, S. Benedict, S. Helen, and S. John; but in the
+old manner, with the figures on tip-toe, as was the custom of those
+painters who lived in the time of Bartolommeo da Bergamo.
+
+FOOTNOTES:
+
+[18] Poplar.
+
+[19] White poplar.
+
+
+
+
+COSIMO ROSSELLI
+
+
+
+
+LIFE OF COSIMO ROSSELLI
+
+PAINTER OF FLORENCE
+
+
+Many men take an unholy delight in covering others with ridicule and
+scorn--a delight which generally turns to their own confusion, as it
+came to pass in the case of Cosimo Rosselli, who threw back on their own
+heads the ridicule of those who sought to vilify his labours. This
+Cosimo, although he was not one of the rarest or most excellent painters
+of his time, nevertheless made works that were passing good. In his
+youth he painted a panel in the Church of S. Ambrogio in Florence, which
+is on the right hand as one enters the church; and three figures over an
+arch for the Nuns of S. Jacopo delle Murate. In the Church of the Servi,
+also in Florence, he painted the panel of the Chapel of S. Barbara; and
+in the first court, before one enters into the church, he wrought in
+fresco the story of the Blessed Filippo taking the Habit of Our Lady.
+For the Monks of Cestello he painted the panel of their high-altar, with
+another in a chapel in the same church; and likewise that one which is
+in a little church above the Bernardino, beside the entrance to
+Cestello. He painted a standard for the children of the Company of the
+said Bernardino, and likewise that of the Company of S. Giorgio, on
+which there is an Annunciation. For the aforesaid Nuns of S. Ambrogio he
+painted the Chapel of the Miracle of the Sacrament, which is a passing
+good work, and is held the best of his in Florence; in this he
+counterfeited a procession on the piazza of that church, with the Bishop
+bearing the Tabernacle of the said Miracle, accompanied by the clergy
+and by an infinity of citizens and women in costumes of those times.
+Here, among many others, is a portrait from life of Pico della
+Mirandola, so excellently wrought that it appears not a portrait but a
+living man. In the Church of S. Martino in Lucca, by the entrance into
+the church through the lesser door of the principal facade, on the right
+hand, he painted a scene of Nicodemus making the statue of the Holy
+Cross, and then that statue being brought by sea in a boat and by land
+to Lucca. In this work are many portraits, and in particular that of
+Paolo Guinigi, which he copied from one done in clay by Jacopo della
+Fonte when the latter made the tomb of Paolo's wife. In S. Marco at
+Florence, in the Chapel of the Cloth Weavers, he painted a panel with
+the Holy Cross in the middle, and, at the sides, S. Mark, S. John the
+Evangelist, S. Antonino, Archbishop of Florence, and other figures.
+
+Being afterwards summoned, with the other painters, to execute the work
+that Pope Sixtus IV had undertaken in the Chapel of the Palace, he
+laboured there in company with Sandro Botticelli, Domenico Ghirlandajo,
+the Abbot of S. Clemente, Luca da Cortona, and Pietro Perugino, and
+painted three scenes with his own hand, wherein he depicted the
+Submersion of Pharaoh in the Red Sea, the Preaching of Christ to the
+people on the shore of the Sea of Tiberias, and the Last Supper of the
+Apostles with the Saviour. In this last scene he made an octagonal table
+drawn in perspective, with the ceiling above it likewise octagonal, the
+eight angles of which he foreshortened so well as to show that he had as
+good a knowledge of this art as any of the others. It is said that the
+Pope had offered a prize, which was to be given to the man who, in the
+judgment of the Pontiff himself, should turn out to have done the best
+work in these pictures. The scenes finished, therefore, His Holiness
+went to see them; and each of the painters had done his utmost to merit
+the said prize and honour. Cosimo, feeling himself weak in invention and
+draughtsmanship, had sought to conceal his shortcomings by covering his
+work with the finest ultramarine blues and other lively colours, and had
+illuminated his scenes with a plentiful amount of gold, so that there
+was no tree, or plant, or drapery, or cloud, that was not thus
+illuminated; for he was convinced that the Pope, like a man who knew
+little of that art, must therefore give him the prize of victory. When
+the day arrived on which the works of all were to be unveiled, that of
+Cosimo was seen with the rest, and was scorned and ridiculed with much
+laughter and jeering by all the other craftsmen, who all mocked him
+instead of having compassion on him. But the scorners turned out to be
+the scorned, for, as Cosimo had foreseen, those colours at the first
+glance so dazzled the eyes of the Pope, who had little knowledge of such
+things, although he took no little delight in them, that he judged the
+work of Cosimo to be much better than that of the others. And so,
+causing the prize to be given to him, he bade all the others cover their
+pictures with the best blues that could be found, and to pick them out
+with gold, to the end that they might be similar to those of Cosimo in
+colouring and in richness. Whereupon the poor painters, in despair at
+having to satisfy the small intelligence of the Holy Father, set
+themselves to spoil all the good work that they had done; and Cosimo
+laughed at the men who had just been laughing at his methods.
+
+Afterwards, returning to Florence with some money, he set himself to
+work as usual, living much at his ease, and having as his companion that
+Piero, his disciple, who was ever called Piero di Cosimo, and who
+assisted him in his labours in the Sistine Chapel at Rome, and painted
+there, besides other things, a landscape in the picture of the Preaching
+of Christ, which landscape is held to be the best thing there. Andrea di
+Cosimo also worked with him, occupying himself much with grotesques.
+Finally, having reached the age of sixty-eight, Cosimo died in the year
+1484, wasted away by a long infirmity; and he was buried in S. Croce by
+the Company of Bernardino.
+
+Cosimo took so much delight in alchemy that he wasted therein all that
+he possessed, as all do who meddle with it, insomuch that it swallowed
+up all his means and finally reduced him from easy circumstances to the
+greatest poverty. He was a very good draughtsman, as may be seen in our
+book, not only from the drawing of the aforesaid story of the Preaching
+which he painted in the Sistine Chapel, but also from many others made
+with the style and in chiaroscuro. And in the said book we have his
+portrait by the hand of Agnolo di Donnino, a painter who was much his
+friend. This Agnolo showed great diligence in his works, as may be seen,
+not to mention his drawings, in the loggia of the Hospital of Bonifazio,
+where, upon the corbel of a vault, there is a Trinity in fresco by his
+hand; and beside the door of the said hospital, where the foundlings now
+live, there are certain beggars painted by the same man, with the
+Director receiving them, all very well wrought, and likewise certain
+women. This man spent his life labouring and wasting all his time over
+drawings, without putting them into execution; and at length he died as
+poor as he could well be. But to return to Cosimo; he left only one son,
+who was a builder and a passing good architect.
+
+[Illustration: CHRIST HEALING THE LEPER
+
+(_Detail from the fresco by =Cosimo Rosselli=. Rome: Sistine Chapel_)
+
+_Anderson_]
+
+
+
+
+CECCA
+
+
+
+
+CECCA
+
+ENGINEER OF FLORENCE
+
+
+If necessity had not forced men to exercise their ingenuity for their
+own advantage and convenience, architecture would not have become so
+excellent and so marvellous in the minds and in the works of those who
+have practised it in order to acquire profit and fame, gaining that
+great honour which is paid to them every day by all who have knowledge
+of the good. It was necessity that first gave rise to buildings;
+necessity that created ornaments for them; necessity that led to the
+various Orders, the statues, the gardens, the baths, and all those other
+sumptuous adjuncts which all desire but few possess; and it was
+necessity that excited rivalry and competition in the minds of men with
+regard not only to buildings, but also to their accessories. For this
+reason craftsmen have been forced to display industry in inventing
+appliances for traction, and in making engines of war, waterworks, and
+all those devices and contrivances which, under the name of mechanical
+and architectural inventions, confer beauty and convenience on the
+world, discomfiting their enemies and assisting their friends. And
+whenever a man has been able to make such things better than his
+fellows, he has not only raised himself beyond all the anxieties of
+want, but has also been consummately extolled and prized by all other
+men.
+
+This was the case in the time of our fathers with the Florentine Cecca,
+into whose hands there came many highly honourable works in his day; and
+in these he acquitted himself so well, toiling in the service of his
+country with economy and with great satisfaction to his fellow-citizens,
+that his ingenious and industrious labours have made him famous and
+illustrious among the number of distinguished and renowned craftsmen.
+It is said that in his youth Cecca was a very good carpenter, and that
+he had concentrated all his powers on seeking to solve the difficulties
+connected with engines, and how to make machines for assaulting walls in
+war--scaling-ladders for climbing into cities, battering-rams for
+breaching fortifications, defences for protecting soldiers in the
+attack, and everything that could injure his enemies and assist his
+friends--wherefore, being a person of the greatest utility to his
+country, he well deserved the permanent provision that the Signoria of
+Florence gave him. For this reason, when there was no war going on, he
+would go through the whole territory inspecting the fortresses and the
+walls of cities and townships, and, if any were weak, he would provide
+them with designs for ramparts and everything else that was wanting.
+
+It is said that the Clouds which were borne in procession throughout
+Florence on the festival of S. John--things truly most ingenious and
+beautiful--were invented by Cecca, who was much employed in such matters
+at that time, when the city was greatly given to holding festivals. In
+truth, although such festivals and representations have now fallen
+almost entirely out of use, they were very beautiful spectacles, and
+they were celebrated not only by the Companies, or rather,
+Confraternities, but also in the private houses of gentlemen, who were
+wont to form certain associations and societies, and to meet together at
+certain times to make merry; and among them there were ever many courtly
+craftsmen, who, besides being fanciful and amusing, served to make the
+preparations for such festivals. Among others, four most solemn public
+spectacles took place almost every year, one for each quarter of the
+city, with the exception of that of S. Giovanni, for the festival of
+which a most solemn procession was held, as will be told. The quarter of
+S. Maria Novella kept the feast of S. Ignazio; S. Croce, that of S.
+Bartholomew, called S. Baccio; S. Spirito, that of the Holy Spirit; and
+the Carmine, those of the Ascension of Our Lord and of the Assumption of
+Our Lady. This festival of the Ascension--for of the others of
+importance an account has been or will be given--was very beautiful,
+seeing that Christ was uplifted on a cloud covered with angels from a
+Mount very well made of wood, and was borne upwards to a Heaven, leaving
+the Apostles on the Mount; and the whole was so well contrived that it
+was a marvel, above all because the said Heaven was somewhat larger than
+that of S. Felice in Piazza, although the machinery was almost the same.
+And since the said Church of the Carmine, where this representation used
+to take place, is no little broader and higher than that of S. Felice,
+in addition to the part that supported Christ another Heaven was
+sometimes erected, according as it was thought advisable, over the chief
+tribune, wherein were certain great wheels made in the shape of reels,
+which, from the centres to the edges, moved in most beautiful order ten
+circles standing for the ten Heavens, which were all full of little
+lights representing the stars, contained in little copper lamps hanging
+on pivots, so that when the wheels revolved they remained upright, in
+the manner of certain lanterns that are now universally used by all.
+From this Heaven, which was truly a very beautiful thing, there issued
+two stout ropes fastened to the staging or tramezzo[20] which is in the
+said church, and over which the representation took place. To these
+ropes were attached, by each end of a so-called brace-fastening, two
+little bronze pulleys which supported an iron upright fixed into a level
+platform, on which stood two angels fastened by their girdles. These
+angels were kept upright by a counterpoise of lead which they had under
+their feet, and by another that was under the platform on which they
+stood; and this also served to make them balanced one with another. The
+whole was covered with a quantity of cotton-wool, very well arranged in
+the form of a cloud, which was full of cherubim and seraphim, and
+similar kinds of angels, varied in colour and very well contrived. These
+angels, when a little rope was unwound from the Heaven above, came down
+the two larger ropes on to the said tramezzo, where the representation
+took place, and announced to Christ that He was to ascend into Heaven,
+and performed their other functions. And since the iron to which they
+were bound by the girdle was fixed to the platform on which they stood,
+in such a way that they could turn round and round, they could make
+obeisance and turn about both when they had come forth and when they
+were returning, according as was necessary; wherefore in reascending
+they turned towards the Heaven, and were then drawn up again as they had
+come down.
+
+These machines and inventions are said to have been Cecca's, for,
+although Filippo Brunelleschi had made similar things long before, many
+additions were made to them with great judgment by Cecca; and it was
+from these that the thought came to the same man to make those Clouds
+which were borne in procession through the city every year on S. John's
+Eve, and the other beautiful things that were made. And this was his
+charge, because, as it has been said, he was a servant of the public.
+
+Now with this occasion it will not be out of place to describe some of
+the features of the said festival and procession, to the end that some
+memory of them may descend to posterity, seeing that they have now for
+the most part fallen into disuse. First, then, the Piazza di S. Giovanni
+was all covered over with blue cloth, on which were sewn many large
+lilies of yellow cloth; and in the middle, on certain circles also of
+cloth, and ten braccia in diameter, were the arms of the People and
+Commune of Florence, with those of the Captain of the Guelph party and
+others; and all around, from the borders of the said canopy, which
+covered the whole piazza, vast as it is, there hung great banners also
+of cloth, painted with various devices, with the arms of magisterial
+bodies and guilds, and with many lions, which form one of the emblems of
+the city. This canopy, or rather, awning, made thus, was about twenty
+braccia off the ground, and was supported by very strong ropes fastened
+to a number of irons, which are still to be seen round the Church of S.
+Giovanni, on the facade of S. Maria del Fiore, and on the houses that
+surround the said piazza on every side. Between one rope and another ran
+cords that likewise supported the awning, which was so well strengthened
+throughout, particularly at the edges, with ropes, cords, linings,
+double widths of cloth, and hems of sacking, that it is impossible to
+imagine anything better. What is more, everything was arranged so well
+and with such great diligence, that although the awning was often
+swelled out and shaken by the wind, which is always very powerful in
+that place, as everyone knows, yet it was never disturbed or damaged in
+any way whatever. This awning was made of five pieces, to the end that
+it might be easier to handle, but, when set into place, they were all
+joined and fastened and sewn together in such a manner that it appeared
+like one whole. Three pieces covered the piazza and the space that is
+between S. Giovanni and S. Maria del Fiore; and in the middle piece, in
+a straight line between the principal doors, were the aforesaid circles
+containing the arms of the Commune. And the remaining two pieces covered
+the sides--one towards the Misericordia, and the other towards the
+Canon's house and the Office of Works of S. Giovanni.
+
+The Clouds, which were made of various kinds and with diverse inventions
+by the Companies, were generally fashioned in the following manner. A
+square framework was made of planks, about two braccia in height, with
+four stout legs at the corners, contrived after the manner of the
+trestles of a table, and fastened together with cross-pieces. On this
+framework two panels were laid crosswise, each one braccio wide, with a
+hole in the middle half a braccio in diameter, in which was fixed a high
+pole, whereon there was placed a mandorla all covered with cotton-wool,
+cherubim, lights, and other ornaments, and within this, on a horizontal
+bar of iron, there sat or stood, according as might be desired, a person
+representing that Saint whom the particular Company principally honoured
+as their peculiar patron and protector--to be exact, a Christ, or a
+Madonna, or a S. John, or some other--and the draperies of this figure
+covered the iron bar in such a manner that it could not be seen. Round
+the same pole, lower down, below the mandorla, there radiated four or
+five iron bars in the manner of the branches of a tree, and at the end
+of each, attached likewise with irons, stood a little boy dressed like
+an angel. These boys could move round and round at pleasure on the iron
+brackets on which their feet rested, for the brackets hung on hinges.
+And with similar branches there were sometimes made two or three tiers
+of angels or of saints, according to the nature of the subjects to be
+represented. The whole of this structure, with the pole and the iron
+bars (which sometimes represented a lily, sometimes a tree, and often a
+cloud or some other similar thing), was covered with cotton-wool, and,
+as has been said, with cherubim, seraphim, golden stars, and other
+suchlike ornaments. Within were porters or peasants, who carried it on
+their shoulders, placing themselves round the wooden base that we have
+called the framework, in which, below the places where the weight rested
+on their shoulders, were fixed cushions of leather stuffed with down, or
+cotton-wool, or some other soft and yielding material. All the
+machinery, steps, and other things were covered, as has been said above,
+with cotton-wool, which made a beautiful effect; and all these
+contrivances were called Clouds. Behind them came troops of men on
+horseback and foot-soldiers of various sorts, according to the nature of
+the story to be represented, even as in our own day they go behind the
+cars or other things that are used in place of the said Clouds. Of the
+form of the latter I have some designs in my book of drawings, very well
+done by the hand of Cecca, which are truly ingenious and full of
+beautiful conceptions.
+
+It was from the plans of the same man that those saints were made that
+went or were carried in processions, either dead or tortured in various
+ways, for some appeared to be transfixed by a lance or a sword, others
+had a dagger in the throat, and others had other suchlike weapons in
+their bodies. With regard to this, it is very well known to-day that it
+is done with a sword, lance, or dagger broken in half, the pieces of
+which are held firmly opposite to one another on either side by iron
+rings, after taking away the proportionate amount that has to appear to
+be fixed in the person of the sufferer; wherefore I will say no more
+about them, save that they seem for the most part to have been invented
+by Cecca.
+
+The giants, likewise, that went about in the said festival, were made in
+the following manner. Certain men who were very skilful at walking on
+stilts, or, as they are called in other parts, on wooden legs, had some
+made five or six braccia high, and, having dressed and decked them with
+great masks and other ornaments in the way of draperies, and imitations
+of armour, so that they seemed to have the members and heads of giants,
+they mounted them and walked dexterously along, appearing truly to be
+giants. In front of them, however, they had a man who carried a pike, on
+which the giant leant with one hand, but in such a fashion that the pike
+appeared to be his own weapon, whether mace, lance, or a great
+bell-clapper, such as Morgante is said by the poets of romance to have
+been wont to carry. And even as there were giants, so there were also
+giantesses, which produced a truly beautiful and marvellous effect.
+
+Different from these, again, were the little phantoms, for these walked
+on similar stilts five or six braccia high, without anything save their
+own proper form, in such a manner that they appeared to be true spirits.
+They likewise had a man in front of them with a pike to assist them; but
+it is stated that some actually walked very well at so great a height
+without leaning on anything whatsoever, and I am sure that he who knows
+what Florentine brains are will in no way marvel at this. For, not to
+mention that native of Montughi (near Florence) who has surpassed all
+the masters that ever lived at climbing and dancing on the rope, whoever
+knew a man called Ruvidino, who died less than ten years ago, remembers
+that climbing to any height on a rope or cord, leaping from the walls of
+Florence to the earth, and walking on stilts much higher than those
+described above, were as easy to him as it is for an ordinary man to
+walk on the level. Wherefore it is no marvel if the men of those times,
+who practised suchlike exercises for money or for other reasons, did
+what has been related above, and even greater things.
+
+I will not speak of certain waxen candles which used to be painted with
+various fanciful devices, but so rudely that they have given their name
+to vulgar painters, insomuch that bad pictures are called "candle
+puppets"; for it is not worth the trouble. I will only say that at the
+time of Cecca they fell for the most part into disuse, and that in their
+place were made the cars that are still used to-day, in the form of
+triumphal chariots. The first of these was the car[21] of the Mint,
+which was brought to that perfection which is still seen every year when
+it is sent out for the said festival by the Masters and Lords of the
+Mint, with a S. John on the highest part and with many other angels and
+saints around and below him, all represented by living persons. Not long
+ago it was determined that one should be made for every borough that
+gave an offering of wax, and ten were made, in order to do magnificent
+honour to that festival; but the plan was carried no further, by reason
+of events that supervened no long time after. That first car of the
+Mint, then, was made under the direction of Cecca by Domenico, Marco,
+and Giuliano del Tasso, who were among the best master-carpenters, both
+in squared-work and in carving, who were then working in Florence; and
+in this car, among other things, no small praise is due to the wheels
+below it, which are pivoted, in order that the structure may be able to
+turn sharp corners, and may be managed in such a manner as to shake it
+as little as possible, particularly for the sake of those who stand
+fastened upon it.
+
+The same man made a structure for the cleaning and restoration of the
+mosaics in the tribune of S. Giovanni, which could be turned, raised,
+lowered, and advanced at pleasure, and that with such ease that two men
+could handle it; which invention gave Cecca very great repute.
+
+When the Florentine army was besieging Piancaldoli, Cecca ingeniously
+contrived to enable the soldiers to enter it by means of mines, without
+striking a blow. Afterwards, continuing to follow the same army to
+certain other strongholds, his evil fortune would have it that he should
+be killed while attempting to measure certain heights at a difficult
+point; for when he had put his head out beyond the wall in order to let
+a plumb-line down, a priest who was with the enemy (who feared the
+genius of Cecca more than the might of the whole camp) discharged a
+catapult at him and fixed a great dart in his head, insomuch that the
+poor fellow died on the spot. The fate and the loss of Cecca caused
+great grief to the whole army and to his fellow-citizens; but since
+there was no remedy, they sent him back in a coffin to Florence, where
+his sisters gave him honourable burial in S. Piero Scheraggio; and below
+his portrait in marble there was placed the following epitaph:
+
+   FABRUM MAGISTER CICCA, NATUS OPPIDIS VEL OBSIDENDIS VEL TUENDIS,
+   HIC JACET. VIXIT ANN. XXXXI, MENS. IV, DIES XIV. OBIIT PRO PATRIA
+   TELO ICTUS. PIAE SORORES MONUMENTUM FECERUNT MCCCCXCIX.
+
+FOOTNOTES:
+
+[20] See note on p. 57, Vol. I.
+
+[21] The word in the Italian text is not "carro" but "cero," which is
+obviously an error.
+
+
+
+
+DON BARTOLOMMEO DELLA GATTA
+
+
+
+
+DON BARTOLOMMEO DELLA GATTA, ABBOT OF S. CLEMENTE
+
+ILLUMINATOR AND PAINTER
+
+
+Rarely does it happen that a man of good character and exemplary life
+fails to be provided by Heaven with the best of friends and with
+honourable dwellings, or to be held in veneration when alive by reason
+of the goodness of his ways, and very greatly regretted when dead by all
+who knew him, as was Don Bartolommeo della Gatta, Abbot of S. Clemente
+in Arezzo, who was excellent in diverse pursuits and most praiseworthy
+in all his actions. This man, who was a monk of the Angeli in Florence,
+a seat of the Order of Camaldoli, was in his youth--perchance for the
+reasons mentioned above in the Life of Don Lorenzo--a very rare
+illuminator, and a very able master of design. Of this we have proof in
+the books that he illuminated for the Monks of SS. Fiore e Lucilla in
+the Abbey of Arezzo, particularly a missal that was presented to Pope
+Sixtus, in which, on the first page of the Secret Prayers, there was a
+very beautiful Passion of Christ. Those are likewise by his hand which
+are in S. Martino, the Duomo of Lucca.
+
+A little while after these works the said Abbey of S. Clemente in Arezzo
+was presented to this father by Mariotto Maldoli of Arezzo, General of
+the Order of Camaldoli, who belonged to the same family from which
+sprang that Maldolo who gave the site and lands of Camaldoli, then
+called Campo di Maldolo, to S. Romualdo, the founder of that Order. Don
+Bartolommeo, in gratitude for that benefice, afterwards executed many
+works for that General and for his Order. After this there came the
+plague of 1468, by reason of which the Abbot, like many others, stayed
+indoors without going about much, and devoted himself to painting large
+figures; and seeing that he was succeeding as well as he could desire,
+he began to execute certain works. The first was a S. Rocco that he
+painted on a panel for the Rectors of the Confraternity of Arezzo, which
+is now in the Audience Chamber where they assemble. This figure is
+recommending the people of Arezzo to Our Lady, and in this picture he
+portrayed the Piazza of the said city and the holy house of that
+Confraternity, with certain grave-diggers who are returning from burying
+the dead. He also painted another S. Rocco for the Church of S. Pietro,
+likewise on a panel, wherein he portrayed the city of Arezzo exactly as
+it stood at that time, when it was very different from what it is
+to-day. And he made another, which was much better than the two
+mentioned above, on a panel which is in the Chapel of the Lippi in the
+Church of the Pieve of Arezzo; and this S. Rocco is a rare and beautiful
+figure, almost the best that he ever made, and the head and hands are as
+beautiful and natural as they could be. In the same city of Arezzo, in
+S. Pietro, a seat of the Servite Friars, he painted an Angel Raphael on
+a panel; and in the same place he made a portrait of the Blessed Jacopo
+Filippo of Piacenza.
+
+Afterwards, being summoned to Rome, he painted a scene in the Chapel of
+Pope Sixtus, in company with Luca da Cortona and Pietro Perugino. On
+returning to Arezzo, he painted a S. Jerome in Penitence in the Chapel
+of the Gozzari in the Vescovado; and this figure, lean and shaven, with
+the eyes fixed most intently on the Crucifix, and beating his breast,
+shows very clearly how greatly the passions of love can disturb the
+chastity even of a body so grievously wasted away. In this work he made
+an enormous crag, with certain cliffs of rock, among the fissures of
+which he painted some stories of that Saint, with very graceful little
+figures. After this, in a chapel in S. Agostino, for the Nuns of the
+Third Order, as they are called, he wrought in fresco a Coronation of
+Our Lady, which is very well done and much extolled; and below this, in
+another chapel, a large panel with an Assumption and certain angels
+beautifully robed in delicate draperies. This panel, for a work made in
+distemper, is much extolled, and in truth it was wrought with good
+design and executed with extraordinary diligence. In the lunette that is
+over the door of the Church of S. Donato, in the Fortress of Arezzo,
+the same man painted in fresco a Madonna with the Child in her arms, S.
+Donatus, and S. Giovanni Gualberto, all very beautiful figures. In the
+Abbey of S. Fiore in the said city, beside the principal door of
+entrance into the church, there is a chapel painted by his hand, wherein
+are S. Benedict and other saints, wrought with much grace, good
+handling, and sweetness.
+
+For Gentile of Urbino, Bishop of Arezzo, who was much his friend, and
+with whom he almost always lived, he painted a Dead Christ in a chapel
+in the Palace of the Vescovado; and in a loggia he portrayed the Bishop
+himself, his vicar, and Ser Matteo Francini, his court-notary, who is
+reading a Bull to him; and there he also made his own portrait and those
+of certain canons of that city. For the same Bishop he designed a loggia
+which issues from the Palace and leads to the Vescovado, on the same
+level with both. In the centre of this the Bishop had intended to make a
+place of burial for himself in the form of a chapel, in which he wished
+to be interred after his death; and he had carried it well on, when he
+was overtaken by death, and it remained unfinished, for, although he
+left orders that it should be completed by his successor, nothing more
+was done, as generally happens with works of this sort which are left by
+a man to be finished after his death. For the said Bishop the Abbot
+painted a large and beautiful chapel in the Duomo Vecchio, but, as it
+had only a short life, there is no need to say more about it.
+
+Besides this, he made works in various places throughout the whole city,
+such as three figures in the Carmine, and the Chapel of the Nuns of S.
+Orsina. At Castiglione Aretino, for the Chapel of the High-Altar in the
+Pieve of S. Giuliano, he painted a panel in distemper, containing a very
+beautiful Madonna, S. Julian, and S. Michelagnolo--figures very well
+wrought and executed, particularly S. Julian, who, with his eyes fixed
+on the Christ lying in the arms of the Madonna, appears to be much
+afflicted at having killed his father and mother. In a chapel a little
+below this, likewise, is a little door painted by his hand (which
+formerly belonged to an old organ), wherein there is a S. Michael, which
+is held to be a marvellous thing, with a child in swaddling-clothes,
+which appears alive, in the arms of a woman. For the Nuns of the Murate
+at Arezzo he painted the Chapel of the High-Altar, a work which is
+truly much extolled. At Monte San Savino he painted a shrine opposite to
+the Palace of Cardinal di Monte, which was held very beautiful. And at
+Borgo San Sepolcro, where there is now the Vescovado, he decorated a
+chapel, which brought him very great praise and profit.
+
+Don Clemente was a man of very versatile intelligence, and, besides
+being a great musician, he made organs of lead with his own hand. In S.
+Domenico he made one of cardboard, which has ever remained sweet and
+good; and in S. Clemente there was another, also by his hand, which was
+placed on high, with the keyboard below on the level of the choir--truly
+with very beautiful judgment, since, the place being such that the monks
+were few, he wished that the organist should sing as well as play. And
+since this Abbot loved his Order, like a true minister and not a
+squanderer of the things of God, he enriched that place greatly with
+buildings and pictures, particularly by rebuilding the principal chapel
+of his church and painting the whole of it; and in two niches, one on
+either side of it, he painted a S. Rocco and a S. Bartholomew, which
+were ruined together with the church.
+
+But to return to the Abbot, who was a good and worthy churchman. He left
+a disciple in painting named Maestro Lappoli, an Aretine, who was an
+able and practised painter, as is shown by the works from his hand which
+are in S. Agostino, in the Chapel of S. Sebastiano, where there is that
+Saint wrought in relief by the same man, with figures round him, in
+painting, of S. Biagio, S. Rocco, S. Anthony of Padua, and S.
+Bernardino; while on the arch of the chapel is an Annunciation, and on
+the vaulting are the four Evangelists, wrought in fresco with a high
+finish. By the hand of the same man, in another chapel on the left hand
+as one enters the said church by the side-door, is a Nativity in fresco,
+with the Madonna receiving the Annunciation from the Angel, in the
+figure of which Angel he portrayed Giuliano Bacci, then a young man of
+very beautiful aspect. Over the said door, on the outer side, he made an
+Annunciation, with S. Peter on one side and S. Paul on the other,
+portraying in the face of the Madonna the mother of Messer Pietro
+Aretino, a very famous poet. In S. Francesco, for the Chapel of S.
+Bernardino, he painted a panel with that Saint, who appears alive, and
+so beautiful that this is the best figure that he ever made. In the
+Chapel of the Pietramaleschi in the Vescovado he painted a very
+beautiful S. Ignazio on a panel in distemper; and in the Pieve, at the
+entrance of the upper door which opens on the piazza, a S. Andrew and a
+S. Sebastian. For the Company of the Trinita, by order of Buoninsegna
+Buoninsegni of Arezzo, he made a work with beautiful invention, which
+can be numbered among the best that he ever executed, and this was a
+Crucifix over an altar, with a S. Martin on one side and a S. Rocco on
+the other, and two figures kneeling at the foot, one in the form of a
+poor man, lean, emaciated, and wretchedly clothed, from whom there
+issued certain rays that shone straight on the wounds of the Saviour,
+while the Saint gazed on him most intently; and the other in the form of
+a rich man, clothed in purple and fine linen, and all ruddy and cheerful
+in countenance, whose rays, as he was adoring Christ, although they were
+issuing from his heart, like those of the poor man, appeared not to
+shine directly on the wounds of the Crucified Christ, but to stray and
+spread over certain plains and fields full of grain, green crops,
+cattle, gardens, and other suchlike things, while some diverged over the
+sea towards certain boats laden with merchandise; and others, finally,
+shone on certain money-changers' tables. All these things were wrought
+by Matteo with judgment, great mastery, and much diligence; but they
+were thrown to the ground no long time after in the making of a chapel.
+Beneath the pulpit of the Pieve the same man made a Christ with the
+Cross for Messer Leonardo Albergotti.
+
+A disciple of the Abbot of S. Clemente, likewise, was a Servite friar of
+Arezzo, who painted in colours the facade of the house of the Belichini
+in Arezzo, and two chapels in fresco, one beside the other, in S.
+Pietro. Another disciple of Don Bartolommeo was Domenico Pecori of
+Arezzo, who made three figures in distemper on a panel at Sargiano, and
+painted a very beautiful banner in oil, to be carried in processions,
+for the Company of S. Maria Maddalena. For Messer Presentino Bisdomini,
+in the Chapel of S. Andrea in the Pieve, he made a picture of S.
+Apollonia, similar to that mentioned above; and he finished many works
+left incomplete by his master, such as the panel of S. Sebastian and S.
+Fabiano with the Madonna, in S. Pietro, for the family of the Benucci.
+In the Church of S. Antonio he painted the panel of the high-altar,
+wherein is a very devout Madonna, with some saints; and since the said
+Madonna is adoring the Child, whom she has in her lap, he made it appear
+that a little angel, kneeling behind her, is supporting Our Lord on a
+cushion, the Madonna not being able to uphold Him because she has her
+hands clasped in the act of adoration. In the Church of S. Giustino, for
+Messer Antonio Roselli, he painted a chapel with the Magi in fresco; and
+for the Company of the Madonna, in the Pieve, he painted a very large
+panel containing a Madonna in the sky, with the people of Arezzo
+beneath, in which he made many portraits from the life. In this last
+work he was helped by a Spanish painter, who painted very well in oil
+and therein gave assistance to Domenico, who had not as much skill in
+painting in oil as he had in distemper. With the help of the same man he
+executed a panel for the Company of the Trinita, containing the
+Circumcision of Our Lord, which was held a very good work, and a "Noli
+Me Tangere" in fresco in the garden of S. Fiore. Finally, he painted a
+panel with many figures in the Vescovado, for Messer Donato Marinelli,
+Primicere. This work, which then brought him and still continues to
+bring him very great honour, shows good invention, good design, and
+strong relief; and in making it, being now very old, he called in the
+aid of a Sienese painter, Capanna, a passing good master, who painted so
+many walls in chiaroscuro and so many panels in Siena, and who, if he
+had lived longer, would have done himself much credit in his art, in so
+far as one may judge from the little that he executed. Domenico wrought
+for the Confraternity of Arezzo a baldacchino painted in oil, a rich and
+costly work, which was lent not many years ago for the holding of a
+representation in S. Francesco at the festival of S. John and S. Paul,
+to adorn a Paradise near the roof of the church. A fire breaking out in
+consequence of the great quantity of lights, this work was burnt,
+together with the man who was representing God the Father, who, being
+fastened, could not escape, as the angels did, and many church-hangings
+were destroyed, while great harm came to the spectators, who, terrified
+by the fire, struggled furiously to fly from the church, everyone
+seeking to be the first, so that about eighty were trampled down in the
+press, which was something very pitiful. This baldacchino was afterwards
+reconstructed with greater richness, and painted by Giorgio Vasari.
+Domenico then devoted himself to the making of glass windows, and there
+were three by his hand in the Vescovado, which were ruined by the
+artillery in the wars.
+
+Another pupil of the same master was the painter Angelo di Lorentino,
+who was a man of passing good ability. He painted the arch over the door
+of S. Domenico, and if he had received assistance he would have become a
+very good master.
+
+The Abbot died at the age of eighty-three, leaving unfinished the Temple
+of the Madonna delle Lacrime, for which he had made a model; it was
+afterwards completed by various masters. He deserves praise, then, as
+illuminator, architect, painter, and musician. He was given burial by
+his monks in his Abbey of S. Clemente, and his works have ever been so
+highly esteemed in the said city that the following verses may be read
+over his tomb:
+
+   PINGEBAT DOCTE ZEUSIS, CONDEBAT ET AEDES
+       NICON, PAN CAPRIPES, FISTULA PRIMA TUA EST.
+   NON TAMEN EX VOBIS MECUM CERTAVERIT ULLUS;
+       QUAE TRES FECISTIS, UNICUS HAEC FACIO.
+
+He died in 1461, having added to the art of illumination that beauty
+which is seen in all his works, as some drawings by his hand can bear
+witness which are in our book. His method of working was afterwards
+imitated by Girolamo Padovano in some books that he illuminated for S.
+Maria Nuova in Florence; by Gherardo, a Florentine illuminator; (and by
+Attavante,[22]) who was also called Vante, of whom we have spoken in
+another place, particularly with regard to those of his works which are
+in Venice; with respect to which I included word for word a note sent to
+me by certain gentlemen of Venice, contenting myself, in order to
+recompense them for the great pains that they had taken to discover all
+that is to be read there, with relating the whole as they wrote it,
+since I had no personal knowledge of these works on which to form a
+judgment of my own.
+
+FOOTNOTES:
+
+[22] The words in brackets have been added to correct an obvious
+omission in the text. The account of Attavante is to be found at the end
+of the Life of Fra Giovanni Angelico.
+
+
+
+
+GHERARDO
+
+
+
+
+GHERARDO
+
+ILLUMINATOR OF FLORENCE
+
+
+It is certain that among all the enduring works that are made in colours
+there is none that resists the assault of wind and water better than
+mosaic. And well was this known in his day to the elder Lorenzo de'
+Medici of Florence, who, like a man of spirit given to investigating the
+memorials of the ancients, sought to bring back into use what had been
+hidden for many years, and, since he took great delight in pictures and
+sculptures, could not fail to take delight also in mosaic. Wherefore,
+seeing that Gherardo, an illuminator of that time and a man of inquiring
+brain, was investigating the difficulties of that calling, he showed him
+great favour, as one who ever assisted those in whom he saw some germ of
+spirit and intellect. Placing him, therefore, in the company of Domenico
+del Ghirlandajo, he obtained for him from the Wardens of Works of S.
+Maria del Fiore a commission for decorating the chapels of the
+transepts, beginning with that of the Sacrament, wherein lies the body
+of S. Zanobi. Whereupon Gherardo, growing ever in keenness of
+intelligence, would have executed most marvellous works in company with
+Domenico, if death had not intervened, as may be judged from the
+beginning of that chapel, which remained unfinished.
+
+Gherardo, in addition to his mosaics, was a most delicate illuminator,
+and he also made large figures on walls. Without the Porta alla Croce
+there is a shrine in fresco by his hand, and there is another in
+Florence, much extolled, at the head of the Via Larga. On the facade of
+the Church of S. Gilio at S. Maria Nuova, beneath the stories painted by
+Lorenzo di Bicci, wherein is the consecration of that church by Pope
+Martin V, Gherardo depicted the same Pope conferring the monk's habit
+and many privileges on the Director of the Hospital. In this scene there
+were far fewer figures than it appeared to require, because it was cut
+in half by a shrine containing a Madonna, which has been removed
+recently by Don Isidoro Montaguto, the present Director of that place,
+in the reconstructing of a principal door for the building; and
+Francesco Brini, a young painter of Florence, has been commissioned to
+paint the rest of the scene. But to return to Gherardo; it would
+scarcely have been possible for even a well-practised master to
+accomplish without great fatigue and diligence what he did in that work,
+which is wrought most excellently in fresco. For the church of the same
+hospital Gherardo illuminated an infinite number of books, with some for
+S. Maria del Fiore in Florence, and certain others for Matthias
+Corvinus, King of Hungary. These last, on the death of the said King,
+together with some by the hand of Vante and of other masters who worked
+for that King in Florence, were purchased and taken over by the
+Magnificent Lorenzo de' Medici, who placed them among those so greatly
+celebrated which were being collected for the formation of the library
+afterwards built by Pope Clement VII, which is now being thrown open to
+the public by order of Duke Cosimo.
+
+Having thus developed, as has been related, from a master of
+illumination into a painter, in addition to the said works, he made some
+great figures in a large cartoon for the Evangelists that he had to make
+in mosaic in the Chapel of S. Zanobi. But before the Magnificent Lorenzo
+de' Medici had obtained for him the commission for the said chapel,
+wishing to show that he understood the art of mosaic, and that he could
+work without a companion, he made a life-size head of S. Zanobi, which
+remained in S. Maria del Fiore, and on days of the highest solemnity it
+is set up on the altar of the said Saint, or in some other place, as a
+rare thing.
+
+The while that Gherardo was labouring at these things, there were
+brought to Florence certain prints in the German manner wrought by
+Martin and by Albrecht Duerer; whereupon, being much pleased with that
+sort of engraving, he set himself to work with the graver and copied
+some of those plates very well, as may be seen from certain examples
+that are in our book, together with some drawings by the same man's
+hand. Gherardo painted many pictures which were sent abroad, one of
+which is in the Chapel of S. Caterina da Siena in the Church of S.
+Domenico at Bologna, containing a very good painting of S. Catherine.
+And in S. Marco at Florence, over the table of Pardons, he painted a
+lunette full of very graceful figures. But the more he satisfied others
+the less did he satisfy himself in any of his works, with the exception
+of mosaic, in which sort of painting he was rather the rival than the
+companion of Domenico Ghirlandajo; and if he had lived longer he would
+have become most excellent in that art, for he was very willing to take
+pains with it, and he had discovered the greater part of its best
+secrets.
+
+Some declare that Attavante, otherwise Vante, an illuminator of
+Florence, of whom we have spoken above in more than one place, was a
+disciple of Gherardo, as was Stefano, likewise a Florentine illuminator;
+but I hold it as certain, considering that both lived at the same time,
+that Attavante was rather the friend, companion, and contemporary of
+Gherardo than his disciple. Gherardo died well advanced in years,
+leaving everything that he used in his art to his disciple Stefano, who,
+devoting himself no long time after to architecture, abandoned the art
+of illuminating, and handed over all his appliances in connection with
+that profession to the elder Boccardino, who illuminated the greater
+part of the books that are in the Badia of Florence. Gherardo died at
+the age of sixty-three, and his works date about the year of our
+salvation 1470.
+
+
+
+
+DOMENICO GHIRLANDAJO
+
+
+
+
+DOMENICO GHIRLANDAJO
+
+PAINTER OF FLORENCE
+
+
+Domenico di Tommaso del Ghirlandajo, who, from his talent and from the
+greatness and the vast number of his works, may be called one of the
+most important and most excellent masters of his age, was made by nature
+to be a painter; and for this reason, in spite of the opposition of
+those who had charge of him (which often nips the finest fruits of our
+intellects in the bud by occupying them with work for which they are not
+suited, and by diverting them from that to which nature inclines them),
+he followed his natural instinct, secured very great honour for himself
+and profit for his art and for his kindred, and became the great delight
+of his age. He was apprenticed by his father to his own art of
+goldsmith, in which Tommaso was a master more than passing good, for it
+was he who made the greater part of the silver votive offerings that
+were formerly preserved in the press of the Nunziata, and the silver
+lamps of the chapel, which were all destroyed in the siege of the city
+in the year 1529. Tommaso was the first who invented and put into
+execution those ornaments worn on the head by the girls of Florence,
+which are called ghirlande;[23] whence he gained the name of
+Ghirlandajo, not only because he was their first inventor, but also
+because he made an infinite number of them, of a beauty so rare that
+none appeared to please save such as came out of his shop.
+
+Being thus apprenticed to the goldsmith's art, but taking no pleasure
+therein, he was ever occupied in drawing. Endowed by nature with a
+perfect spirit and with an admirable and judicious taste in painting,
+although he was a goldsmith in his boyhood, yet, by devoting himself
+ever to design, he became so quick, so ready, and so facile, that many
+say that while he was working as a goldsmith he would draw a portrait of
+all who passed the shop, producing a likeness in a second; and of this
+we still have proof in an infinite number of portraits in his works,
+which show a most lifelike resemblance.
+
+His first pictures were in the Chapel of the Vespucci in Ognissanti,
+where there is a Dead Christ with some saints, and a Misericordia over
+an arch, in which is the portrait of Amerigo Vespucci, who made the
+voyages to the Indies; and in the refectory of that place he painted a
+Last Supper in fresco. In S. Croce, on the right hand of the entrance
+into the church, he painted the Story of S. Paulino; wherefore, having
+acquired very great fame and coming into much credit, he painted a
+chapel in S. Trinita for Francesco Sassetti, with stories of S. Francis.
+This work was admirably executed by him, and wrought with grace,
+lovingness, and a high finish; and he counterfeited and portrayed
+therein the Ponte a S. Trinita, with the Palace of the Spini. On the
+first wall he depicted the story of S. Francis appearing in the air and
+restoring the child to life; and here, in those women who see him being
+restored to life--after their sorrow for his death as they bear him to
+the grave--there are seen gladness and marvel at his resurrection. He
+also counterfeited the friars issuing from the church behind the Cross,
+together with some grave-diggers, to bury him, all wrought very
+naturally; and there are likewise other figures marvelling at that event
+which give no little pleasure to the eye, among which are portraits of
+Maso degli Albizzi, Messer Agnolo Acciaiuoli, and Messer Palla Strozzi,
+eminent citizens often cited in the history of the city. On another wall
+he painted S. Francis, in the presence of the vicar, renouncing his
+inheritance from his father, Pietro Bernardone, and assuming the habit
+of sackcloth, which he is girding round him with the cord. On the middle
+wall he is shown going to Rome and having his Rule confirmed by Pope
+Honorius, and presenting roses in January to that Pontiff. In this scene
+he depicted the Hall of the Consistory, with Cardinals seated around,
+and certain steps ascending to it, furnishing the flight of steps with a
+balustrade, and painting there some half-length figures portrayed from
+the life, among which is the portrait of the elder Lorenzo de' Medici,
+the Magnificent; and there he also painted S. Francis receiving the
+Stigmata. In the last he made the Saint dead, with his friars mourning
+for him, among whom is one friar kissing his hands--an effect that could
+not be rendered better in painting; not to mention that a Bishop in full
+robes, with spectacles on his nose, is chanting the prayers for the dead
+so vividly, that only the lack of sound shows him to be painted. In one
+of two pictures that are on either side of the panel he portrayed
+Francesco Sassetti on his knees, and in the other his wife, Monna Nera,
+with their children (but these last are in the aforesaid scene of the
+child being restored to life), and with certain beautiful maidens of the
+same family, whose names I have not been able to discover, all in the
+costumes and fashions of that age, which gives no little pleasure.
+Besides this, he made four Sibyls on the vaulting, and an ornament above
+the arch on the front wall without the chapel, containing the scene of
+the Tiburtine Sibyl making the Emperor Octavian adore Christ, which is
+executed in a masterly manner for a work in fresco, with much vivacity
+and loveliness in the colours. To this work he added a panel wrought in
+distemper, also by his hand, containing a Nativity of Christ that should
+amaze any person of understanding, wherein he portrayed himself and made
+certain heads of shepherds, which are held to be something divine. Of
+this Sibyl and of other parts of this work there are some very beautiful
+drawings in our book, made in chiaroscuro, and in particular the view in
+perspective of the Ponte a S. Trinita.
+
+For the Frati Ingesuati he painted a panel for their high-altar, with
+certain Saints kneeling--namely, S. Giusto, Bishop of Volterra, who was
+the titular Saint of that church; S. Zanobi, Bishop of Florence; an
+Angel Raphael; a S. Michael, clad in most beautiful armour; and other
+saints. For this work Domenico truly deserves praise, for he was the
+first who began to counterfeit with colours certain trimmings and
+ornaments of gold, which had not been done up to that time; and he swept
+away in great measure those borders of gilding that were made with
+mordant or with bole, which were more suitable for church-hangings than
+for the work of good masters. More beautiful than all the other figures
+is the Madonna, who has the Child in her arms and four little angels
+round her. This panel, which is wrought as well as any work in distemper
+could be, was then placed in the church of those friars without the
+Porta a Pinti; but since that building, as will be told elsewhere, was
+destroyed, it is now in the Church of S. Giovannino, within the Porta S.
+Piero Gattolini, where there is the Convent of the aforesaid Ingesuati.
+
+In the Church of Cestello he painted a panel--afterwards finished by his
+brothers David and Benedetto--containing the Visitation of Our Lady,
+with certain most charming and beautiful heads of women. In the Church
+of the Innocenti he painted the Story of the Magi on a panel in
+distemper, which is much extolled. In this are heads most beautiful in
+expression and varied in features, both young and old; and in the head
+of Our Lady, in particular, are seen all the dignity, beauty, and grace
+that art can give to the Mother of the Son of God. On the tramezzo[24]
+of the Church of S. Marco there is another panel, with a Last Supper in
+the guest-room, both executed with diligence; and in the house of
+Giovanni Tornabuoni there is a round picture with the Story of the Magi,
+wrought with diligence. In the Little Hospital, for the elder Lorenzo
+de' Medici, he painted the story of Vulcan, in which many nude figures
+are at work with hammers making thunderbolts for Jove. And in the Church
+of Ognissanti in Florence, in competition with Sandro di Botticello, he
+painted a S. Jerome in fresco (which is now beside the door that leads
+to the choir), surrounding him with an infinite number of instruments
+and books, such as are used by the learned. The friars having occasion
+to remove the choir from the place where it stood, this picture,
+together with that of Sandro di Botticello, has been bound round with
+irons and transported without injury into the middle of the church, at
+the very time when these Lives are being printed for the second time. He
+also painted the arch over the door of S. Maria Ughi, and a little
+shrine for the Guild of Linen-Manufacturers, and likewise a very
+beautiful S. George, slaying the Dragon, in the same Church of
+Ognissanti. And in truth he had a very good knowledge of the method of
+painting on walls, which he did with very great facility, although he
+was scrupulously careful in the composition of his works.
+
+[Illustration: THE DEATH OF S. FRANCIS
+
+(_After the fresco by =Domenico Ghirlandajo=. Florence: S. Trinita_)
+
+_Alinari_]
+
+Being then summoned to Rome by Pope Sixtus IV to paint his chapel, in
+company with other masters, he painted there Christ calling Peter and
+Andrew from their nets, and the Resurrection of Jesus Christ, the
+greater part of which has since been spoilt in consequence of being over
+the door, on which it became necessary to replace an architrave that had
+fallen down. There was living in Rome at this same time Francesco
+Tornabuoni, a rich and honoured merchant, much the friend of Domenico.
+This man, whose wife had died in childbirth, as is told in the Life of
+Andrea Verrocchio, desiring to honour her as became their noble station,
+had caused a tomb to be made for her in the Minerva; and he also wished
+Domenico to paint the whole wall against which this tomb stood, and
+likewise to make for it a little panel in distemper. On that wall,
+therefore, he painted four stories--two of S. John the Baptist and two
+of the Madonna--which brought him truly great praise at that time. And
+Francesco took so much pleasure in his dealings with Domenico, that,
+when the latter returned to Florence rich in honour and in gains,
+Francesco recommended him by letters to his relative Giovanni, telling
+him how well the painter had served him in that work, and how well
+satisfied the Pope had been with his pictures. Hearing this, Giovanni
+began to contemplate employing him on some magnificent work, such as
+would honour his own memory and bring fame and profit to Domenico.
+
+Now it chanced that the principal chapel of S. Maria Novella (a convent
+of Preaching Friars), formerly painted by Andrea Orcagna, was injured in
+many parts by rain in consequence of the roof of the vaulting being
+badly covered. For this reason many citizens had wished to restore it,
+or rather, to have it painted anew; but the owners, who belonged to the
+family of the Ricci, had never consented to this, being unable to bear
+so great an expense themselves, and unwilling to allow others to do so,
+lest they should lose the rights of ownership and the distinction of the
+arms handed down to them by their ancestors. Giovanni, then, being
+desirous that Domenico should make him his memorial there, set to work
+in this matter, trying various ways; and finally he promised the Ricci
+to bear the whole expense himself, to give them some sort of recompense,
+and to have their arms placed in the most conspicuous and honourable
+place in that chapel. And so they came to an agreement, making a
+contract in the form of a very precise instrument according to the terms
+described above. Giovanni allotted this work to Domenico, with the same
+subjects as were painted there before; and they agreed that the price
+should be 1,200 gold ducats of full weight, with 200 more in the event
+of the work giving satisfaction to Giovanni. Thereupon Domenico put his
+hand to the work and laboured without ceasing for four years until he
+had finished it--which was in 1485--to the very great satisfaction and
+contentment of Giovanni, who, while admitting that he had been well
+served, and confessing ingenuously that Domenico had earned the
+additional 200 ducats, said that he would be pleased if he would be
+satisfied with the original price. And Domenico, who esteemed glory and
+honour much more than riches, immediately let him off all the rest,
+declaring that he set much greater store on having given him
+satisfaction than on the matter of complete payment.
+
+Giovanni afterwards caused two large coats of arms to be made of
+stone--one for the Tornaquinci and the other for the Tornabuoni--and
+placed on the pilasters without the chapel, and in the arch he placed
+other arms belonging to that family, which is divided into various names
+and various arms--namely, in addition to the two already mentioned,
+those of the Ghiachinotti, Popoleschi, Marabottini, and Cardinali. And
+afterwards, when Domenico painted the altar-panel, he caused to be
+placed in the gilt ornament, under an arch, as a finishing touch to that
+panel, a very beautiful Tabernacle of the Sacrament, on the frontal of
+which he made a little shield a quarter of a braccio in length,
+containing the arms of the said owners--that is, the Ricci. And a fine
+jest it was at the opening of the chapel, for these Ricci looked for
+their arms with much ado, and finally, not being able to find them, went
+off to the Tribunal of Eight, contract in hand. Whereupon the Tornabuoni
+showed that these arms had been placed in the most conspicuous and most
+honourable part of the work; and although the others exclaimed that they
+were invisible, they were told that they were in the wrong, and that
+they must be content, since the Tornabuoni had caused them to be placed
+in so honourable a position as the neighbourhood of the most Holy
+Sacrament. And so it was decided by that tribunal that they should be
+left untouched, as they may be seen to-day. Now, if this should appear
+to anyone to be outside the scope of the Life that I have to write, let
+him not be vexed, for it all flowed naturally from the tip of my pen.
+And it should serve, if for nothing else, at least to show how easily
+poverty falls a prey to riches, and how riches, if accompanied by
+discretion, achieve without censure anything that a man desires.
+
+[Illustration: DOMENICO GHIRLANDAJO: THE VISION OF S. FINA
+
+(_San Gimignano. Fresco_)]
+
+But to return to the beautiful works of Domenico; in that chapel, first
+of all, are the four Evangelists on the vaulting, larger than life; and,
+on the window-wall, stories of S. Dominic, S. Peter Martyr, S. John
+going into the Desert, the Madonna receiving the Annunciation from the
+Angel, and many patron saints of Florence on their knees above the
+window; while at the foot, on the right hand, is a portrait from life of
+Giovanni Tornabuoni, with one of his wife on the left, which are both
+said to be very lifelike. On the right-hand wall are seven scenes--six
+below, in compartments as large as the wall allows, and the last above,
+twice as broad as any of the others and bounded by the arch of the
+vaulting; and on the left-hand wall are also seven scenes from the life
+of S. John the Baptist. The first on the right-hand wall is the
+Expulsion of Joachim from the Temple, wherein patience is depicted in
+his countenance, with that contempt and hatred in the faces of the
+others which the Jews felt for those who came to the Temple without
+having children. In this scene, in the part near the window, are four
+men portrayed from life, one of whom, old, shaven, and wearing a red
+cap, is Alesso Baldovinetti, Domenico's master in painting and in
+mosaic. Another, bareheaded, who is holding one hand on his side and is
+wearing a red mantle, with a blue garment below, is Domenico himself,
+the master of the work, who portrayed himself in a mirror. The one who
+has long black locks and thick lips is Bastiano da San Gimignano, his
+disciple and brother-in-law; and the last, who has his back turned, with
+a little cap on his head, is the painter David Ghirlandajo, his brother.
+All these are said, by those who knew them, to be truly vivid and
+lifelike portraits. In the second scene is the Nativity of Our Lady,
+executed with great diligence, and, among other notable things that he
+painted therein, there is in the building (drawn in perspective) a
+window that gives light to the room, which deceives all who see it.
+Besides this, while S. Anna is in bed, and certain ladies are visiting
+her, he painted some women washing the Madonna with great care--one is
+getting ready the water, another is preparing the swaddling-clothes, a
+third is busy with some service, a fourth with another, and, while each
+is attending to her own duty, another woman is holding the little child
+in her arms and making her laugh by smiling at her, with a womanly grace
+truly worthy of such a work; besides many other expressions that are in
+each figure. In the third, which is above the first, is the Madonna
+ascending the steps of the Temple, with a building which recedes from
+the eye correctly enough, in addition to a nude figure that brought him
+praise at that time, when few were to be seen, although it had not that
+complete perfection which is shown by those painted in our own day, for
+those masters were not as excellent as ours. Next to this is the
+Marriage of Our Lady, wherein he represented the unbridled rage of those
+who are breaking their rods because they do not blossom like that of
+Joseph; and this scene has an abundance of figures in an appropriate
+building. In the fifth are seen the Magi arriving in Bethlehem with a
+great number of men, horses, and dromedaries, and a variety of other
+things--a scene truly well composed. Next to this is the sixth, showing
+the impious cruelty practised by Herod against the Innocents, wherein
+there is seen a most beautiful combat between women and soldiers, with
+horses that are striking and driving them about; and in truth this is
+the best of all the stories that are to be seen by his hand, for it is
+executed with judgment, intelligence, and great art. There may be seen
+therein the impious resolution of those who, at the command of Herod,
+without regard for the mothers, are slaying those poor infants, among
+which is one, still clinging to the breast, that is dying from wounds
+received in its throat, so that it is sucking, not to say drinking, as
+much blood as milk from that breast--an effect truly natural, and, being
+wrought in such a manner as it is, able to kindle a spark of pity in the
+coldest heart. There is also a soldier who has seized a child by force,
+and while he runs off with it, pressing it against his breast to kill
+it, the mother is seen hanging from his hair in the utmost fury, and
+forcing him to bend his back in the form of an arch, so that three very
+beautiful effects are shown among them--one in the death of the child,
+which is seen expiring; the second in the impious rage of the soldier,
+who, feeling himself drawn backwards so strangely, is shown in the act
+of avenging himself on the child; and the third is that the mother,
+seeing the death of her babe, is seeking with fury, grief, and disdain
+to prevent the villain from going off scathless; and the whole is truly
+more the work of a philosopher admirable in judgment than of a painter.
+There are many other emotions depicted, which will demonstrate to him
+who studies them that this man was without doubt an excellent master in
+his time. Above this, in the seventh scene, which embraces the space of
+two, and is bounded by the arch of the vaulting, are the Death and the
+Assumption of Our Lady, with an infinite number of angels, and
+innumerable figures, landscapes, and other ornaments, of which he used
+to paint an abundance in his facile and practised manner.
+
+[Illustration: THE BIRTH OF S. JOHN THE BAPTIST
+
+(_After the fresco by =Domenico Ghirlandajo=. Florence: S. Maria
+Novella_)
+
+_Anderson_]
+
+On the other wall are stories of S. John, and in the first is Zacharias
+sacrificing in the Temple, when the Angel appears to him and makes him
+dumb for his unbelief. In this scene, showing how sacrifices in temples
+are ever attended by a throng of the most distinguished men, and wishing
+to make it as honourable as he was able, he portrayed a good number of
+the Florentine citizens who then governed that State, particularly all
+those of the house of Tornabuoni, both young and old. Besides this, in
+order to show that his age was rich in every sort of talent, above all
+in learning, he made a group of four half-length figures conversing
+together at the foot of the scene, representing the most learned men
+then to be found in Florence. The first of these, who is wearing the
+dress of a Canon, is Messer Marsilio Ficino; the second, in a red
+mantle, with a black band round his neck, is Cristofano Landino; the
+figure turning towards him is Demetrius the Greek; and he who is
+standing between them, with one hand slightly raised, is Messer Angelo
+Poliziano; and all are very lifelike and vivacious. In the second scene,
+next to this, there follows the Visitation of Our Lady to S. Elizabeth,
+with a company of many women dressed in costumes of those times, among
+whom is a portrait of Ginevra de' Benci, then a most beautiful maiden.
+In the third, above the first, is the birth of S. John, wherein there
+is a very beautiful scene, for while S. Elizabeth is lying in bed, and
+certain neighbours come to see her, and the nurse is seated suckling the
+infant, one woman is joyfully demanding it from her, that she may show
+to the others what an unexampled feat the mistress of the house has
+performed in her old age. Finally, there is a woman, who is very
+beautiful, bringing fruits and flasks from the country, according to the
+Florentine custom. In the fourth scene, next to this, is Zacharias,
+still dumb, marvelling--but with undaunted heart--that this child should
+have been born to him; and while they keep asking him about the name, he
+is writing on his knee, with his eyes fixed on his son, whom a woman who
+has knelt down before him is holding reverently in her arms, and he is
+tracing with his pen on the paper, "John shall be his name," to the no
+little marvel of many other figures, who appear to be in doubt whether
+the thing be true or not. There follows in the fifth his preaching to
+the multitude, in which scene there is shown that attention which the
+populace ever gives when hearing new things, particularly in the heads
+of the Scribes, who, while listening to John, appear from a certain
+expression of countenance to be deriding his law, and even to hate it;
+and there are seen many men and women, variously attired, both standing
+and seated. In the sixth S. John is seen baptizing Christ, in whose
+reverent expression Domenico showed very clearly the faith that should
+be placed in such a Sacrament. And since this did not fail to achieve a
+very great effect, he depicted many already naked and barefooted,
+waiting to be baptized, and revealing faith and willingness carved in
+their faces; and one among them, who is taking off his shoe, personifies
+readiness itself. In the last, which is in the arch next to the
+vaulting, are the sumptuous Feast of Herod and the Dance of Herodias,
+with an infinite number of servants performing various services in that
+scene; not to mention the grandeur of an edifice drawn in perspective,
+which proves the talent of Domenico no less clearly than do the other
+pictures.
+
+The panel, which stands by itself, he executed in distemper, as he did
+the other figures in the six pictures. Besides the Madonna, who is
+seated in the sky with the Child in her arms, and the other saints who
+are round her, there are S. Laurence and S. Stephen, who are absolutely
+alive, with S. Vincent and S. Peter Martyr, who lack nothing save
+speech. It is true that a part of this panel remained unfinished in
+consequence of his death; but he had carried it so far on that there was
+nothing left to complete save certain figures on the back, where there
+is the Resurrection of Christ, with three figures in the other pictures,
+and the whole was afterwards finished by Benedetto and David
+Ghirlandajo, his brothers. This chapel was held to be a very beautiful
+work, grand, ornate, and lovely, through the vivacity of the colours,
+through the masterly finish in their application on the walls, and
+because very little retouching was done on the dry, not to mention the
+invention and the composition of the subjects. And in truth Domenico
+deserves the greatest praise on all accounts, particularly for the
+liveliness of the heads, which, being portrayed from nature, present to
+every eye most lifelike effigies of many distinguished persons.
+
+For the same Giovanni Tornabuoni, at his Villa of Casso Maccherelli,
+which stands on the River Terzolle at no great distance from the city,
+he painted a chapel which has since been half destroyed through being
+too near to the river; but the paintings, although they have been
+uncovered for many years, continually washed by rain and scorched by the
+sun, have remained so fresh that one might think they had been
+covered--so great is the value of working in fresco, when the work is
+done with care and judgment and not retouched on the dry. He also made
+many figures of Florentine Saints, with most beautiful adornments, in
+that hall of the Palace of the Signoria which contains the marvellous
+clock of Lorenzo della Volpaia. And so great was his love of working and
+of giving satisfaction to all, that he commanded his lads to accept any
+work that might be brought to his shop, even hoops for women's baskets,
+saying that if they would not do them he would paint them himself, to
+the end that none might leave the shop unsatisfied. But when household
+cares fell upon him he was troubled, and he therefore laid the charge of
+all expenditure on his brother David, saying to him, "Leave me to work,
+and do thou provide, for now that I have begun to understand the methods
+of this art, it grieves me that they will not commission me to paint
+the whole circuit of the walls of the city of Florence with stories";
+thus revealing a spirit absolutely invincible and resolute in every
+action.
+
+For S. Martino in Lucca he painted S. Peter and S. Paul on a panel. In
+the Abbey of Settimo, without Florence, he painted the wall of the
+principal chapel in fresco, with two panels in distemper in the
+tramezzo[25] of the church. In Florence, also, he executed many
+pictures, round, square, and of other kinds, which can only be seen in
+the houses of individual citizens. In Pisa he painted the recess behind
+the high-altar of the Duomo, and he worked in many parts of that city,
+painting, for example, on the front wall of the Office of Works, a scene
+of King Charles, portrayed from life, making supplication for Pisa; and
+two panels in distemper, that of the high-altar and another, for the
+Frati Gesuati in S. Girolamo. In that place there is also a picture of
+S. Rocco and S. Sebastian by the hand of the same man, which was given
+by one or other of the Medici to those fathers, who have therefore added
+to it the arms of Pope Leo X.
+
+He is said to have been so accurate in draughtsmanship, that, when
+making drawings of the antiquities of Rome, such as arches, baths,
+columns, colossea, obelisks, amphitheatres, and aqueducts, he would work
+with the eye alone, without rule, compasses, or measurements; and after
+he had made them, on being measured, they were found absolutely correct,
+as if he had used measurements. He drew the Colosseum by the eye,
+placing at the foot of it a figure standing upright, from the
+proportions of which the whole edifice could be measured; this was tried
+by some masters after his death, and found quite correct.
+
+Over a door of the cemetery of S. Maria Nuova he painted a S. Michael in
+fresco, clad in armour which reflects the light most beautifully--a
+thing seldom done before his day. At the Abbey of Passignano, a seat of
+the Monks of Vallombrosa, he wrought certain works in company with his
+brother David and Bastiano da San Gimignano. Here the two others,
+finding themselves poorly fed by the monks before the arrival of
+Domenico, complained to the Abbot, praying him to have them better
+served, since it was not right that they should be treated like
+bricklayers' labourers. This the Abbot promised to do, saying in excuse
+that it was due more to the ignorance of the monks who looked after
+strangers than to malice. Domenico arrived, but everything continued
+just the same; whereupon David, seeking out the Abbot once again,
+declared with due apologies that he was not doing this for his own sake
+but on account of the merits and talents of his brother. But the Abbot,
+like the ignorant man that he was, made no other answer. That evening,
+then, when they had sat down to supper, up came the stranger's steward
+with a board covered with bowls and messes only fit for a hangman,
+exactly the same as before. Thereupon David, flying into a rage, upset
+the soup over the friar, and, seizing the loaf that was on the table,
+fell upon him with it and belaboured him in such a manner that he was
+carried away to his cell more dead than alive. The Abbot, who was
+already in bed, got up and ran to the noise, believing that the
+monastery was tumbling down; and finding the friar in a sorry plight, he
+began to upbraid David. Enraged by this, David bade him be gone out of
+his sight, saying that the talent of Domenico was worth more than all
+the pigs of Abbots like him that had ever lived in that monastery.
+Whereupon the Abbot, seeing himself in the wrong, did his utmost from
+that time onwards to treat them like the important men that they were.
+
+This work finished, Domenico returned to Florence, where he painted a
+panel for Signor di Carpi, sending another to Rimini for Signor Carlo
+Malatesta, who had it placed in his chapel in S. Domenico. The latter
+panel was in distemper, with three very beautiful figures, and with
+little scenes below; and behind were figures painted to look like
+bronze, with very great design and art. Besides these, he painted two
+panels for the Abbey of S. Giusto, a seat of the Order of Camaldoli,
+without Volterra; these panels, which are wondrously beautiful, he
+executed at the order of the Magnificent Lorenzo de' Medici, for the
+reason that the abbey was then held "in commendam" by his son Cardinal
+Giovanni de' Medici, who was afterwards Pope Leo. This abbey was
+restored not many years ago by the Very Reverend Messer Giovan Batista
+Bava of Volterra, who likewise held it "in commendam," to the said
+Congregation of Camaldoli.
+
+Being then summoned to Siena through the agency of the Magnificent
+Lorenzo de' Medici, Domenico undertook to adorn the facade of the Duomo
+with mosaics, Lorenzo acting as surety for him in this work to the
+extent of 20,000 ducats. And he began the work with much confidence and
+a better manner, but, being overtaken by death, he left it unfinished;
+even as, by reason of the death of the aforesaid Magnificent Lorenzo,
+there remained unfinished at Florence the Chapel of S. Zanobi, on which
+Domenico had begun to work in mosaic in company with the illuminator
+Gherardo. By the hand of Domenico is a very beautiful Annunciation in
+mosaic that is to be seen over that side-door of S. Maria del Fiore
+which leads to the Servi; and nothing better than this has yet been seen
+among the works of our modern masters of mosaic. Domenico used to say
+that painting was mere drawing, and that the true painting for eternity
+was mosaic.
+
+A pupil of his, who lived with him in order to learn, was Bastiano
+Mainardi da San Gimignano, who became a very able master of his manner
+in fresco; wherefore he went with Domenico to San Gimignano, where they
+painted in company the Chapel of S. Fina, which is a beautiful work. Now
+the faithful and willing service of Bastiano, who acquitted himself very
+well, induced Domenico to judge him worthy to have a sister of his own
+for wife; and so their friendship was changed into relationship--a proof
+of liberality worthy of a loving master, who was pleased to reward the
+proficiency that his disciple had acquired by labouring at his art.
+Domenico caused the said Bastiano to paint a Madonna ascending into
+Heaven in the Chapel of the Baroncelli and Bandini in S. Croce (although
+he made the cartoon himself), with S. Thomas below receiving the
+Girdle--a beautiful work in fresco. In Siena, in an apartment of the
+Palace of the Spannocchi, Domenico and Bastiano together painted many
+scenes in distemper, with little figures; and in Pisa, in addition to
+the aforesaid recess in the Duomo, they filled the whole arch of that
+chapel with angels, besides painting the folding doors that close the
+organ, and beginning to overlay the ceiling with gold. Afterwards, just
+when Domenico was about to put his hand to some very great works both in
+Pisa and in Siena, he fell sick of a most grievous putrid fever,
+which cut short his life in five days. As he lay ill, the Tornabuoni
+sent him a hundred ducats of gold as a gift, proving their regard and
+particular friendship for Domenico in return for his unceasing labours
+in the service of Giovanni and of his house. Domenico lived forty-four
+years, and he was buried with beautiful obsequies in S. Maria Novella by
+his brothers David and Benedetto and his son Ridolfo, amid much weeping
+and sorrowful regrets. The loss of so great a man was a great grief to
+his friends; and many excellent foreign painters, hearing that he was
+dead, wrote to his relatives lamenting his most untimely death. The
+disciples that he left were David and Benedetto Ghirlandajo, Bastiano
+Mainardi da San Gimignano, the Florentine Michelagnolo Buonarroti,
+Francesco Granaccio, Niccolo Cieco, Jacopo del Tedesco, Jacopo dell'
+Indaco, Baldino Baldinelli, and other masters, all Florentines. He died
+in 1495.
+
+[Illustration: THE MADONNA GIVING THE GIRDLE TO S. THOMAS
+
+(_After the panel by =Bastiano Mainardi=. Florence: S. Croce_)
+
+_Brogi_]
+
+Domenico enriched the art of painting by working in mosaic with a manner
+more modern than was shown by any of the innumerable Tuscans who essayed
+it, as is proved by the works that he wrought, few though they may be.
+Wherefore he has deserved to be held in honour and esteem for such rich
+and undying benefits to art, and to be celebrated with extraordinary
+praises after his death.
+
+FOOTNOTES:
+
+[23] Garlands.
+
+[24] See note on p. 57, Vol. I.
+
+[25] See note on p. 57, Vol. I.
+
+
+
+
+ANTONIO AND PIERO POLLAIUOLO
+
+
+
+
+LIVES OF ANTONIO AND PIERO POLLAIUOLO
+
+PAINTERS AND SCULPTORS OF FLORENCE
+
+
+Many men begin in a humble spirit with unimportant works, who, gaining
+courage from proficiency, grow also in power and ability, in such a
+manner that they aspire to greater undertakings and almost reach Heaven
+with their beautiful thoughts. Raised by fortune, they very often chance
+upon some liberal Prince, who, finding himself well served by them, is
+forced to remunerate their labours so richly that their descendants
+derive great benefits and advantages from them. Wherefore such men walk
+through this life to the end with so much glory, that they leave
+marvellous memorials of themselves to the world, as did Antonio and
+Piero del Pollaiuolo, who were greatly esteemed in their day for the
+rare acquirements that they had made with their industry and labour.
+
+These men were born in the city of Florence, one no long time after the
+other, from a father of humble station and no great wealth, who,
+recognizing by many signs the good and acute intelligence of his sons,
+but not having the means to educate them in letters, apprenticed Antonio
+to the goldsmith's art under Bartoluccio Ghiberti, a very excellent
+master in that calling at that time; and Piero he placed under Andrea
+dal Castagno, who was then the best painter in Florence, to learn
+painting. Antonio, then, being pushed on by Bartoluccio, not only learnt
+to set jewels and to fire enamels on silver, but was also held the best
+master of the tools of that art. Wherefore Lorenzo Ghiberti, who was
+then working on the doors of S. Giovanni, having observed the manner of
+Antonio, called him into that work in company with many other young men,
+and set him to labour on one of the festoons which he then had in hand.
+
+On this Antonio made a quail which is still in existence, so beautiful
+and so perfect that it lacks nothing but the power of flight. Antonio,
+therefore, had not spent many weeks over this work before he was known
+as the best, both in design and in patient execution, of all those who
+were working there, and as more gifted and more diligent than any other.
+Whereupon, growing ever both in ability and in fame, he left Bartoluccio
+and Lorenzo, and opened a fine and magnificent goldsmith's shop for
+himself in the Mercato Nuovo in that city. And for many years he
+followed that art, never ceasing to make new designs, and executing in
+relief wax candles and other things of fancy, which in a short time
+caused him to be held--as he was--the first master of his calling.
+
+There lived at the same time another goldsmith called Maso Finiguerra,
+who had an extraordinary fame, and deservedly, since there had never
+been seen any master of engraving and of niello who could make so great
+a number of figures as he could, whether in a small or in a large space;
+as is still proved by certain paxes in the Church of S. Giovanni in
+Florence, wrought by him with most minutely elaborated stories from the
+Passion of Christ. This man drew very well and in abundance, and in our
+book are many of his drawings of figures, both draped and nude, and
+scenes done in water-colour. In competition with him Antonio executed
+certain scenes, in which he equalled him in diligence and surpassed him
+in design; wherefore the Consuls of the Guild of Merchants, seeing the
+excellence of Antonio, and remembering that there were certain scenes in
+silver to be wrought for the altar of S. Giovanni, such as it had ever
+been the custom for various masters to make at different times,
+determined among themselves that Antonio also should make some. This
+came to pass; and his works turned out so excellent, that they are
+recognized as the best among them all. These were the Feast of Herod and
+the Dance of Herodias; but more beautiful than anything else was the S.
+John that is in the middle of the altar, a work wrought wholly with the
+chasing-tool, and much extolled. For this reason he was commissioned by
+the said Consuls to make the candelabra of silver, each three braccia in
+height, and the Cross in proportion; which work he brought to such
+perfection, with such an abundance of carving, that it has ever been
+esteemed a marvellous thing both by foreigners and by his countrymen.
+
+[Illustration: SS. EUSTACE, JAMES, AND VINCENT
+
+(_After the panel by =Piero Pollaiuolo=. Florence: Uffizi, 1301_)
+
+_Alinari_]
+
+In this calling he took infinite pains, both with the works that he
+executed in gold and with those in enamel and silver. Among these are
+some very beautiful paxes in S. Giovanni, coloured by the action of
+fire, which are such that they could be scarcely improved with the
+brush; and some of his marvellous enamels may be seen in other churches
+in Florence, Rome, and other parts of Italy.
+
+He taught this art to the Florentine Mazzingo and to Giuliano del
+Facchino, both passing good masters, and to Giovanni Turini of Siena,
+who surpassed these his companions considerably in that profession, in
+which, from Antonio di Salvi--who made many good works, such as a large
+silver Cross for the Badia of Florence, and other things--to our own
+day, there has been nothing done than can be held in particular account.
+But of his works and of those of the Pollaiuoli many have been destroyed
+and melted down to meet the necessities of the city in times of war.
+
+For this reason, recognizing that this art gave no long life to the
+labours of its craftsmen, and desiring to gain a more lasting memory,
+Antonio resolved to pursue it no longer. And so, his brother Piero being
+a painter, he associated himself with him in order to learn the methods
+of handling and using colours; but it appeared to him an art so
+different from the goldsmith's, that, if he had not been so hasty in
+resolving to abandon his own art entirely, it might well have been that
+he would never have brought himself to turn to the other. However,
+spurred by fear of shame rather than by hope of profit, in a few months
+he acquired a practical knowledge of colouring and became an excellent
+master. He associated himself entirely with Piero, and they made many
+pictures in company; among others, since they took great delight in
+colour, a panel in oil in S. Miniato al Monte without Florence, for the
+Cardinal of Portugal. On this panel, which was placed on the altar of
+his chapel, they painted S. James the Apostle, S. Eustace, and S.
+Vincent, which have been much extolled. Piero, in particular, painted
+certain prophets on the wall in oil (a method that he had learnt from
+Andrea dal Castagno), in the corners of the angles below the architrave,
+where the lunettes of the arches run; and in one of the lunettes he
+painted the Virgin receiving the Annunciation, with three figures. For
+the Capitani di Parte he painted a Madonna with the Child in her arms in
+a lunette, with a frieze of seraphim all round, also wrought in oil.
+They also painted in oil, on canvas, on a pilaster of S. Michele in
+Orto, an Angel Raphael with Tobias; and they made certain Virtues in the
+Mercatanzia of Florence, in the very place where that Tribunal holds its
+sittings. In the Proconsulate Antonio made portraits from life of Messer
+Poggio, Secretary to the Signoria of Florence, who continued the History
+of Florence after Messer Leonardo d'Arezzo, and of Messer Giannozzo
+Manetti, a man of no small learning and repute, in the same place where
+other masters some time before had made portraits of Zanobi da Strada, a
+poet of Florence, Donato Acciaiuoli, and others. In the Chapel of the
+Pucci, in S. Sebastiano de' Servi, he painted the panel of the altar,
+which is a rare and excellent work, containing marvellous horses, nudes,
+and very beautiful figures in foreshortening, and S. Sebastian himself
+portrayed from life--namely, from Gino di Lodovico Capponi. This work
+received greater praise than any other that Antonio ever made, since,
+seeking to imitate nature to the utmost of his power, he showed in one
+of the archers, who is resting his cross-bow against his chest and
+bending down to the ground in order to load it, all the force that a man
+of strong arm can exert in loading that weapon, for we see his veins and
+muscles swelling, and the man himself holding his breath in order to
+gain more strength. Nor is this the only figure wrought with careful
+consideration, for all the others in their various attitudes also
+demonstrate clearly enough the thought and the intelligence that he put
+into this work, which was certainly appreciated by Antonio Pucci, who
+gave him 300 crowns for it, declaring that he was barely paying him for
+the colours. It was finished in the year 1475.
+
+[Illustration: ANTONIO POLLAIUOLO: DAVID VICTOR
+
+(_Berlin: Kaiser Friedrich Museum, 73A. Panel_)]
+
+Gaining courage from this, therefore, he painted at S. Miniato fra le
+Torri, without the Gate, a S. Cristopher ten braccia in height, a very
+beautiful work executed in a modern manner, the figure being better
+proportioned than any other of that size that had been made up to that
+time. He then made a Crucifix with S. Antonino, on canvas, which was
+placed in the chapel of that Saint in S. Marco. In the Palace of the
+Signoria of Florence, at the Porta della Catena, he made a S. John the
+Baptist; and in the house of the Medici he painted for the elder Lorenzo
+three figures of Hercules in three pictures, each five braccia in
+height. The first of these, which is slaying Antaeus, is a very
+beautiful figure, in which the strength of Hercules as he crushes the
+other is seen most vividly, for the muscles and nerves of that figure
+are all strained in the struggle to destroy Antaeus. The head of
+Hercules shows the gnashing of the teeth so well in harmony with the
+other parts, that even the toes of his feet are raised in the effort.
+Nor did he take less pains with Antaeus, who, crushed in the arms of
+Hercules, is seen sinking and losing all his strength, and giving up his
+breath through his open mouth. The second Hercules, who is slaying the
+Lion, has the left knee pressed against its chest, and, setting his
+teeth and extending his arms, and grasping the Lion's jaws with both his
+hands, he is opening them and rending them asunder by main force,
+although the beast is tearing his arms grievously with its claws in
+self-defence. The third picture, wherein Hercules is slaying the Hydra,
+is something truly marvellous, particularly the serpent, which he made
+so lively and so natural in colouring that nothing could be made more
+life-like. In that beast are seen venom, fire, ferocity, rage, and such
+vivacity, that he deserves to be celebrated and to be closely imitated
+in this by all good craftsmen.
+
+For the Company of S. Angelo in Arezzo he executed an oil-painting on
+cloth, with a Crucifix on one side, and on the other S. Michael in
+combat with the Dragon, as beautiful as any work that there is to be
+seen by his hand; for the figure of S. Michael, who is bravely
+confronting the Dragon, setting his teeth and knitting his brows, truly
+seems to have descended from Heaven in order to effect the vengeance of
+God against the pride of Lucifer, and it is indeed a marvellous work. He
+had a more modern grasp of the nude than the masters before his day, and
+he dissected many bodies in order to study their anatomy. He was the
+first to demonstrate the method of searching out the muscles, in order
+that they might have their due form and place in his figures, and he
+engraved on copper a battle of nude figures all girt round with a chain;
+and after this one he made other engravings, with much better
+workmanship than had been shown by the other masters who had lived
+before him.
+
+For these reasons, then, he became famous among craftsmen, and after the
+death of Pope Sixtus IV he was summoned by his successor, Pope Innocent,
+to Rome, where he made a tomb of metal for the said Innocent, wherein he
+portrayed him from nature, seated in the attitude of giving the
+Benediction; and this was placed in S. Pietro. That of the said Pope
+Sixtus, which was finished at very great cost, was placed in the chapel
+that is called by the name of that Pontiff. It stands quite by itself,
+with very rich adornments, and on it there lies an excellent figure of
+the Pope; and the tomb of Innocent stands in S. Pietro, beside the
+chapel that contains the Lance of Christ. It is said that the same man
+designed the Palace of the Belvedere for the said Pope Innocent,
+although, since he had little experience of building, it was erected by
+others. Finally, after becoming rich, these two brothers died almost at
+the same time in 1498, and were buried by their relatives in S. Pietro
+in Vincula; and in memory of them, beside the middle door, on the left
+as one enters into the church, there were placed two medallions of
+marble with their portraits and with the following epitaph:
+
+   ANTONIUS PULLARIUS PATRIA FLORENTINUS, PICTOR INSIGNIS, QUI
+   DUORUM PONTIF. XISTI ET INNOCENTII AEREA MONIMENTA MIRO OPIFIC.
+   EXPRESSIT, RE FAMIL. COMPOSITA EX TEST. HIC SE CUM PETRO FRATRE
+   CONDI VOLUIT. VIX. AN. LXXII. OBIIT ANNO SAL. MIID.
+
+The same man made a very beautiful battle of nude figures in low-relief
+and of metal, which went to Spain; of this every craftsman in Florence
+has a plaster cast. And after his death there were found the design and
+model that he had made at the command of Lodovico Sforza for the
+equestrian statue of Francesco Sforza, Duke of Milan, of which design
+there are two forms in our book; in one the Duke has Verona beneath him,
+and in the other he is on a pedestal covered with battle pieces, in full
+armour, and forcing his horse to leap on a man in armour. But the reason
+why he did not put these designs into execution I have not yet been able
+to discover. The same man made some very beautiful medals; among others,
+one representing the conspiracy of the Pazzi, containing on one
+side the heads of Lorenzo and Giuliano de' Medici, and on the reverse
+the choir of S. Maria del Fiore, with the whole event exactly as it
+happened. He also made the medals of certain Pontiffs, and many other
+things that are known to craftsmen.
+
+[Illustration: THE MARTYRDOM OF S. SEBASTIAN
+
+(_After the panel by =Antonio Pollaiuolo=. London: National Gallery,
+292_)
+
+_Mansell_]
+
+[Illustration: TOMB OF POPE SIXTUS IV
+
+(_After =Antonio Pollaiuolo=. Rome: S. Peter's_)
+
+_Anderson_]
+
+Antonio was seventy-two years of age when he died, and Piero sixty-five.
+The former left many disciples, among whom was Andrea Sansovino. Antonio
+had a most fortunate life in his day, finding rich Pontiffs, and his own
+city at the height of its greatness and delighting in talent, wherefore
+he was much esteemed; whereas, if he had chanced to live in an
+unfavourable age, he would not have produced such fruits as he did,
+since troublous times are deadly enemies to the sciences in which men
+labour and take delight.
+
+For S. Giovanni in Florence, after the design of this man, there were
+made two dalmatics, a chasuble, and a cope, of double brocade, all woven
+in one piece without a single seam; and for these, as borders and
+ornaments, there were embroidered the stories of the life of S. John,
+with most delicate workmanship and art, by Paolo da Verona, a divine
+master of that profession and rare in intelligence beyond all others,
+who executed the figures no less well with the needle than Antonio would
+have done them with his brush; wherefore we owe no small obligation to
+the one for his design and to the other for his patience in embroidering
+it. This work took twenty-six years to complete; but of these
+embroideries, which, being made with the close stitch, are not only more
+durable but also seem like a real painting done with the brush, the good
+method is now all but lost, since we now use a more open stitch, which
+is less durable and less lovely to the eye.
+
+
+
+
+SANDRO BOTTICELLI
+
+
+
+
+LIFE OF SANDRO BOTTICELLI
+
+[_ALESSANDRO FILIPEPI OR SANDRO DI BOTTICELLO_]
+
+PAINTER OF FLORENCE
+
+
+At the same time with the elder Lorenzo de' Medici, the Magnificent,
+which was truly a golden age for men of intellect, there also flourished
+one Alessandro, called Sandro after our custom, and surnamed Di
+Botticello for a reason that we shall see below. This man was the son of
+Mariano Filipepi, a citizen of Florence, who brought him up with care,
+and had him instructed in all those things that are usually taught to
+children before they are old enough to be apprenticed to some calling.
+But although he found it easy to learn whatever he wished, nevertheless
+he was ever restless, nor was he contented with any form of learning,
+whether reading, writing, or arithmetic, insomuch that his father, weary
+of the vagaries of his son's brain, in despair apprenticed him as a
+goldsmith with a boon-companion of his own, called Botticello, no mean
+master of that art in his day.
+
+Now in that age there was a very close connection--nay, almost a
+constant intercourse--between the goldsmiths and the painters; wherefore
+Sandro, who was a ready fellow and had devoted himself wholly to design,
+became enamoured of painting, and determined to devote himself to that.
+For this reason he spoke out his mind freely to his father, who,
+recognizing the inclination of his brain, took him to Fra Filippo of the
+Carmine, a most excellent painter of that time, with whom he placed him
+to learn the art, according to Sandro's own desire. Thereupon, devoting
+himself heart and soul to that art, Sandro followed and imitated his
+master so well that Fra Filippo, growing to love him, taught him very
+thoroughly, so that he soon rose to such a rank as none would have
+expected for him.
+
+While still quite young, he painted a figure of Fortitude in the
+Mercatanzia of Florence, among the pictures of Virtues that were wrought
+by Antonio and Piero del Pollaiuolo. For the Chapel of the Bardi in S.
+Spirito at Florence he painted a panel, wrought with diligence and
+brought to a fine completion, which contains certain olive-trees and
+palms executed with consummate lovingness. He painted a panel for the
+Convertite Nuns, and another for those of S. Barnaba. In the
+tramezzo[26] of the Ognissanti, by the door that leads into the choir,
+he painted for the Vespucci a S. Augustine in fresco, with which he took
+very great pains, seeking to surpass all the painters of his time, and
+particularly Domenico Ghirlandajo, who had made a S. Jerome on the other
+side; and this work won very great praise, for in the head of that Saint
+he depicted the profound meditation and acute subtlety that are found in
+men of wisdom who are ever concentrated on the investigation of the
+highest and most difficult matters. This picture, as was said in the
+Life of Ghirlandajo, has this year (1564) been removed safe and sound
+from its original position.
+
+Having thus come into credit and reputation, he was commissioned by the
+Guild of Porta Santa Maria to paint in S. Marco a panel with the
+Coronation of Our Lady and a choir of angels, which he designed and
+executed very well. He made many works in the house of the Medici for
+the elder Lorenzo, particularly a Pallas on a device of great branches,
+which spouted forth fire: this he painted of the size of life, as he did
+a S. Sebastian. In S. Maria Maggiore in Florence, beside the Chapel of
+the Panciatichi, there is a very beautiful Pieta with little figures.
+For various houses throughout the city he painted round pictures, and
+many female nudes, of which there are still two at Castello, a villa of
+Duke Cosimo's; one representing the birth of Venus, with those Winds and
+Zephyrs that bring her to the earth, with the Cupids; and likewise
+another Venus, whom the Graces are covering with flowers, as a symbol of
+spring; and all this he is seen to have expressed very gracefully. Round
+an apartment of the house of Giovanni Vespucci, now belonging to Piero
+Salviati, in the Via de' Servi, he made many pictures which were
+enclosed by frames of walnut-wood, by way of ornament and panelling,
+with many most lively and beautiful figures. In the house of the Pucci,
+likewise, he painted with little figures Boccaccio's tale of Nastagio
+degli Onesti in four square pictures of most charming and beautiful
+workmanship, and the Epiphany in a round picture. For a chapel in the
+Monastery of Cestello he painted an Annunciation on a panel. Near the
+side-door of S. Pietro Maggiore, for Matteo Palmieri, he painted a panel
+with an infinite number of figures--namely, the Assumption of Our Lady,
+with the zones of Heaven as they are represented, and the Patriarchs,
+the Prophets, the Apostles, the Evangelists, the Martyrs, the
+Confessors, the Doctors, the Virgins, and the Hierarchies; all from the
+design given to him by Matteo, who was a learned and able man. This work
+he painted with mastery and consummate diligence; and at the foot is a
+portrait of Matteo on his knees, with that of his wife. But for all that
+the work is most beautiful, and should have silenced envy, nevertheless
+there were certain malignant slanderers who, not being able to do it any
+other damage, said that both Matteo and Sandro had committed therein the
+grievous sin of heresy. As to whether this be true or false, I cannot be
+expected to judge; it is enough that the figures painted therein by
+Sandro are truly worthy of praise, by reason of the pains that he took
+in drawing the zones of Heaven and in the distribution of figures,
+angels, foreshortenings, and views, all varied in diverse ways, the
+whole being executed with good design.
+
+[Illustration: SANDRO BOTTICELLI: PALLAS AND THE CENTAUR
+
+(_Florence: Pitti Palace, Panel_)]
+
+[Illustration: SANDRO BOTTICELLI: GIOVANNA TORNABUONI AND THE GRACES
+
+(_Paris: Louvre, 1297. Fresco_)]
+
+At this time Sandro was commissioned to paint a little panel with
+figures three-quarters of a braccio in length, which was placed between
+two doors in the principal facade of S. Maria Novella, on the left as
+one enters the church by the door in the centre. It contains the
+Adoration of the Magi, and wonderful feeling is seen in the first old
+man, who, kissing the foot of Our Lord, and melting with tenderness,
+shows very clearly that he has achieved the end of his long journey. The
+figure of this King is an actual portrait of the elder Cosimo de'
+Medici, the most lifelike and most natural that is to be found of him in
+our own day. The second, who is Giuliano de' Medici, father of Pope
+Clement VII, is seen devoutly doing reverence to the Child with a most
+intent expression, and presenting Him with his offering. The third,
+also on his knees, appears to be adoring Him and giving Him thanks,
+while confessing that He is the true Messiah; this is Giovanni, son of
+Cosimo.
+
+It is not possible to describe the beauty that Sandro depicted in the
+heads that are therein seen, which are drawn in various attitudes, some
+in full face, some in profile, some in three-quarter face, others
+bending down, and others, again, in various manners; with different
+expressions for the young and the old, and with all the bizarre effects
+that reveal to us the perfection of his skill; and he distinguished the
+Courts of the three Kings one from another, insomuch that one can see
+which are the retainers of each. This is truly a most admirable work,
+and executed so beautifully, whether in colouring, drawing, or
+composition, that every craftsman at the present day stands in a marvel
+thereat. And at that time it brought him such great fame, both in
+Florence and abroad, that Pope Sixtus IV, having accomplished the
+building of the chapel of his palace in Rome, and wishing to have it
+painted, ordained that he should be made head of that work; whereupon he
+painted therein with his own hand the following scenes--namely, the
+Temptation of Christ by the Devil, Moses slaying the Egyptian, Moses
+receiving drink from the daughters of Jethro the Midianite, and likewise
+fire descending from Heaven on the sacrifice of the sons of Aaron, with
+certain Sanctified Popes in the niches above the scenes. Having
+therefore acquired still greater fame and reputation among the great
+number of competitors who worked with him, both Florentines and men of
+other cities, he received from the Pope a good sum of money, the whole
+of which he consumed and squandered in a moment during his residence in
+Rome, where he lived in haphazard fashion, as was his wont.
+
+Having at the same time finished and unveiled the part that had been
+assigned to him, he returned immediately to Florence, where, being a man
+of inquiring mind, he made a commentary on part of Dante, illustrated
+the Inferno, and printed it; on which he wasted much of his time,
+bringing infinite disorder into his life by neglecting his work. He also
+printed many of the drawings that he had made, but in a bad manner, for
+the engraving was poorly done. The best of these that is to be seen
+by his hand is the Triumph of the Faith effected by Fra Girolamo
+Savonarola of Ferrara, of whose sect he was so ardent a partisan that he
+was thereby induced to desert his painting, and, having no income to
+live on, fell into very great distress. For this reason, persisting in
+his attachment to that party, and becoming a Piagnone[27] (as the
+members of the sect were then called), he abandoned his work; wherefore
+he ended in his old age by finding himself so poor, that, if Lorenzo de'
+Medici, for whom, besides many other things, he had done some work at
+the little hospital in the district of Volterra, had not succoured him
+the while that he lived, as did afterwards his friends and many
+excellent men who loved him for his talent, he would have almost died of
+hunger.
+
+[Illustration: THE ADORATION OF THE MAGI
+
+(_After the panel by =Sandro Botticelli=. Florence: Uffizi, 1286_)
+
+_M. S._]
+
+In S. Francesco, without the Porta a San Miniato, there is a Madonna in
+a round picture by the hand of Sandro, with some angels of the size of
+life, which was held a very beautiful work. Sandro was a man of very
+pleasant humour, often playing tricks on his disciples and his friends;
+wherefore it is related that once, when a pupil of his who was called
+Biagio had made a round picture exactly like the one mentioned above, in
+order to sell it, Sandro sold it for six florins of gold to a citizen;
+then, finding Biagio, he said to him, "At last I have sold this thy
+picture; so this evening it must be hung on high, where it will be seen
+better, and in the morning thou must go to the house of the citizen who
+has bought it, and bring him here, that he may see it in a good light in
+its proper place; and then he will pay thee the money." "O, my master,"
+said Biagio, "how well you have done." Then, going into the shop, he
+hung the picture at a good height, and went off. Meanwhile Sandro and
+Jacopo, who was another of his disciples, made eight caps of paper, like
+those worn by citizens, and fixed them with white wax on the heads of
+the eight angels that surrounded the Madonna in the said picture. Now,
+in the morning, up comes Biagio with his citizen, who had bought the
+picture and was in the secret. They entered the shop, and Biagio,
+looking up, saw his Madonna seated, not among his angels, but among the
+Signoria of Florence, with all those caps. Thereupon he was just about
+to begin to make an outcry and to excuse himself to the man who had
+bought it, when, seeing that the other, instead of complaining, was
+actually praising the picture, he kept silent himself. Finally, going
+with the citizen to his house, Biagio received his payment of six
+florins, the price for which his master had sold the picture; and then,
+returning to the shop just as Sandro and Jacopo had removed the paper
+caps, he saw his angels as true angels, and not as citizens in their
+caps. All in a maze, and not knowing what to say, he turned at last to
+Sandro and said: "Master, I know not whether I am dreaming, or whether
+this is true. When I came here before, these angels had red caps on
+their heads, and now they have not; what does it mean?" "Thou art out of
+thy wits, Biagio," said Sandro; "this money has turned thy head. If it
+were so, thinkest thou that the citizen would have bought the picture?"
+"It is true," replied Biagio, "that he said nothing to me about it, but
+for all that it seemed to me strange." Finally, all the other lads
+gathered round him and wrought on him to believe that it had been a fit
+of giddiness.
+
+Another time a cloth-weaver came to live in a house next to Sandro's,
+and erected no less than eight looms, which, when at work, not only
+deafened poor Sandro with the noise of the treadles and the movement of
+the frames, but shook his whole house, the walls of which were no
+stronger than they should be, so that what with the one thing and the
+other he could not work or even stay at home. Time after time he
+besought his neighbour to put an end to this annoyance, but the other
+said that he both would and could do what he pleased in his own house;
+whereupon Sandro, in disdain, balanced on the top of his own wall, which
+was higher than his neighbour's and not very strong, an enormous stone,
+more than enough to fill a wagon, which threatened to fall at the
+slightest shaking of the wall and to shatter the roof, ceilings, webs,
+and looms of his neighbour, who, terrified by this danger, ran to
+Sandro, but was answered in his very own words--namely, that he both
+could and would do whatever he pleased in his own house. Nor could he
+get any other answer out of him, so that he was forced to come to a
+reasonable agreement and to be a good neighbour to Sandro.
+
+[Illustration: SANDRO BOTTICELLI: THE MADONNA OF THE POMEGRANATE
+
+(_Florence: Uffizi, 1289. Panel_)]
+
+It is also related that Sandro, for a jest, accused a friend of his own
+of heresy before his vicar, and the friend, on appearing, asked who
+the accuser was and what the accusation; and having been told that it
+was Sandro, who had charged him with holding the opinion of the
+Epicureans, and believing that the soul dies with the body, he insisted
+on being confronted with the accuser before the judge. Sandro therefore
+appeared, and the other said: "It is true that I hold this opinion with
+regard to this man's soul, for he is an animal. Nay, does it not seem to
+you that he is the heretic, since without a scrap of learning, and
+scarcely knowing how to read, he plays the commentator to Dante and
+takes his name in vain?"
+
+It is also said that he had a surpassing love for all whom he saw to be
+zealous students of art; and that he earned much, but wasted everything
+through negligence and lack of management. Finally, having grown old and
+useless, and being forced to walk with crutches, without which he could
+not stand upright, he died, infirm and decrepit, at the age of
+seventy-eight, and was buried in Ognissanti at Florence in the year
+1515.
+
+In the guardaroba of the Lord Duke Cosimo there are two very beautiful
+heads of women in profile by his hand, one of which is said to be the
+mistress of Giuliano de' Medici, brother of Lorenzo, and the other
+Madonna Lucrezia de' Tornabuoni, wife of the said Lorenzo. In the same
+place, likewise by the hand of Sandro, is a Bacchus who is raising a
+cask with both his hands, and putting it to his mouth--a very graceful
+figure. And in the Duomo of Pisa he began an Assumption, with a choir of
+angels, in the Chapel of the Impagliata; but afterwards, being
+displeased with it, he left it unfinished. In S. Francesco at
+Montevarchi he painted the panel of the high-altar; and in the Pieve of
+Empoli, on the same side as the S. Sebastian of Rossellino, he made two
+angels. He was among the first to discover the method of decorating
+standards and other sorts of hangings with the so-called inlaid work, to
+the end that the colours might not fade and might show the tint of the
+cloth on either side. By his hand, and made thus, is the baldacchino of
+Orsanmichele, covered with beautiful and varied figures of Our Lady;
+which proves how much better such a method preserves the cloth than does
+the use of mordants, which eat it away and make its life but short,
+although, being less costly, mordants are now used more than anything
+else.
+
+Sandro's drawings were extraordinarily good, and so many, that for some
+time after his death all the craftsmen strove to obtain some of them;
+and we have some in our book, made with great mastery and judgment. His
+scenes abounded with figures, as may be seen from the embroidered border
+of the Cross that the Friars of S. Maria Novella carry in processions,
+all made from his design. Great was the praise, then, that Sandro
+deserved for all the pictures that he chose to make with diligence and
+love, as he did the aforesaid panel of the Magi in S. Maria Novella,
+which is marvellous. Very beautiful, too, is a little round picture by
+his hand that is seen in the apartment of the Prior of the Angeli in
+Florence, in which the figures are small but very graceful and wrought
+with beautiful consideration. Of the same size as the aforesaid panel of
+the Magi, and by the same man's hand, is a picture in the possession of
+Messer Fabio Segni, a gentlemen of Florence, in which there is painted
+the Calumny of Apelles, as beautiful as any picture could be. Under this
+panel, which Sandro himself presented to Antonio Segni, who was much his
+friend, there may now be read the following verses, written by the said
+Messer Fabio:
+
+   INDICIO QUEMQUAM NE FALSO LAEDERE TENTENT
+       TERRARUM REGES, PARVA TABELLA MONET.
+   HUIC SIMILEM AEGYPTI REGI DONAVIT APELLES;
+       REX FUIT ET DIGNUS MUNERE, MUNUS EO.
+
+[Illustration: THE CALUMNY OF APELLES
+
+(_After the panel by =Sandro Botticelli=. Florence: Uffizi, 1182_)
+
+_M. S._]
+
+FOOTNOTES:
+
+[26] See note on p. 57, Vol. 1.
+
+[27] Mourner, or Weeper.
+
+
+
+
+BENEDETTO DA MAIANO
+
+
+
+
+LIFE OF BENEDETTO DA MAIANO
+
+SCULPTOR AND ARCHITECT
+
+
+Benedetto da Maiano, a sculptor of Florence, who was in his earliest
+years a wood-carver, was held the most able master of all who were then
+handling the tools of that profession; and he was particularly excellent
+as a craftsman in that form of work which, as has been said elsewhere,
+was introduced at the time of Filippo Brunelleschi and Paolo
+Uccello--namely, the inlaying of pieces of wood tinted with various
+colours, in order to make views in perspective, foliage, and many other
+diverse things of fancy. In this craft, then, Benedetto da Maiano was in
+his youth the best master that there was to be found, as is clearly
+demonstrated by many works of his that are to be seen in various parts
+of Florence, particularly by all the presses in the Sacristy of S. Maria
+del Fiore, the greater part of which he finished after the death of his
+uncle Giuliano; these are full of figures executed in inlaid work,
+foliage, and other devices, all wrought with great expense and
+craftsmanship. Having gained a very great name through the novelty of
+this art, he made many works, which were sent to diverse places and to
+various Princes; and among others King Alfonso of Naples had the
+furniture for a study, made under the direction of Giuliano, uncle of
+Benedetto, who was serving that King as architect. Benedetto himself
+went to join him there; but, being displeased with the position, he
+returned to Florence, where, no long time after, he made for Matthias
+Corvinus, King of Hungary, who had many Florentines in his Court and
+took delight in all rare works, a pair of coffers inlaid in wood with
+difficult and most beautiful craftsmanship. He then determined, being
+invited with great favour by that King, to consent to go thither at all
+costs; and so, having packed up his coffers and embarked with them on
+board ship, he set off for Hungary. There, after doing obeisance to that
+King, by whom he was received most graciously, he sent for the said
+coffers and had them unpacked in the presence of the monarch, who was
+very eager to see them; whereupon he saw that the damp from the water
+and the exhalations from the sea had so softened the glue, that, on the
+opening of the waxed cloths, almost all the pieces which had been
+attached to the coffers fell to the ground. Whether Benedetto,
+therefore, in the presence of so many nobles, stood in dumb amazement,
+everyone may judge for himself. However, putting the work together as
+well as he was able, he contrived to leave the King well enough
+satisfied; but in spite of this he took an aversion to that craft and
+could no longer endure it, through the shame that it had brought upon
+him.
+
+And so, casting off all timidity, he devoted himself to sculpture, in
+which art he had already worked at Loreto while living with his uncle
+Giuliano, making a lavatory with certain angels of marble for the
+sacristy. Labouring at this art, before he left Hungary he gave that
+King to know that if he had been put to shame at the beginning, the
+fault had lain with that craft, which was a mean one, and not with his
+intellect, which was rare and exalted. Having therefore made in those
+parts certain works both in clay and in marble, which gave great
+pleasure to that King, he returned to Florence; and he had no sooner
+arrived there than he was commissioned by the Signori to make the marble
+ornament for the door of their Audience Chamber. For this he made some
+boys supporting with their arms certain festoons, all very beautiful;
+but the most beautiful part of the work was the figure in the middle,
+two braccia in height, of a young S. John, which is held to be a thing
+of rare excellence. And to the end that the whole work might be by his
+own hand, he made by himself the wood-work that closes the said door,
+and executed a figure with inlaid woods on either part of it, that is,
+Dante on one and Petrarca on the other; which two figures are enough to
+show to any man who may have seen no other work of that kind by the hand
+of Benedetto, how rare and excellent a master he was of that craft. This
+Audience Chamber has been painted in our own day by Francesco Salviati
+at the command of the Lord Duke Cosimo, as will be told in the proper
+place.
+
+[Illustration: PULPIT IN S. CROCE, FLORENCE
+
+(_After =Benedetto da Maiano=. Florence_)
+
+_Alinari_]
+
+In S. Maria Novella at Florence, where Filippino painted the chapel,
+Benedetto afterwards made a tomb of black marble, with a Madonna and
+certain angels in a medallion, with much diligence, for the elder
+Filippo Strozzi, whose portrait, which he made there in marble, is now
+in the Strozzi Palace. The same Benedetto was commissioned by the elder
+Lorenzo de' Medici to make in S. Maria del Fiore a portrait of the
+Florentine painter Giotto, which he placed over the epitaph, of which
+enough has been said above in the Life of Giotto himself. This piece of
+marble sculpture is held to be passing good. Having afterwards gone to
+Naples by reason of the death of his uncle Giuliano, whose heir he was,
+Benedetto, besides certain works that he executed for that King, made a
+marble panel for the Count of Terranuova in the Monastery of the Monks
+of Monte Oliveto, containing an Annunciation with certain saints, and
+surrounded by very beautiful boys, who are supporting some festoons; and
+in the predella of the said work he made many low-reliefs in a good
+manner. In Faenza he made a very beautiful tomb of marble for the body
+of S. Savino, and on this he wrought six scenes in low-relief from the
+life of that Saint, with much invention and design both in the buildings
+and in the figures; insomuch that both from this work and from others by
+his hand he was recognized as a man excellent in sculpture. Wherefore,
+before he left Romagna, he was commissioned to make a portrait of
+Galeotto Malatesta. He also made one, I know not whether before this or
+after, of Henry VII, King of England, after a drawing on paper that he
+had received from some Florentine merchants. The studies for these two
+portraits, together with many other things, were found in his house
+after his death.
+
+Having finally returned to Florence, he made in S. Croce, for Pietro
+Mellini, a citizen of Florence and a very rich merchant at that time,
+the marble pulpit that is seen there, which is held to be a very rare
+thing and more beautiful than any other that has ever been executed in
+that manner, since the marble figures that are to be seen therein, in
+the stories of S. Francis, are wrought with so great excellence and
+diligence that nothing more could be looked for in marble. For with
+great art Benedetto carved there trees, rocks, houses, views in
+perspective, and certain things in marvellously bold relief; not to
+mention a projection on the ground below the said pulpit, which serves
+as a tombstone, wrought with so much design that it is not possible to
+praise it enough. It is said that in making this work he had some
+difficulty with the Wardens of Works of S. Croce, because, while he
+wished to erect the said pulpit against a column that sustains some of
+the arches which support the roof, and to perforate that column in order
+to accommodate the steps and the entrance to the pulpit, they would not
+consent, fearing lest it might be so weakened by the hollow required for
+the steps as to collapse under the weight above, with great damage to a
+part of that church. But Mellini having guaranteed that the work would
+be finished without any injury to the church, they finally consented.
+Having, therefore, bound the outer side of the column with bands of
+bronze (the part, namely, from the pulpit downwards, which is covered
+with hard stone), Benedetto made within it the steps for ascending to
+the pulpit, and in proportion as he hollowed it out within, so did he
+strengthen the outer side with the said hard stone, in the manner that
+is still to be seen. And he brought this work to perfection to the
+amazement of all who see it, showing in each part and in the whole
+together the utmost excellence that could be desired in such a work.
+
+Many declare that the elder Filippo Strozzi, when intending to build his
+palace, sought the advice of Benedetto, who made him a model, according
+to which it was begun, although it was afterwards carried on and
+finished by Cronaca on the death of Benedetto. The latter, having
+acquired enough to live upon, would do no more works in marble after
+those described above, save that he finished in S. Trinita the S. Mary
+Magdalene begun by Desiderio da Settignano, and made the Crucifix that
+is over the altar of S. Maria del Fiore, with certain others like it.
+
+As for architecture, although he put his hand to but few works, yet in
+these he showed no less judgment than in sculpture; particularly in
+three ceilings which were made at very great expense, under his guidance
+and direction, in the Palace of the Signoria at Florence. The first of
+these was the ceiling of the hall that is now called the Sala de'
+Dugento, over which it was proposed to make, not a similar hall, but two
+apartments, that is, a hall and an audience chamber, so that it was
+necessary to make a wall, and no light one either, containing a marble
+door of reasonable thickness; wherefore, for the execution of such a
+work, there was need of intelligence and judgment no less than those
+possessed by Benedetto.
+
+Benedetto, then, in order not to diminish the said hall and yet divide
+the space above into two, went to work in the following manner. On a
+beam one braccio in thickness, and as long as the whole breadth of the
+hall, he laid another consisting of two pieces, in such a manner that it
+projected with its thickness to the height of two-thirds of a braccio.
+At the ends, these two beams, bound and secured together very firmly,
+gave a height of two braccia at the edge of the wall on each side; and
+the said two ends were grooved with a claw-shaped cut, in such a way
+that there could be laid upon them an arch of half a braccio in
+thickness, made of two layers of bricks, with its flanks resting on the
+principal walls. These two beams, then, were dove-tailed together with
+tenon and mortise, and so firmly bound and united with good bands of
+iron, that out of two there was made one single beam. Besides this,
+having made the said arch, and wishing that these timbers of the ceiling
+should have nothing more to sustain than the wall under the arch, and
+that the arch itself should sustain the rest, he also attached to this
+arch two great supports of iron, which, being firmly bolted to the said
+beams below, upheld and still uphold them; while, even if they were not
+to suffice by themselves, the arch would be able--by means of the said
+supports which encircle the beams, one on one side of the marble door
+and one on the other--to support a weight much greater than that of the
+partition wall, which is made of bricks and half a braccio in thickness.
+What is more, he had the bricks in the said wall laid on edge and in the
+manner of an arch, so that the pressure came against the solid part, at
+the corners, and the whole was thus more stable. In this manner, by
+means of the good judgment of Benedetto, the said Sala de' Dugento
+remained as large as before, and over the same space, with a partition
+wall between, were made the hall that is called the Sala dell'
+Orivolo[28] and the Audience Chamber wherein is the Triumph of Camillus,
+painted by the hand of Salviati. The soffit of this ceiling was richly
+wrought and carved by Marco del Tasso and his brothers, Domenico and
+Giuliano, who likewise executed that of the Sala dell' Orivolo and that
+of the Audience Chamber. And since the said marble door had been made
+double by Benedetto, on the arch of the inner door--we have already
+spoken of the outer one--he wrought a seated figure of Justice in
+marble, with the globe of the world in one hand and a sword in the
+other; and round the arch run the following words:
+
+   DILIGITE JUSTITIAM QUI JUDICATIS TERRAM.
+
+The whole of this work was executed with marvellous diligence and art.
+
+For the Church of the Madonna delle Grazie, which is a little distance
+without the city of Arezzo, the same man made a portico with a flight of
+steps in front of the door. In making the portico he placed the arches
+on the columns, and right round alongside the roof he made an
+architrave, frieze, and great cornice; and in the latter, by way of
+drip, he placed a garland of rosettes carved in grey-stone, which jut
+out to the extent of one braccio and a third, insomuch that between the
+projection of the front of the cyma above to the dentils and ovoli below
+the drip there is a space of two braccia and a half, which, with the
+half braccio added by the tiles, makes a projecting roof all round of
+three braccia in width, beautiful, rich, useful, and ingenious. In this
+work there is a contrivance worthy to be well considered by craftsmen,
+for, wishing to give this roof all that projection without modillions or
+corbels to support it, he made the slabs, on which the rosettes are
+carved, so large that only the half of their length projected, and the
+other half was built into the solid wall; wherefore, being thus
+counterpoised, they were able to support the rest and all that was laid
+upon them, as they have done up to the present day, without any danger
+to that building. And since he did not wish this roof to appear to be
+made, as it was, of pieces, he surrounded it all, piece by piece, with a
+moulding made of sections well dove-tailed and let into one another,
+which served as a ground to the garland of rosettes; and this united the
+whole work together in such a manner that all who see it judge it to be
+of one piece. In the same place he had a flat ceiling made of gilded
+rosettes, which is much extolled.
+
+Now Benedetto had bought a farm without Prato, on the road from the
+Porta Fiorentina in the direction of Florence, and no more than half a
+mile from that place. On the main road, beside the gate, he built a most
+beautiful little chapel, with a niche wherein he placed a Madonna with
+the Child in her arms, so well wrought in terra-cotta, that even as it
+is, with no other colour, it is as beautiful as if it were of marble. So
+are two angels that are above by way of ornament, each with a
+candelabrum in his hand. On the predella of the altar there is a Pieta
+with Our Lady and S. John, made of marble and very beautiful. At his
+death he left in his house many things begun both in clay and in marble.
+Benedetto was a very good draughtsman, as may be seen in certain
+drawings in our book. Finally he died in 1498, at the age of fifty-four,
+and was honourably buried in S. Lorenzo; and he left directions that all
+his property, after the death of certain of his relatives, should go to
+the Company of the Bigallo.
+
+While Benedetto in his youth was working as a joiner and at the inlaying
+of wood, he had among his rivals Baccio Cellini, piper to the Signoria
+of Florence, who made many very beautiful inlaid works in ivory, and
+among others an octagon of figures in ivory, outlined in black and
+marvellously beautiful, which is in the guardaroba of the Duke. In like
+manner, Girolamo della Cecca, a pupil of Baccio and likewise piper to
+the Signoria, also executed many inlaid works at that same time. A
+contemporary of these was David Pistoiese, who made a S. John the
+Evangelist of inlaid work at the entrance to the choir of S. Giovanni
+Evangelista in Pistoia--a work more notable for great diligence in
+execution than for any great design. There was also Geri Aretino, who
+wrought the choir and the pulpit of S. Agostino at Arezzo with figures
+and views in perspective, likewise of inlaid wood. This Geri was a very
+fanciful man, and he made with wooden pipes an organ most perfect in
+sweetness and softness, which is still at the present day over the door
+of the Sacristy of the Vescovado at Arezzo, with its original goodness
+as sound as ever--a work worthy of marvel, and first put into execution
+by him. But not one of these men, nor any other, was as excellent by a
+great measure as was Benedetto; wherefore he deserves to be ever
+numbered with praise among the best craftsmen of his professions.
+
+FOOTNOTES:
+
+[28] _I.e._, clock.
+
+
+
+
+ANDREA VERROCCHIO
+
+[Illustration: DAVID
+
+(_After the bronze by =Andrea Verrocchio=. Florence: Bargello_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ANDREA VERROCCHIO
+
+PAINTER, SCULPTOR, AND ARCHITECT OF FLORENCE
+
+
+Andrea del Verrocchio, a Florentine, was in his day a goldsmith, a
+master of perspective, a sculptor, a wood-carver, a painter, and a
+musician; but in the arts of sculpture and painting, to tell the truth,
+he had a manner somewhat hard and crude, as one who acquired it rather
+by infinite study than by the facility of a natural gift. Even if he had
+been as poor in this facility as he was rich in the study and diligence
+that exalted him, he would have been most excellent in those arts,
+which, for their highest perfection, require a union of study and
+natural power. If either of these is wanting, a man rarely attains to
+the first rank; but study will do a great deal, and thus Andrea, who had
+it in greater abundance than any other craftsman whatsoever, is counted
+among the rare and excellent masters of our arts.
+
+In his youth he applied himself to the sciences, particularly to
+geometry. Among many other things that he made while working at the
+goldsmith's art were certain buttons for copes, which are in S. Maria
+del Fiore at Florence; and he also made larger works, particularly a
+cup, full of animals, foliage, and other bizarre fancies, which is known
+to all goldsmiths, and casts are taken of it; and likewise another, on
+which there is a very beautiful dance of little children. Having given a
+proof of his powers in these two works, he was commissioned by the Guild
+of Merchants to make two scenes in silver for the ends of the altar of
+S. Giovanni, from which, when put into execution, he acquired very great
+praise and fame.
+
+There were wanting at this time in Rome some of those large figures of
+the Apostles which generally stood on the altar of the Chapel of the
+Pope, as well as certain other works in silver that had been destroyed;
+wherefore Pope Sixtus sent for Andrea and with great favour commissioned
+him to do all that was necessary in this matter, and he brought the
+whole to perfection with much diligence and judgment. Meanwhile,
+perceiving that the many antique statues and other things that were
+being found in Rome were held in very great esteem, insomuch that the
+famous bronze horse was set up by the Pope at S. Giovanni Laterano, and
+that even the fragments--not to speak of complete works--which were
+being discovered every day, were prized, Andrea determined to devote
+himself to sculpture. And so, completely abandoning the goldsmith's art,
+he set himself to cast some little figures in bronze, which were greatly
+extolled. Thereupon, growing in courage, he began to work in marble. Now
+in those days the wife of Francesco Tornabuoni had died in childbirth,
+and her husband, who had loved her much, and wished to honour her in
+death to the utmost of his power, entrusted the making of a tomb for her
+to Andrea, who carved on a slab over a sarcophagus of marble the lady
+herself, her delivery, and her passing to the other life; and beside
+this he made three figures of Virtues, which were held very beautiful,
+for the first work that he had executed in marble; and this tomb was set
+up in the Minerva.
+
+Having then returned to Florence with money, fame, and honour, he was
+commissioned to make a David of bronze, two braccia and a half in
+height, which, when finished, was placed in the Palace, with great
+credit to himself, at the head of the staircase, where the Catena was.
+The while that he was executing the said statue, he also made that
+Madonna of marble which is over the tomb of Messer Lionardo Bruni of
+Arezzo in S. Croce; this he wrought, when still quite young, for
+Bernardo Rossellino, architect and sculptor, who executed the whole of
+that work in marble, as has been said. The same Andrea made a
+half-length Madonna in half-relief, with the Child in her arms, in a
+marble panel, which was formerly in the house of the Medici, and is now
+placed, as a very beautiful thing, over a door in the apartment of the
+Duchess of Florence. He also made two heads of metal, likewise in
+half-relief; one of Alexander the Great, in profile, and the other a
+fanciful portrait of Darius; each being a separate work by itself, with
+variety in the crests, armour, and everything else. Both these heads
+were sent to Hungary by the elder Lorenzo de' Medici, the Magnificent,
+to King Matthias Corvinus, together with many other things, as will be
+told in the proper place.
+
+Having acquired the name of an excellent master by means of these works,
+above all through many works in metal, in which he took much delight, he
+made a tomb of bronze in S. Lorenzo, wholly in the round, for Giovanni
+and Pietro di Cosimo de' Medici, with a sarcophagus of porphyry
+supported by four corner-pieces of bronze, with twisted foliage very
+well wrought and finished with the greatest diligence. This tomb stands
+between the Chapel of the Sacrament and the Sacristy, and no work could
+be better done, whether wrought in bronze or cast; above all since at
+the same time he showed therein his talent in architecture, for he
+placed the said tomb within the embrasure of a window which is about
+five braccia in breadth and ten in height, and set it on a base that
+divides the said Chapel of the Sacrament from the old Sacristy. And over
+the sarcophagus, to fill up the embrasure right up to the vaulting, he
+made a grating of bronze ropes in a pattern of mandorle, most natural,
+and adorned in certain places with festoons and other beautiful things
+of fancy, all remarkable and executed with much mastery, judgment, and
+invention.
+
+Now Donatello had made for the Tribunal of Six of the Mercanzia that
+marble shrine which is now opposite to S. Michael, in the Oratory of
+Orsanmichele, and for this there was to have been made a S. Thomas in
+bronze, feeling for the wound in the side of Christ; but at that time
+nothing more was done, for some of the men who had the charge of this
+wished to have it made by Donatello, and others favoured Lorenzo
+Ghiberti. Matters stood thus as long as Donatello and Ghiberti were
+alive; but finally the said two statues were entrusted to Andrea, who,
+having made the models and moulds, cast them; and they came out so
+solid, complete, and well made, that it was a most beautiful casting.
+Thereupon, setting himself to polish and finish them, he brought them
+to that perfection which is seen at the present day, which could not be
+greater than it is, for in S. Thomas we see incredulity and a too great
+anxiety to assure himself of the truth, and at the same time the love
+that makes him lay his hand in a most beautiful manner on the side of
+Christ; and in Christ Himself, who is raising one arm and opening His
+raiment with a most spontaneous gesture, and dispelling the doubts of
+His incredulous disciple, there are all the grace and divinity, so to
+speak, that art can give to any figure. Andrea clothed both these
+figures in most beautiful and well-arranged draperies, which give us to
+know that he understood that art no less than did Donato, Lorenzo, and
+the others who had lived before him; wherefore this work well deserved
+to be set up in a shrine made by Donatello, and to be ever afterwards
+held in the greatest price and esteem.
+
+Now the fame of Andrea could not go further or grow greater in that
+profession, and he, as a man who was not content with being excellent in
+one thing only, but desired to become the same in others as well by
+means of study, turned his mind to painting, and so made the cartoons
+for a battle of nude figures, very well drawn with the pen, to be
+afterwards painted in colours on a wall. He also made the cartoons for
+some historical pictures, and afterwards began to put them into
+execution in colours; but for some reason, whatever it may have been,
+they remained unfinished. There are some drawings by his hand in our
+book, made with much patience and very great judgment, among which are
+certain heads of women, beautiful in expression and in the adornment of
+the hair, which Leonardo da Vinci was ever imitating for their beauty.
+In our book, also, are two horses with the due measures and protractors
+for reproducing them on a larger scale from a smaller, so that there may
+be no errors in their proportions; and there is in my possession a
+horse's head of terra-cotta in relief, copied from the antique, which is
+a rare work. The Very Reverend Don Vincenzio Borghini has some of his
+drawings in his book, of which we have spoken above; among others, a
+design for a tomb made by him in Venice for a Doge, a scene of the
+Adoration of Christ by the Magi, and the head of a woman painted on
+paper with the utmost delicacy. He also made for Lorenzo de' Medici,
+for the fountain of his Villa at Careggi, a boy of bronze squeezing a
+fish, which the Lord Duke Cosimo has caused to be placed, as may be seen
+at the present day, on the fountain that is in the courtyard of his
+Palace; which boy is truly marvellous.
+
+[Illustration: CORNER AND FOOT OF THE MEDICI SARCOPHAGUS
+
+(_Detail, after =Andrea Verrocchio=. Florence: S. Lorenzo_)
+
+_Alinari_]
+
+Afterwards, the building of the Cupola of S. Maria del Fiore having been
+finished, it was resolved, after much discussion, that there should be
+made the copper ball which, according to the instructions left by
+Filippo Brunelleschi, was to be placed on the summit of that edifice.
+Whereupon the task was given to Andrea, who made the ball four braccia
+high, and, placing it on a knob, secured it in such a manner that
+afterwards the cross could be safely erected upon it; and the whole
+work, when finished, was put into position with very great rejoicing and
+delight among the people. Truly great were the ingenuity and diligence
+that had to be used in making it, to the end that it might be possible,
+as it is, to enter it from below, and also in securing it with good
+fastenings, lest the winds might do it damage.
+
+Andrea was never at rest, but was ever labouring at some work either in
+painting or in sculpture; and sometimes he would change from one to
+another, in order to avoid growing weary of working always at the same
+thing, as many do. Wherefore, although he did not put the aforesaid
+cartoons into execution, yet he did paint certain pictures; among
+others, a panel for the Nuns of S. Domenico in Florence, wherein it
+appeared to him that he had acquitted himself very well; whence, no long
+time after, he painted another in S. Salvi for the Monks of Vallombrosa,
+containing the Baptism of Christ by S. John. In this work he was
+assisted by Leonardo da Vinci, his disciple, then quite young, who
+painted therein an angel with his own hand, which was much better than
+the other parts of the work; and for that reason Andrea resolved never
+again to touch a brush, since Leonardo, young as he was, had acquitted
+himself in that art much better than he had done.
+
+Now Cosimo de' Medici, having received many antiquities from Rome, had
+caused to be set up within the door of his garden, or rather, courtyard,
+which opens on the Via de' Ginori, a very beautiful Marsyas of white
+marble, bound to a tree-trunk and ready to be flayed; and his grandson
+Lorenzo, into whose hands there had come the torso and head of another
+Marsyas, made of red stone, very ancient, and much more beautiful than
+the first, wished to set it beside the other, but could not, because it
+was so imperfect. Thereupon he gave it to Andrea to be restored and
+completed, and he made the legs, thighs, and arms that were lacking in
+this figure out of pieces of red marble, so well that Lorenzo was highly
+satisfied and had it placed opposite to the other, on the other side of
+the door. This ancient torso, made to represent a flayed Marsyas, was
+wrought with such care and judgment that certain delicate white veins,
+which were in the red stone, were carved by the craftsman exactly in the
+right places, so as to appear to be little nerves, such as are seen in
+real bodies when they have been flayed; which must have given to that
+work, when it had its original finish, a most life-like appearance.
+
+The Venetians, meanwhile, wishing to honour the great valour of
+Bartolommeo da Bergamo, thanks to whom they had gained many victories,
+in order to encourage others, and having heard the fame of Andrea,
+summoned him to Venice, where he was commissioned to make an equestrian
+statue of that captain in bronze, to be placed on the Piazza di SS.
+Giovanni e Polo. Andrea, then, having made the model of the horse, had
+already begun to get it ready for casting in bronze, when, thanks to the
+favour of certain gentlemen, it was determined that Vellano da Padova
+should make the figure and Andrea the horse. Having heard this, Andrea
+broke the legs and head of his model and returned in great disdain to
+Florence, without saying a word. The Signoria, receiving news of this,
+gave him to understand that he should never be bold enough to return to
+Venice, for they would cut his head off; to which he wrote in answer
+that he would take good care not to, because, once they had cut a man's
+head off, it was not in their power to put it on again, and certainly
+not one like his own, whereas he could have replaced the head that he
+had knocked off his horse with one even more beautiful. After this
+answer, which did not displease those Signori, his payment was doubled
+and he was persuaded to return to Venice, where he restored his first
+model and cast it in bronze; but even then he did not finish it
+entirely, for he caught a chill by overheating himself during the
+casting, and died in that city within a few days; leaving unfinished
+not only that work (although there was only a little polishing to be
+done), which was set up in the place for which it was destined, but also
+another which he was making in Pistoia, that is, the tomb of Cardinal
+Forteguerra, with the three Theological Virtues, and a God the Father
+above; which work was afterwards finished by Lorenzetto, a sculptor of
+Florence.
+
+[Illustration: STATUE OF BARTOLOMMEO COLLEONI
+
+(_After the bronze by =Andrea Verrocchio=. Venice: Campo SS. Giovanni e
+Paolo_)
+
+_Anderson_]
+
+Andrea was fifty-six years of age when he died. His death caused
+infinite grief to his friends and to his disciples, who were not few;
+above all to the sculptor Nanni Grosso, a most eccentric person both in
+his art and in his life. This man, it is said, would not have worked
+outside his shop, particularly for monks or friars, if he had not had
+free access to the door of the vault, or rather, wine-cellar, so that he
+might go and drink whenever he pleased, without having to ask leave. It
+is also told of him that once, having returned from S. Maria Nuova
+completely cured of some sickness, I know not what, he was visited by
+his friends, who asked him how it went with him. "Ill," he answered.
+"But thou art cured," they replied. "That is why it goes ill with me,"
+said he, "for I would dearly love a little fever, so that I might lie
+there in the hospital, well attended and at my ease." As he lay dying,
+again in the hospital, there was placed before him a wooden Crucifix,
+very rude and clumsily wrought; whereupon he prayed them to take it out
+of his sight and to bring him one by the hand of Donato, declaring that
+if they did not take it away he would die in misery, so greatly did he
+detest badly wrought works in his own art.
+
+Disciples of the same Andrea were Pietro Perugino and Leonardo da Vinci,
+of whom we will speak in the proper place, and Francesco di Simone of
+Florence, who made a tomb of marble in the Church of S. Domenico in
+Bologna, with many little figures, which appear from the manner to be by
+the hand of Andrea, for Messer Alessandro Tartaglia, a doctor of Imola,
+and another in S. Pancrazio at Florence, facing the sacristy and one of
+the chapels of the church, for the Chevalier Messer Pietro Minerbetti.
+Another pupil of Andrea was Agnolo di Polo, who worked with great
+mastery in clay, filling the city with works by his hand; and if he had
+deigned to apply himself properly to his art, he would have made very
+beautiful things. But the one whom he loved more than all the others was
+Lorenzo di Credi, who brought his remains from Venice and laid them in
+the Church of S. Ambrogio, in the tomb of Ser Michele di Cione, on the
+stone of which there are carved the following words:
+
+   SER MICHAELIS DE CIONIS, ET SUORUM.
+
+And beside them:
+
+   HIC OSSA JACENT ANDREAE VERROCHII, QUI OBIIT
+   VENETIIS, MCCCCLXXXVIII.
+
+Andrea took much delight in casting in a kind of plaster which would set
+hard--that is, the kind that is made of a soft stone which is quarried
+in the districts of Volterra and of Siena and in many other parts of
+Italy. This stone, when burnt in the fire, and then pounded and mixed
+with tepid water, becomes so soft that men can make whatever they please
+with it; but afterwards it solidifies and becomes so hard, that it can
+be used for moulds for casting whole figures. Andrea, then, was wont to
+cast in moulds of this material such natural objects as hands, feet,
+knees, legs, arms, and torsi, in order to have them before him and
+imitate them with greater convenience. Afterwards, in his time, men
+began to cast the heads of those who died--a cheap method; wherefore
+there are seen in every house in Florence, over the chimney-pieces,
+doors, windows, and cornices, infinite numbers of such portraits, so
+well made and so natural that they appear alive. And from that time up
+to the present the said custom has been continued, and it still
+continues, with great convenience to ourselves, for it has given us
+portraits of many who have been included in the stories in the Palace of
+Duke Cosimo. And for this we should certainly acknowledge a very great
+obligation to the talent of Andrea, who was one of the first to begin to
+bring the custom into use.
+
+From this men came to make more perfect images, not only in Florence,
+but in all the places in which there is devoutness, and to which people
+flock to offer votive images, or, as they are called, "miracoli," in
+return for some favour received. For whereas they were previously made
+small and of silver, or only in the form of little panels, or rather of
+wax, and very clumsy, in the time of Andrea they began to be made in a
+much better manner, since Andrea, having a very strait friendship with
+Orsino, a Florentine worker in wax, who had no little judgment in that
+art, began to show him how he could become excellent therein. Now the
+due occasion arrived in the form of the death of Giuliano de' Medici and
+the danger incurred by his brother Lorenzo, who was wounded in S. Maria
+del Fiore, when it was ordained by the friends and relatives of Lorenzo
+that images of him should be set up in many places, to render thanks to
+God for his deliverance. Wherefore Orsino, among others that he made,
+executed three life-size figures of wax with the aid and direction of
+Andrea, making the skeleton within of wood, after the method described
+elsewhere, interwoven with split reeds, which were then covered with
+waxed cloths folded and arranged so beautifully that nothing better or
+more true to nature could be seen. Then he made the heads, hands, and
+feet with wax of greater thickness, but hollow within, portrayed from
+life, and painted in oils with all the ornaments of hair and everything
+else that was necessary, so lifelike and so well wrought that they
+seemed no mere images of wax, but actual living men, as may be seen in
+each of the said three, one of which is in the Church of the Nuns of
+Chiarito in the Via di S. Gallo, opposite to the Crucifix that works
+miracles. This figure is clothed exactly as Lorenzo was, when, with his
+wounded throat bandaged, he showed himself at the window of his house
+before the eyes of the people, who had flocked thither to see whether he
+were alive, as they hoped, or to avenge him if he were dead. The second
+figure of the same man is in the lucco, the gown peculiar to the
+citizens of Florence; and it stands in the Servite Church of the
+Nunziata, over the lesser door, which is beside the counter where
+candles are sold. The third was sent to S. Maria degli Angeli at Assisi,
+and set up before the Madonna of that place, where the same Lorenzo de'
+Medici, as has been already related, caused the road to be paved with
+bricks all the way from S. Maria to that gate of Assisi which leads to
+S. Francesco, besides restoring the fountains that his grandfather
+Cosimo had caused to be made in that place. But to return to the images
+of wax: all those in the said Servite Church are by the hand of Orsino,
+which have a large O in the base as a mark, with an R within it and a
+cross above; and they are all so beautiful that there are few since his
+day who have equalled him. This art, although it has remained alive up
+to our own time, is nevertheless rather on the decline than otherwise,
+either because men's devoutness has diminished, or for some other
+reason, whatever it may be.
+
+And to return to Verrocchio; besides the aforesaid works, he made
+Crucifixes of wood, with certain things of clay, in which he was
+excellent, as may be seen from the models for the scenes that he
+executed for the altar of S. Giovanni, from certain very beautiful boys,
+and from a head of S. Jerome, which is held to be marvellous. By the
+hand of the same man is the boy on the clock of the Mercato Nuovo, who
+has his arms working free, in such a manner that he can raise them to
+strike the hours with a hammer that he holds in his hands; which was
+held in those times to be something very beautiful and fanciful. And let
+this be the end of the Life of that most excellent sculptor, Andrea
+Verrocchio.
+
+There lived in the time of Andrea one Benedetto Buglioni, who received
+the secret of glazed terra-cotta work from a woman related to the house
+of Andrea della Robbia; wherefore he made many works in that manner both
+in Florence and abroad, particularly a Christ rising from the dead, with
+certain angels, which, for a work in glazed terra-cotta, is beautiful
+enough, in the Church of the Servi, near the Chapel of S. Barbara. He
+made a Dead Christ in a chapel in S. Pancrazio, and the lunette that is
+seen over the principal door of the Church of S. Pietro Maggiore. From
+Benedetto the secret descended to Santi Buglioni, the only man who now
+knows how to work at this sort of sculpture.
+
+
+
+
+ANDREA MANTEGNA
+
+[Illustration: THE MARTYRDOM OF S. JAMES
+
+(_After the fresco by =Andrea Mantegna=. Padua: Eremitani_)
+
+_Anderson_]
+
+
+
+
+LIFE OF ANDREA MANTEGNA
+
+PAINTER OF MANTUA
+
+
+How great is the effect of reward on talent is known to him who labours
+valiantly and receives a certain measure of recompense, for he feels
+neither discomfort, nor hardship, nor fatigue, when he expects honour
+and reward for them; nay, what is more, they render his talent every day
+more renowned and illustrious. It is true, indeed, that there is not
+always found one to recognize, esteem, and remunerate it as that of
+Andrea Mantegna was recognized. This man was born from very humble stock
+in the district of Mantua; and, although as a boy he was occupied in
+grazing herds, he was so greatly exalted by destiny and by his merit
+that he attained to the honourable rank of Chevalier, as will be told in
+the proper place. When almost full grown he was taken to the city, where
+he applied himself to painting under Jacopo Squarcione, a painter of
+Padua, who--as it is written in a Latin letter from Messer Girolamo
+Campagnola to Messer Leonico Timeo, a Greek philosopher, wherein he
+gives him information about certain old painters who served the family
+of Carrara, Lords of Padua--took him into his house, and a little time
+afterwards, having recognized the beauty of his intelligence, adopted
+him as his son. Now this Squarcione knew that he himself was not the
+most able painter in the world; wherefore, to the end that Andrea might
+learn more than he himself knew, he made him practise much on casts
+taken from ancient statues and on pictures painted upon canvas which he
+caused to be brought from diverse places, particularly from Tuscany and
+from Rome. By these and other methods, therefore, Andrea learnt not a
+little in his youth; and the competition of Marco Zoppo of Bologna,
+Darlo da Treviso, and Niccolo Pizzolo of Padua, disciples of his master
+and adoptive father, was of no small assistance to him, and a stimulus
+to his studies.
+
+Now after Andrea, who was then no more than seventeen years of age, had
+painted the panel of the high-altar of S. Sofia in Padua, which appears
+wrought by a mature and well-practised master, and not by a youth,
+Squarcione was commissioned to paint the Chapel of S. Cristofano, which
+is in the Church of the Eremite Friars of S. Agostino in Padua; and he
+gave the work to the said Niccolo Pizzolo and to Andrea. Niccolo made
+therein a God the Father seated in Majesty between the Doctors of the
+Church, and these paintings were afterwards held to be in no way
+inferior to those that Andrea executed there. And in truth, if Niccolo,
+whose works were few, but all good, had taken as much delight in
+painting as he did in arms, he would have become excellent, and might
+perchance have lived much longer than he did; for he was ever under arms
+and had many enemies, and one day, when returning from work, he was
+attacked and slain by treachery. Niccolo left no other works that I know
+of, save another God the Father in the Chapel of Urbano Perfetto.[29]
+
+[Illustration: ANDREA MANTEGNA: THE MADONNA OF THE ROCKS
+
+(_Florence: Uffizi, 1025. Panel_)]
+
+Andrea, thus left alone in the said chapel, painted the four
+Evangelists, which were held very beautiful. By reason of this and other
+works Andrea began to be watched with great expectation, and with hopes
+that he would attain to that success to which he actually did attain;
+wherefore Jacopo Bellini, the Venetian painter, father of Gentile and
+Giovanni, and rival of Squarcione, contrived to get him to marry his
+daughter, the sister of Gentile. Hearing this, Squarcione fell into such
+disdain against Andrea that they were enemies ever afterwards; and in
+proportion as Squarcione had formerly been ever praising the works of
+Andrea, so from that day onward did he ever decry them in public. Above
+all did he censure without reserve the pictures that Andrea had made in
+the said Chapel of S. Cristofano, saying that they were worthless,
+because in making them he had imitated the ancient works in marble, from
+which it is not possible to learn painting perfectly, for the reason
+that stone is ever from its very essence hard, and never has that
+tender softness that is found in flesh and in things of nature, which
+are pliant and move in various ways; adding that Andrea would have made
+those figures much better, and that they would have been more perfect,
+if he had given them the colour of marble and not such a quantity of
+colours, because his pictures resembled not living figures but ancient
+statues of marble or other suchlike things. This censure piqued the mind
+of Andrea; but, on the other hand, it was of great service to him, for,
+recognizing that Squarcione was in great measure speaking the truth, he
+set himself to portray living people, and made so much progress in this
+art, that, in a scene which still remained to be painted in the said
+chapel, he showed that he could wrest the good from living and natural
+objects no less than from those wrought by art. But for all this Andrea
+was ever of the opinion that the good ancient statues were more perfect
+and had greater beauty in their various parts than is shown by nature,
+since, as he judged and seemed to see from those statues, the excellent
+masters of old had wrested from living people all the perfection of
+nature, which rarely assembles and unites all possible beauty into one
+single body, so that it is necessary to take one part from one body and
+another part from another. In addition to this, it appeared to him that
+the statues were more complete and more thorough in the muscles, veins,
+nerves, and other particulars, which nature, covering their sharpness
+somewhat with the tenderness and softness of flesh, sometimes makes less
+evident, save perchance in the body of an old man or in one greatly
+emaciated; but such bodies, for other reasons, are avoided by craftsmen.
+And that he was greatly enamoured of this opinion is recognized from his
+works, in which, in truth, the manner is seen to be somewhat hard and
+sometimes suggesting stone rather than living flesh. Be this as it may,
+in this last scene, which gave infinite satisfaction, Andrea portrayed
+Squarcione in an ugly and corpulent figure, lance and sword in hand. In
+the same work he portrayed the Florentine Noferi, son of Messer Palla
+Strozzi, Messer Girolamo della Valle, a most excellent physician, Messer
+Bonifazio Fuzimeliga, Doctor of Laws, Niccolo, goldsmith to Pope
+Innocent VIII, and Baldassarre da Leccio, all very much his friends,
+whom he represented clad in white armour, burnished and resplendent, as
+real armour is, and truly with a beautiful manner. He also portrayed
+there the Chevalier Messer Bonramino, and a certain Bishop of Hungary, a
+man wholly witless, who would wander about Rome all day, and then at
+night would lie down to sleep like a beast in a stable; and he made a
+portrait of Marsilio Pazzo in the person of the executioner who is
+cutting off the head of S. James, together with one of himself. This
+work, in short, by reason of its excellence, brought him a very great
+name.
+
+The while that he was working on this chapel, he also painted a panel,
+which was placed on the altar of S. Luca in S. Justina, and afterwards
+he wrought in fresco the arch that is over the door of S. Antonino, on
+which he wrote his name. In Verona he painted a panel for the altar of
+S. Cristofano and S. Antonio, and he made some figures at the corner of
+the Piazza della Paglia. In S. Maria in Organo, for the Monks of Monte
+Oliveto, he painted the panel of the high-altar, which is most
+beautiful, and likewise that of S. Zeno. And among other things that he
+wrought while living in Verona and sent to various places, one, which
+came into the hands of an Abbot of the Abbey of Fiesole, his friend and
+relative, was a picture containing a half-length Madonna with the Child
+in her arms, and certain heads of angels singing, wrought with admirable
+grace; which picture, now to be seen in the library of that place, has
+been held from that time to our own to be a rare thing.
+
+Now, the while that he lived in Mantua, he had laboured much in the
+service of the Marquis Lodovico Gonzaga, and that lord, who always
+showed no little esteem and favour towards the talent of Andrea, caused
+him to paint a little panel for the Chapel of the Castle of Mantua; in
+which panel there are scenes with figures not very large but most
+beautiful. In the same place are many figures foreshortened from below
+upwards, which are greatly extolled, for although his treatment of the
+draperies was somewhat hard and precise, and his manner rather dry, yet
+everything there is seen to have been wrought with much art and
+diligence. For the same Marquis, in a hall of the Palace of S.
+Sebastiano in Mantua, he painted the Triumph of Caesar, which is the best
+thing that he ever executed. In this work we see, grouped with most
+beautiful design in the triumph, the ornate and lovely car, the man
+who is vituperating the triumphant Caesar, and the relatives, the
+perfumes, the incense, the sacrifices, the priests, the bulls crowned
+for the sacrifice, the prisoners, the booty won by the soldiers, the
+ranks of the squadrons, the elephants, the spoils, the victories, the
+cities and fortresses counterfeited in various cars, with an infinity of
+trophies borne on spears, and a variety of helmets and body-armour,
+head-dresses, and ornaments and vases innumerable; and in the multitude
+of spectators is a woman holding the hand of a boy, who, having pierced
+his foot with a thorn, is showing it, weeping, to his mother, in a
+graceful and very lifelike manner. Andrea, as I may have pointed out
+elsewhere, had a good and beautiful idea in this scene, for, having set
+the plane on which the figures stood higher than the level of the eye,
+he placed the feet of the foremost on the outer edge and outline of that
+plane, making the others recede inwards little by little, so that their
+feet and legs were lost to sight in the proportion required by the point
+of view; and so, too, with the spoils, vases, and other instruments and
+ornaments, of which he showed only the lower part, concealing the upper,
+as was required by the rules of perspective; which same consideration
+was also observed with much diligence by Andrea degli Impiccati[30] in
+the Last Supper, which is in the Refectory of S. Maria Nuova. Wherefore
+it is seen that in that age these able masters set about investigating
+with much subtlety, and imitating with great labour, the true properties
+of natural objects. And this whole work, to put it briefly, is as
+beautiful and as well wrought as it could be; so that if the Marquis
+loved Andrea before, he loved and honoured him much more ever
+afterwards.
+
+[Illustration: MADONNA AND ANGELS
+
+(_After the panel by =Andrea Mantegna=. Milan: Brera, 198_)
+
+_Alinari_]
+
+What is more, he became so famous thereby that Pope Innocent VIII,
+hearing of his excellence in painting and of the other good qualities
+wherewith he was so marvellously endowed, sent for him, even as he was
+sending for many others, to the end that he might adorn with his
+pictures the walls of the Belvedere, the building of which had just been
+finished. Having gone to Rome, then, greatly favoured and recommended by
+the Marquis, who made him a Chevalier in order to honour him the more,
+he was received lovingly by that Pontiff and straightway commissioned to
+paint a little chapel that is in the said place. This he executed with
+diligence and love, and with such minuteness that the vaulting and the
+walls appear rather illuminated than painted; and the largest figures
+that are therein, which he painted in fresco like the others, are over
+the altar, representing the Baptism of Christ by S. John, with many
+people around, who are showing by taking off their clothes that they
+wish to be baptized. Among these is one who, seeking to draw off a
+stocking that has stuck to his leg through sweat, has crossed that leg
+over the other and is drawing the stocking off inside out, with such
+great effort and difficulty, that both are seen clearly in his face;
+which bizarre fancy caused marvel to all who saw it in those times. It
+is said that this Pope, by reason of his many affairs, did not pay
+Mantegna as often as he would have liked, and that therefore, while
+painting certain Virtues in terretta in that work, he made a figure of
+Discretion among the rest, whereupon the Pope, having gone one day to
+see the work, asked Andrea what figure that was; to which Andrea
+answered that it was Discretion; and the Pope added: "If thou wouldst
+have her suitably accompanied, put Patience beside her." The painter
+understood what the meaning of the Holy Father was, and he never said
+another word. The work finished, the Pope sent him back to the Duke with
+much favour and honourable rewards.
+
+The while that Andrea was working in Rome, he painted, besides the said
+chapel, a little picture of the Madonna with the Child sleeping in her
+arms; and within certain caverns in the landscape, which is a mountain,
+he made some stone-cutters quarrying stone for various purposes, all
+wrought with such delicacy and such great patience, that it does not
+seem possible for such good work to be done with the thin point of a
+brush. This picture is now in the possession of the most Illustrious
+Lord, Don Francesco Medici, Prince of Florence, who holds it among his
+dearest treasures.
+
+In our book is a drawing by the hand of Andrea on a half-sheet of royal
+folio, finished in chiaroscuro, wherein is a Judith who is putting the
+head of Holofernes into the wallet of her Moorish slave-girl; which
+chiaroscuro is executed in a manner no longer used, for he left the
+paper white to serve for the light in place of white lead, and that so
+delicately that the separate hairs and other minute details are seen
+therein, no less than if they had been wrought with much diligence by
+the brush; wherefore in a certain sense this may be called rather a work
+in colour than a drawing. The same man, like Pollaiuolo, delighted in
+engraving on copper; and, among other things, he made engravings of his
+own Triumphs, which were then held in great account, since nothing
+better had been seen.
+
+One of the last works that he executed was a panel-picture for S. Maria
+della Vittoria, a church built after the direction and design of Andrea
+by the Marquis Francesco, in memory of the victory that he gained on the
+River Taro, when he was General of the Venetian forces against the
+French. In this panel, which was wrought in distemper and placed on the
+high-altar, there is painted the Madonna with the Child seated on a
+pedestal; and below are S. Michelagnolo, S. Anna, and Joachim, who are
+presenting the Marquis--who is portrayed from life so well that he
+appears alive--to the Madonna, who is offering him her hand. Which
+picture, even as it gave and still continues to give universal pleasure,
+also satisfied the Marquis so well that he rewarded most liberally the
+talent and labour of Andrea, who, having been remunerated by Princes for
+all his works, was able to maintain his rank of Chevalier most
+honourably up to the end of his life.
+
+Andrea had competitors in Lorenzo da Lendinara--who was held in Padua to
+be an excellent painter, and who also wrought some things in terra-cotta
+for the Church of S. Antonio--and in certain others of no great worth.
+He was ever the friend of Dario da Treviso and Marco Zoppo of Bologna,
+since he had been brought up with them under the discipline of
+Squarcione. For the Friars Minor of Padua this Marco painted a loggia
+which serves as their chapter-house; and at Pesaro he painted a panel
+that is now in the new Church of S. Giovanni Evangelista; besides
+portraying in a picture Guidobaldo da Montefeltro, at the time when he
+was Captain of the Florentines. A friend of Mantegna's, likewise, was
+Stefano, a painter of Ferrara, whose works were few but passing good;
+and by his hand is the adornment of the sarcophagus of S. Anthony to be
+seen in Padua, with the Virgin Mary, that is called the Vergine del
+Pilastro.
+
+But to return to Andrea himself; he built a very beautiful house in
+Mantua for his own use, which he adorned with paintings and enjoyed
+while he lived. Finally he died in 1517, at the age of sixty-six, and
+was buried with honourable obsequies in S. Andrea; and on his tomb, over
+which stands his portrait in bronze, there was placed the following
+epitaph:
+
+   ESSE PAREM HUNC NORIS, SI NON PRAEPONIS, APELLI;
+   AENEA MANTINEAE QUI SIMULACRA VIDES.
+
+Andrea was so kindly and praiseworthy in all his actions, that his
+memory will ever live, not only in his own country, but in the whole
+world; wherefore he well deserved, no less for the sweetness of his ways
+than for his excellence in painting, to be celebrated by Ariosto at the
+beginning of his thirty-third canto, where he numbers him among the most
+illustrious painters of his time, saying:
+
+   Leonardo, Andrea Mantegna, Gian Bellino.
+
+This master showed painters a much better method of foreshortening
+figures from below upwards, which was truly a difficult and ingenious
+invention; and he also took delight, as has been said, in engraving
+figures on copper for printing, a method of truly rare value, by means
+of which the world has been able to see not only the Bacchanalia, the
+Battle of Marine Monsters, the Deposition from the Cross, the Burial of
+Christ, and His Resurrection, with Longinus and S. Andrew, works by
+Mantegna himself, but also the manners of all the craftsmen who have
+ever lived.
+
+[Illustration: JUDITH WITH THE HEAD OF HOLOFERNES
+
+(_After the painting by =Andrea Mantegna=. Dublin: National Gallery_)
+
+_Mansell_]
+
+
+FOOTNOTES:
+
+[29] This seems to be a printer's or copyist's error for Prefetto.
+
+[30] Andrea dal Castagno.
+
+
+
+
+INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME III
+
+
+   Abbot of S. Clemente (Don Bartolommeo della Gatta), _Life_, 203-209. 188
+
+   Agnolo, Baccio d', 12
+
+   Agnolo di Donnino, 189, 190
+
+   Agnolo di Lorenzo (Angelo di Lorentino), 209
+
+   Agnolo di Polo, 273, 274
+
+   Alberti, Leon Batista, _Life_, 43-48
+
+   Albrecht Duerer, 214
+
+   Alessandro Filipepi (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Alesso Baldovinetti, _Life_, 67-70. 59, 67-70, 101, 225
+
+   Andrea Contucci (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
+
+   Andrea dal Castagno (Andrea degli' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Andrea della Robbia, 276
+
+   Andrea di Cione Orcagna, 223
+
+   Andrea di Cosimo, 189
+
+   Andrea Mantegna, _Life_, 279-286. 162
+
+   Andrea Riccio, 64
+
+   Andrea Sansovino (Andrea Contucci, or Andrea dal Monte Sansovino), 243
+
+   Andrea Tafi, 69
+
+   Andrea Verrocchio, _Life_, 267-276. 75, 223
+
+   Angelico, Fra (Fra Giovanni da Fiesole), _Life_, 27-39. 121
+
+   Angelo, Lorentino d'. 22, 23
+
+   Angelo di Lorentino (Agnolo di Lorenzo), 209
+
+   Antonello da Messina, _Life_, 59-64
+
+   Antonio di Salvi, 239
+
+   Antonio Filarete, _Life_, 3-7. 47, 92
+
+   Antonio (or Vittore) Pisanello, _Life_, 109-113. 105
+
+   Antonio Pollaiuolo, _Life_, 237-243. 248, 285
+
+   Antonio Rossellino (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
+
+   Antonio Viniziano, 176
+
+   Apelles, 36, 254, 286
+
+   Aretino, Geri, 263, 264
+
+   Attavante (or Vante), 36-39, 209, 214, 215
+
+   Ausse (Hans Memling), 61
+
+
+   Baccio Cellini, 92, 263
+
+   Baccio d' Agnolo, 12
+
+   Baccio da Montelupo, 148
+
+   Baccio Pintelli, 93-94
+
+   Baldinelli, Baldino, 233
+
+   Baldovinetti, Alesso, _Life_, 67-70. 59, 67-70, 101, 225
+
+   Banco, Nanni d' Antonio di, 28
+
+   Bartolommeo Coda, 184
+
+   Bartolommeo della Gatta, Don (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Bartoluccio Ghiberti, 237, 238
+
+   Bastiano Mainardi (Bastiano da San Gimignano), 225, 230-233
+
+   Batista del Cervelliera, 12
+
+   Bellini, Gentile, _Life_, 173-184. 280
+
+   Bellini, Giovanni, _Life_, 173-184. 280, 286
+
+   Bellini, Jacopo, _Life_, 173-175. 280
+
+   Benedetto Buglioni, 276
+
+   Benedetto Coda, 184
+
+   Benedetto da Maiano, _Life_, 257-264. 13, 14, 149. 257-264
+
+   Benedetto Ghirlandajo, 222, 229, 233
+
+   Benozzo Gozzoli, _Life_, 121-125. 35, 161
+
+   Bernardo Ciuffagni, 7
+
+   Bernardo Rossellino, _Life_, 139-144. 44, 268
+
+   Bernardo Vasari, 55
+
+   Berto Linaiuolo, 92
+
+   Biagio (pupil of Botticelli), 251, 252
+
+   Bicci, Lorenzo di, 20, 213
+
+   Boccardino, the elder, 215
+
+   Bolognese, Guido, 170
+
+   Borghese, Piero (Piero della Francesca, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Botticello, 247
+
+   Bramante da Milano, 18
+
+   Bramante da Urbino, 155
+
+   Bramantino, 18, 19
+
+   Brini, Francesco, 214
+
+   Bruges, Johann of (Jan van Eyck), 60-62, 64
+
+   Bruges, Roger of (Roger van der Weyden), 61
+
+   Brunelleschi, Filippo (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
+
+   Buglioni, Benedetto, 276
+
+   Buglioni, Santi, 276
+
+   Buonarroti, Michelagnolo, 86, 110, 140, 233
+
+
+   Cadore, Tiziano da (Tiziano Vecelli), 179, 183
+
+   Callicrates, 55
+
+   Camicia, Chimenti, _Life_, 92-93
+
+   Campagnola, Girolamo, 279
+
+   Capanna (of Siena), 208
+
+   Castagno, Andrea dal (Andrea degl' Impiccati), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Castel della Pieve, Pietro da (Pietro Perugino, or Pietro Vannucci), 23, 188, 204, 273
+
+   Castelfranco, Giorgione da, 184
+
+   Cecca, _Life_, 193-200. 69
+
+   Cecca, Girolamo della, 263
+
+   Cellini, Baccio, 92, 263
+
+   Cervelliera, Batista del, 12
+
+   Chimenti Camicia, _Life_, 92-93
+
+   Cieco, Niccolo, 233
+
+   Cimabue, Giovanni, 59
+
+   Ciuffagni, Bernardo, 7
+
+   Coda, Bartolommeo, 184
+
+   Coda, Benedetto, 184
+
+   Contucci, Andrea (Andrea Sansovino, or Andrea dal Monte Sansovino), 243
+
+   Corso, Jacopo del, 105
+
+   Cortona, Luca da (Luca Signorelli), 20, 23, 31, 52, 188, 204
+
+   Cosimo, Andrea di, 189
+
+   Cosimo, Piero di, 189
+
+   Cosimo Rosselli, _Life_, 187-190
+
+   Cosme, 136
+
+   Costa, Lorenzo, _Life_, 161-164. 167
+
+   Cozzerello, Jacopo, 130
+
+   Credi, Lorenzo di, 274
+
+   Cronaca, Il, 260
+
+
+   Dario da Treviso, 280, 285
+
+   David Ghirlandajo, 222, 225, 229-231, 233
+
+   David Pistoiese, 263
+
+   Desiderio da Settignano, _Life_, 147-149. 154, 156, 260
+
+   Diamante, Fra, 83, 85-87
+
+   Domenico del Tasso, 200, 262
+
+   Domenico di Mariotto, 12
+
+   Domenico di Michelino, 35
+
+   Domenico Ghirlandajo, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
+
+   Domenico Pecori, 207-209
+
+   Domenico Viniziano (Domenico da Venezia), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Don Bartolommeo della Gatta (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Don Lorenzo Monaco, 203
+
+   Donato (Donatello), 3, 6, 73, 74, 117, 131, 144, 147, 148, 269, 270, 273
+
+   Donnino, Agnolo di, 189, 190
+
+   Donzello, Piero del, 13
+
+   Donzello, Polito del, 13, 14
+
+   Dosso, the elder (Dosso Dossi), 164
+
+   Duca Tagliapietra, 169
+
+   Duccio, 6
+
+   Duerer, Albrecht, 214
+
+
+   Ercole Ferrarese (Ercole da Ferrara), Life, 167-170. 164
+
+   Eyck, Jan van (Johann of Bruges), 60-62, 64
+
+
+   Fabiano Sassoli, 54
+
+   Fabriano, Gentile da, _Life_, 109-113. 35, 173
+
+   Facchino, Giuliano del, 239
+
+   Fancelli, Luca, 47
+
+   Fancelli, Salvestro, 47
+
+   Fermo Ghisoni, 164
+
+   Ferrara, Ercole da (Ercole Ferrarese), _Life_, 167-170. 164
+
+   Ferrara, Stefano da, 285, 286
+
+   Ferrarese, Ercole (Ercole da Ferrara), _Life_, 167-170. 164
+
+   Ferrarese, Galasso (Galasse Galassi), _Life_ 135-136
+
+   Fiesole, Fra Giovanni da (Fra Angelico), _Life_, 27-39. 121
+
+   Fiesole, Mino da (Mino di Giovanni), _Life_, 153-157
+
+   Filarete, Antonio, _Life_, 3-7. 47, 92
+
+   Filipepi, Alessandro (Sandro Botticelli, or Sandro di Botticello), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Filippino Lippi (Filippo Lippi), 83, 87, 259
+
+   Filippo Brunelleschi (Filippo di Ser Brunellesco), 3, 12, 130, 196, 257, 271
+
+   Filippo Lippi (Filippino Lippi), 83, 87, 259
+
+   Filippo Lippi, Fra, _Life_, 79-88. 117, 118, 161, 247
+
+   Finiguerra, Maso, 238
+
+   Foccora, Giovanni, 7
+
+   Fonte, Jacopo della (Jacopo della Quercia), 131, 188
+
+   Forli, Melozzo da, 124
+
+   Fra Angelico (Fra Giovanni da Fiesole), _Life_, 27-39. 121
+
+   Fra Diamante, 83, 85-87
+
+   Fra Filippo Lippi, _Life_, 79-88. 117, 118, 161, 247
+
+   Fra Giovanni da Fiesole (Fra Angelico), _Life_, 27-39. 121
+
+   Francesca, Piero della (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Francesco Brini, 214
+
+   Francesco di Giorgio, _Life_, 129-131
+
+   Francesco di Monsignore, 63
+
+   Francesco di Simone, 273
+
+   Francesco Granacci (Il Granaccio), 233
+
+   Francesco Peselli (Francesco di Pesello, or Pesellino), _Life_, 117-118. 86
+
+   Francesco Salviati, 258, 262
+
+
+   Galasso Ferrarese (Galasso Galassi), _Life_, 135-136
+
+   Gatta, Don Bartolommeo della (Abbot of S. Clemente), _Life_, 203-209. 188
+
+   Gentile Bellini, _Life_, 173-184. 280
+
+   Gentile da Fabriano, _Life_, 109-113. 35, 173
+
+   Geri Aretino, 263, 264
+
+   Gherardo, _Life_, 213-215. 209, 232
+
+   Ghiberti, Bartoluccio, 237, 238
+
+   Ghiberti, Lorenzo (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
+
+   Ghirlandajo, Benedetto, 222, 229, 233
+
+   Ghirlandajo, David, 222, 225, 229-231, 233
+
+   Ghirlandajo, Domenico, _Life_, 219-233. 69, 70, 188, 213, 215, 219-233, 248
+
+   Ghirlandajo, Ridolfo, 233
+
+   Ghirlandajo, Tommaso, 219
+
+   Ghisoni, Fermo, 164
+
+   Giacomo Marzone, 184
+
+   Gian Cristoforo, 92
+
+   Giorgio, Francesco di, _Life_, 129-131
+
+   Giorgio Vasari, see Vasari (Giorgio)
+
+   Giorgio Vasari (son of Lazzaro Vasari, the elder), 52, 54-56
+
+   Giorgione da Castelfranco, 184
+
+   Giotto, 59, 259
+
+   Giovanni, Mino di (Mino da Fiesole), _Life_, 153-157
+
+   Giovanni Bellini, _Life_, 173-184. 280, 286
+
+   Giovanni Cimabue, 59
+
+   Giovanni da Rovezzano, 105
+
+   Giovanni Foccora, 7
+
+   Giovanni Turini, 239
+
+   Girolamo Campagnola, 279
+
+   Girolamo della Cecca, 263
+
+   Girolamo Moretto (or Mocetto), 180
+
+   Girolamo Padovano, 209
+
+   Giuliano da Maiano, _Life_, 11-14. 74, 257-259
+
+   Giuliano del Facchino, 239
+
+   Giuliano del Tasso, 200, 262
+
+   Giulio Romano, 19
+
+   Giusto, 11
+
+   Gozzoli, Benozzo, _Life_, 121-125. 35, 161
+
+   Graffione, 70
+
+   Granacci, Francesco (Il Granaccio), 233
+
+   Grosso, Nanni, 273
+
+   Guardia, Niccolo della, 92
+
+   Guglielmo da Marcilla (Guillaume de Marcillac, or the French Prior), 53
+
+   Guido Bolognese, 170
+
+   Guido del Servellino, 12
+
+
+   Hans Memling (Ausse), 61
+
+
+   Il Cronaca, 260
+
+   Il Granaccio (Francesco Granacci), 233
+
+   Impiccati, Andrea degl' (Andrea dal Castagno), _Life_, 97-105. 109, 117, 173, 237, 239, 283
+
+   Indaco, Jacopo dell', 233
+
+
+   Jacopo (pupil of Botticelli), 251, 252
+
+   Jacopo Bellini, _Life_, 173-175. 280
+
+   Jacopo Cozzerello, 130
+
+   Jacopo da Montagna, 183
+
+   Jacopo del Corso, 105
+
+   Jacopo del Sellaio, 86
+
+   Jacopo del Tedesco, 233
+
+   Jacopo della Quercia (Jacopo della Fonte), 131, 188
+
+   Jacopo dell' Indaco, 233
+
+   Jacopo Squarcione, 279-281, 285
+
+   Johann of Bruges (Jan van Eyck), 60-62, 64
+
+
+   Lappoli, Matteo, 206, 207
+
+   Laurati, Pietro (Pietro Lorenzetti), 55
+
+   Lazzaro Vasari (the elder), _Life_, 51-56
+
+   Lazzaro Vasari (the younger), 55
+
+   Lendinara, Lorenzo da, 285
+
+   Leon Batista Alberti, _Life_, 43-48
+
+   Leonardo da Vinci, 270, 271, 273, 286
+
+   Linaiuolo, Berto, 92
+
+   Lippi, Filippo (Filippino Lippi), 83, 87, 259
+
+   Lippi, Fra Filippo, _Life_, 79-88. 117, 118, 161, 247
+
+   Lodovico Malino (Lodovico Mazzolini), 164
+
+   Lorentino, Angelo di (Agnolo di Lorenzo), 209
+
+   Lorentino d'Angelo, 22, 23
+
+   Lorenzetti, Pietro (Pietro Laurati), 55
+
+   Lorenzetto, 273
+
+   Lorenzo, Agnolo di (Angelo di Lorentino), 209
+
+   Lorenzo Costa, _Life_, 161-164. 167
+
+   Lorenzo da Lendinara, 285
+
+   Lorenzo di Bicci, 20, 213
+
+   Lorenzo di Credi, 274
+
+   Lorenzo Ghiberti (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti), 3, 237, 238, 269, 270
+
+   Lorenzo Monaco, Don, 203
+
+   Lorenzo Vecchietto, _Life_, 129-131
+
+   Luca Fancelli, 47
+
+   Luca Signorelli (Luca da Cortona), 20, 23, 31, 52, 188, 204
+
+   Luigi Vivarino, 178, 179
+
+
+   Macchiavelli, Zanobi, 125
+
+   Maestro Mino (Mino del Regno, or Mino del Reame). _Life_, 91-92. 155
+
+   Maiano, Benedetto da, _Life_, 257-264. 13, 14, 149, 257-264
+
+   Maiano, Giuliano da, _Life_, 11-14. 74, 257-259
+
+   Mainardi, Bastiano (Bastiano da San Gimignano), 225, 230-233
+
+   Malino, Lodovico (Lodovico Mazzolini), 164
+
+   Mantegna, Andrea, _Life_, 279-286. 162
+
+   Marchino, 105
+
+   Marcilla, Guglielmo da (Guillaume de Marcillac, or the French Prior), 53
+
+   Marco del Tasso, 200, 262
+
+   Marco Zoppo, 279, 280, 285
+
+   Mariotto, Domenico di, 12
+
+   Martin Schongauer, 214
+
+   Martini, Simone (Simone Sanese or Memmi), 183
+
+   Marzone, Giacomo, 184
+
+   Masaccio, 79, 80
+
+   Maso Finiguerra, 238
+
+   Matteo Lappoli, 206, 207
+
+   Mazzingo, 239
+
+   Mazzolini, Lodovico (Lodovico Malino), 164
+
+   Melozzo da Forli, 124
+
+   Memling, Hans (Ausse), 61
+
+   Memmi, Simone (Simone Sanese or Martini), 183
+
+   Messina, Antonello da, _Life_, 59-64
+
+   Michelagnolo Buonarroti, 86, 110, 140, 233
+
+   Michele San Michele, 111
+
+   Michelino, Domenico di, 35
+
+   Milano, Bramante da, 18
+
+   Mino, Maestro (Mino del Regno, or Mino del Reame), _Life_, 91-92. 155
+
+   Mino da Fiesole (Mino di Giovanni), _Life_, 153-157
+
+   Minore, 11
+
+   Modanino da Modena, 14
+
+   Monaco, Don Lorenzo, 203
+
+   Monsignore, Francesco di, 63
+
+   Montagna, Jacopo da, 183
+
+   Montelupo, Baccio da, 148
+
+   Montepulciano, Pasquino da, 7
+
+   Moretto (or Mocetto), Girolamo, 180
+
+   Myrmecides, 55
+
+
+   Nanni d' Antonio di Banco, 28
+
+   Nanni Grosso, 273
+
+   Niccolo (goldsmith to Pope Innocent VIII), 281
+
+   Niccolo (of Florence), 7
+
+   Niccolo Cieco, 233
+
+   Niccolo della Guardia, 92
+
+   Niccolo Pizzolo, 280
+
+   Nicon, 209
+
+
+   Orcagna, Andrea di Cione, 223
+
+   Orsino, 275, 276
+
+
+   Padova, Vellano da, _Life_, 73-75. 272
+
+   Padovano, Girolamo, 209
+
+   Paolo da Verona, 243
+
+   Paolo Romano, _Life_, 91-92
+
+   Paolo Uccello, 257
+
+   Parri Spinelli, 54
+
+   Pasquino da Montepulciano, 7
+
+   Pecori, Domenico, 207-209
+
+   Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Pesellino (Francesco Peselli, or Francesco di Pesello), _Life_, 117-118. 86
+
+   Pesello, _Life_, 117-118. 59
+
+   Piero del Donzello, 13
+
+   Piero della Francesca (Piero Borghese, or Piero dal Borgo a San Sepolcro), _Life_, 17-23. 51, 52, 101, 135
+
+   Piero di Cosimo, 189
+
+   Piero Pollaiuolo, _Life_, 237-243. 105, 248
+
+   Pietro Laurati (Pietro Lorenzetti), 55
+
+   Pietro Paolo da Todi, 92
+
+   Pietro Perugino (Pietro Vannucci, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Pintelli, Baccio, 93-94
+
+   Pisanello, Vittore (or Antonio), _Life_, 109-113. 105
+
+   Pistoiese, David, 263
+
+   Pizzolo, Niccolo, 280
+
+   Polito del Donzello, 13, 14
+
+   Pollaiuolo, Antonio, _Life_, 237-243. 248, 285
+
+   Pollaiuolo, Piero, _Life_, 237-243. 105, 248
+
+   Polo, Agnolo di, 273, 274
+
+   Proconsolo, Rossellino dal (Antonio Rossellino), _Life_, 139-144. 44, 253
+
+
+   Quercia, Jacopo della (Jacopo della Fonte), 131, 188
+
+
+   Raffaello Sanzio (Raffaello da Urbino), 18, 19
+
+   Ravenna, Rondinello da, 183, 184
+
+   Regno, Mino del (Maestro Mino, or Mino del Reame), _Life_, 91-92. 155
+
+   Riccio, Andrea, 64
+
+   Ridolfo Ghirlandajo, 233
+
+   Robbia, Andrea della, 276
+
+   Roger of Bruges (Roger van der Weyden), 61
+
+   Romano, Giulio, 19
+
+   Romano, Paolo, _Life_, 91-92
+
+   Rondinello da Ravenna, 183, 184
+
+   Rosselli, Cosimo, _Life_, 187-190
+
+   Rossellino, Antonio (Rossellino dal Proconsolo), _Life_, 139-144. 44, 253
+
+   Rossellino, Bernardo, _Life_, 139-144. 44, 268
+
+   Rovezzano, Giovanni da, 105
+
+
+   Salvestro Fancelli, 47
+
+   Salvi, Antonio di, 239
+
+   Salviati, Francesco, 258, 262
+
+   S. Clemente, Abbot of (Don Bartolommeo della Gatta), _Life_, 203-209. 188
+
+   San Gimignano, Bastiano da (Bastiano Mainardi), 225, 230-233
+
+   Sandro Botticelli (Sandro di Botticello, or Alessandro Filipepi), _Life_, 247-254. 86, 87, 188, 222, 247-254
+
+   Sanese, Simone (Simone Martini or Memmi), 183
+
+   Sansovino, Andrea (Andrea Contucci, or Andrea dal Monte Sansovino), 243
+
+   Santi Buglioni, 276
+
+   Sanzio, Raffaello (Raffaello da Urbino), 18, 19
+
+   Sassoli, Fabiano, 54
+
+   Schongauer, Martin, 214
+
+   Sellaio, Jacopo del, 86
+
+   Servellino, Guido del, 12
+
+   Settignano, Desiderio da, _Life_, 147-149. 154, 156, 260
+
+   Signorelli, Luca (Luca da Cortona), 20, 23, 31, 52, 188, 204
+
+   Simone (brother of Donatello), _Life_, 3-7
+
+   Simone, Francesco di, 273
+
+   Simone Sanese (Simone Martini or Memmi), 183
+
+   Spinelli, Parri, 54
+
+   Squarcione, Jacopo, 279-281, 285
+
+   Stefano (of Florence), 215
+
+   Stefano da Ferrara, 285, 286
+
+   Strozzi, Zanobi, 35
+
+
+   Tafi, Andrea, 69
+
+   Tagliapietra, Duca, 169
+
+   Tasso, Domenico del, 200, 262
+
+   Tasso, Giuliano del, 200, 262
+
+   Tasso, Marco del, 200, 262
+
+   Tedesco, Jacopo del, 233
+
+   Tiziano Vecelli (Tiziano da Cadore), 179, 183
+
+   Todi, Pietro Paolo da, 92
+
+   Tommaso Ghirlandajo, 219
+
+   Treviso, Dario da, 280, 285
+
+   Turini, Giovanni, 239
+
+
+   Uccello, Paolo, 257
+
+   Urbino, Bramante da, 155
+
+   Urbino, Raffaello da (Raffaello Sanzio), 18, 19
+
+
+   Vannucci, Pietro (Pietro Perugino, or Pietro da Castel della Pieve), 23, 188, 204, 273
+
+   Vante (or Attavante), 36-39, 209, 214, 215
+
+   Varrone (of Florence), 7
+
+   Vasari, Bernardo, 55
+
+   Vasari, Giorgio--
+     as art-collector, 12, 48, 52, 54, 68, 88, 113, 124, 140, 149, 157, 164, 170, 189, 198, 209, 214, 221, 238, 242, 254, 263, 270, 284
+     as author, 5, 6, 14, 18, 19, 30, 33, 34, 36, 39, 48, 51-56, 59, 64, 74, 75, 91-93, 97, 110, 112, 113, 123, 136, 142-144, 149, 157, 163, 164, 174, 175, 178-180, 198, 199, 209, 215, 221, 225, 242, 249, 259, 262, 273, 280, 283
+     as painter, 56, 209
+     as architect, 55
+
+   Vasari, Giorgio (son of Lazzaro Vasari, the elder), 52, 54-56
+
+   Vasari, Lazzaro (the elder), _Life_, 51-56
+
+   Vasari, Lazzaro (the younger), 55
+
+   Vecchietto, Lorenzo, _Life_, 129-131
+
+   Vecelli, Tiziano (Tiziano da Cadore), 179, 183
+
+   Vellano da Padova, _Life_, 73-75. 272
+
+   Venezia, Domenico da (Domenico Viniziano), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Verona, Paolo da, 243
+
+   Verrocchio, Andrea, _Life_, 267-276. 75, 223
+
+   Vincenzio di Zoppa, 5
+
+   Vinci, Leonardo da, 270, 271, 273, 286
+
+   Viniziano, Antonio, 176
+
+   Viniziano, Domenico (Domenico da Venezia), _Life_, 97-105. 19, 63, 97-105, 173
+
+   Vittore (or Antonio) Pisanello, _Life_, 109-113. 105
+
+   Vivarino, Luigi, 178, 179
+
+
+   Weyden, Roger van der (Roger of Bruges), 61
+
+
+   Zanobi Macchiavelli, 125
+
+   Zanobi Strozzi, 35
+
+   Zeuxis, 209
+
+   Zoppa, Vincenzio di, 5
+
+   Zoppo, Marco, 279, 280, 285
+
+
+END OF VOL. III.
+
+
+   PRINTED UNDER THE SUPERVISION OF CHAS. T. JACOBI
+   OF THE CHISWICK PRESS, LONDON. THE COLOURED
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+
+
+
+
+
+
+End of the Project Gutenberg EBook of Lives of the Most Eminent Painters
+Sculptors and Architects, by Giorgio Vasari
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